Creativity for Fiction or Function: #2
Something True, Nothing Borrowed: Second of five articles (20 smart reader points)
“If life were predictable it would cease to be life and be without flavor — Eleanor Roosevelt”.
When the composer referred to in this series creates something new and inventive as opposed to merely following a template it becomes a matter of needing tangibility versus easy acceptance.
Find the second italicized bold word of five to string together and reveal the only thing the audience knows.
His tangibility, in question after using a novel approach to telling his story, calls for the mysterious tools, his artistry and creativity which have the ability to transform a raft of situations.
He must produce an artwork to evoke emotion, designed for the masses and work around the way they assume the process is natural and straightforward.
Treading in a deep pool of nonchalance he works with the condition because in his eyes the obvious is clear and all daily occurrences are bonded automatically with the sound of the time.
A common example of it streams from the internet as songs out of thin air presumably imbued with magic. In this case the musician stands little chance of being believable under the circumstances however and as a result his tangibility as a composer is impossible for anyone to fathom. It is as though even to himself he is fictitious.
Digital or not, music is analogous to switching something on and changes the surrounding environment in the same way a light bulb does which demonstrates how its tangibility should not be taken for granted. The problem is, light usually requires monotony to be ideal which is not something a composer values, so figuring out a new appealing way to change things up adds to his quest.
The many arguments against his output far outweigh any justification for its existence and perseverance becomes his best methodology.
Even when new light is shed on a circumstance or condition of human experience his music calls for a different kind of imagery than anything conventional. It must tell a story to be heard with comprehension or its audience, in the dark about its reason for being, has no way to recognize it.
Those metaphors and word games on light versus dark, apropos to the reality for the composer, constantly amplify the difficulty of coming to terms with them and establishing the viability of his work. After all, it is not as though there is a set of rules to go by for seeking ways to manipulate them and cut corners. He takes aim — his target being to create a playlist of music for dances all related to a story simply about the consequences of thinking and some of the extremes it might go to.
When it is written and the music for it recorded, produced and published it is together as one tangible entity, albeit fictional.
Therefore the story serves a vital function — ensuring the music in it is meaningful, even without yet being heard.
There is an unusual logic to follow here and it might seem like something said and done before, but even so something new is inspired.
Progress to level 3 where optimism, basic fundamentals and seeds of rationale aid the growth of the enterprise and move it forward.
Composer/author L.R. Lane has assembled a multifaceted internet production using his website, digital music distribution, eBook publishing and newsletter publications. https://www.allinadaysdance.com/CoverebookNewsletter
The originality of his compositions and work related to them is the focus of his presentation for the purpose of giving readers a special new way to get acquainted with the theme inherent in his creations.
Be sure to find L.R. Lane’s online specialties for the All in a Day’s Dance music, story, website and more. https://www.allinadaysdance
