It has now been six months since I embarked on this journey from “Romanticism” to relative “experimentalism” in my compositional life – and almost six months since I began writing this blog which documents my thoughts and feelings about the process. The time has come to take stock of my progress in order to determine my course for the next part of this ongoing journey.
I have to say that it has been many years since I have enjoyed composing quite so much. The decision to throw caution to the wind and let my metaphorical “hair” down has been artistically liberating and has opened up a world of possibilities to me.
But what, in a technical sense, have been the hallmarks of this new, ever developing style since the beginning of the year? In bullet points below I have identified some characteristic elements involved in the creative process as well as the audible outcome:
- Digital music which is not intended to be performed by live musicians but is produced by the composer in his studio and presented as the finished article – working much like an artist.
- The use of digital/computer based sounds not intended to replicate traditional orchestral instruments.
- Music which is inspired by art to a great extent.
- Fragments of music or musical motifs scored in Sibelius software which are then saved as sound files and edited in Cubase software, manipulated in various ways and used to create a collage of musical sound.
- Poly-chordal harmony as well as the layering of chords and the use of cross-fades between chords which also create new and interesting harmonies.
- The use of micro-canon and delay effects.
- The use of cluster chords
- Some use of layered fourths and quartal harmony.
One noteworthy aspect of the bullet point list is the recurrence of words such as “harmony” and “chords”. It seems that even if I wanted to discard everything from my previous compositional incarnation, this just isn’t possible – you take yourself with you on the journey! Somehow one simply cannot shake off one’s essential nature – in my case a certain lyricism and English Romanticism.
I don’t see this as a failure, however. Nor do I feel that a composer working in the 21st century need deploy completely atonal techniques in order to produce something new and to contribute to artistic progress. I think it is true to say that when Schoenberg invented his twelve-tone system of composition he opened the floodgates of musical possibility. Serious music (for want of a better expression) in the 20th century was dominated by his discovery; in the 21st century we are liberated by his contribution but not ruled by it.
I have spoken many times in this blog about my love of art, and one of my favourites at the moment in the world of art is the very colourful Grayson Perry. He seems, to me, to be a wonderful example of someone who manages to combine perfectly the old and the new – the established media of pottery and embroidery used in new, zany ways, and used to say something very individual. Grayson Perry is quoted to have said: “…as an artist, my job is to be as much “me” as possible”. Good advice for creative people working in any era! Grayson Perry appears to have achieved this in life as well as in art, his work being as much an exploration of his inner life as an expression of it.
It seems to me that we need, as composers (or artists of any kind), to be as much ourselves as possible. My job now is to continue on my journey of self discovery and to express myself without censorship. It occurs to me that this is true of us all, whether artists or not. It also seems to me that the extent to which society allows us to be fully ourselves as well as the extent to which we allow our own true natures to shine through in our work and in our lives is a measure of our collective and personal success. To be fully ourselves and to really know the purpose of our existence as individuals is surely our highest accomplishment – nothing can be more important than that.