Artists have struggled with how best to describe the creative process for thousands of years. The Greeks made reference to Muses, god-like beings who gave inspiration to people. King David of Israel referred to God as his inspiration for the many psalms (poetry and music) he wrote. Anton Reicha (18th century composer) and other music composers spoke of the inspiration of musical ideas that then could be developed into a full musical composition.
The portion of your readings written by me were for my master's thesis in music theory. Much of this may be difficult to understand, but look carefully at how the different composers describe their experiences. Focus on the different ways in which they were inspired.
The opening of Phillip McIntyre's article on “Yesterday” presents a quick overview of perspectives on the creative process. Generally he presents two viewpoints—Romantic and rationalistic. The Romantic view allows for supernatural, that is, spiritual forces or beings to participate in the creative process. The rationalistic viewpoint excludes any such explanation and is thoroughly naturalistic. This viewpoint is quite popular in contemporary academic publications, drawing its consensus from the sciences beginning in the late 1800s.
McIntyre oversimplifies the Romantic viewpoint by failing to mention that those holding that viewpoint often did take into account the interaction of the person with their domain and field. Anton Reicha, an 18th century composer, for instance, held a Romantic view of inspiration but insisted that once the inspiration (the musical idea) was given that it was a composer's job to then develop the idea according to compositional rules and norms of the day.[1] Anton Reicha clearly addresses in his writings the domain (in this case the compositional rules and examples of music) and the field (critiques of contemporaries) although he does not use those exact words. The rationalist model, however, does provide an excellent critique of the mythological or over Romanticized viewpoint that the artist is simply a scribe for a spiritual force or being. However, the Romantic viewpoint McIntyre presents is a "straw man" argument, not adequately accounting for non-secular viewpoints that are every bit as complex as the rationalist model he presents. By summarily excluding non-rational and to some extent non-material influences on the creative process, McIntyre provides arrives at a conclusion that is often unsupported by the testimonies of many creators.
Let me add a third voice into the mix by presenting my point of view, which is distinctly Christian. As a Christian I do believe in spiritual beings, one in particular who is often referred to as God. My concept of creativity includes the notion that God has the potential to be an active participant in the creative process, not excluded altogether as in the rationalistic model. In addition, I maintain that altered states of a person's mind, heart, and spirit brought about by strong emotional feelings, meditative disciplines, or other aspects influencing an artist's life may indeed contribute substantially to the creative process. The rationalistic model presented by McIntyre excludes or at least heavily discounts these influences.
Let me expand this idea presenting three examples of inspiration that draw upon non-rational sources:
George Washington Carver claimed that God inspired or guided him in his scientific research, which included important discoveries of peanut byproducts among other scientific developments. Despite criticisms scientists of his day, he maintained that he receive supernatural inspiration for his work.[2] Many composers (such as the world's most famous female composer, Hildegard von Bingen) have made similar claims: that musical ideas were not from their own imagination or the suggestions of other people, but rather from God.[3]
Claude Debussy (a prominent French composer from the late 1800s) found inspiration for some of his most beautiful songs through association with Madame Vasnier. Accounts from the time indicate that the two might have been having an extra-marital affair. Whether that is true or not, Madame Vasnier appears to have stirred emotional passion in Debussy that resulted in beautiful music.
Leonard Bernstein (20th century American Composer and Conductor) found his best inspiration came during what he described as a trance-like state. In this state he would have a vision of the musical work in its totality.[4] Once this Gestalt of a musical work was received, the completion of the composition came together easily.
Further examples include the songs you have listened to in this course, many of which are recognized as cultural icons, that is, songs that were very popular then and continue to widely heard today. You and I may not agree with the subject content, but they provide examples of inspiration from many sources: euphoric love ("Good Vibrations"), unrequited love ("Diamonds and Rust" and "Yesterday"), drugs ("Purple Haze"), philosophic/religious convictions ("Imagine"), and inner city violence ("The Message"). All these songs hold one thing in common: they are masterpieces of the genre of American popular song, they are widely esteemed as exemplars of musical culture. It is difficult to see how McIntyre's model fully explains their genesis and their sources of inspiration.
In summary, McIntyre's model, the rationalist model, provides a worthy approach to the interaction of a composer with musical practice (domain) and colleagues (field). However, its naturalistic assumptions appear to conflict with statements made by artists, authors, poets, etc. who testify that there are sources of inspiration beyond what we can touch, hear, and see. These statements, as well as my own personal experiences, appear to conflict with McIntyre's explanation of the creative process.
Your comment project 1 will give you a chance to apply McIntyre's model! By critiquing and receiving critiques you will have the opportunity to improve your compositions. I look forward to your next composition and comment project. Be sure to view the materials I have given you before completing them.
Composition 4 combines text with music. Be sure to view the videos and materials I supplied for the assignment. I think that you will enjoy this project!
Dr. E.
[1] Anton Reicha, Traité de haute composition musicale, 2nd Partie, vol. 6 (Paris), pp. 234-296.
[2] “Carver was famously criticized in the November 20, 1924, New York Times article 'Men of Science Never Talk That Way.' The Times considered Carver's statements that God guided his research inconsistent with a scientific approach. The criticism garnered much sympathy for Carver, as many Christians viewed it as an attack on religion.” ( , accessed 24 May 2010)
[3] Hildegard von Bingen (1098 – 17 September 1179) testified to numerous revelations from God. For further information see: .
[4] Leonard Bernstein, The Infinite Variety of Music (New York: A Plume Book from the New American Library, 1966), pp. 269-270.
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Copyright 2019 by Terry B. Ewell.