How aesthetics shape our musical creativity and practice

​Intuition and intellect define two worlds of thought. One involves information and the other imagination. Information is gathered from verified sources such as the theory used to create a music composition. Imagination is the ability to use ones imagination and perspective to manifest a creative product such as a musical improvisation or an interpretative, musical performance. That said, intuition and intellect are a double-sided coin and is applicable in many variable circumstances.                                                     

For example, often we find Mr Spock and Captain James T. Kirk approaching  a difficult scenario with an adversary, searching for solutions with very different methods. Spock thinks through the scenario logically and Kirk uses his 'gut'. As a team, they successfully manoeuvre their way through the obstacles and find a positive outcome.  This approach is verified by Guy Claxton when he uses the analogy of the hare brain and the tortoise mind. The hare brain represents the ability to think on one's feet, in the moment, making a judgement and choice based on information, past experiences and stored memory. The tortoise mind on the other hand represents the ability to allow one's thoughts to settle and find clarity and a solution when it 'emerges' at a given point in time.   

Another aspect to the creative process is 'tangibles' versus 'intangibles' or the 'physical' versus the 'metaphysical'. In other words, a tangible and physical property represents a fact and a source of information, it is a result of conscious processing to problem-solve and verify. The intangible and metaphysical property is is a result of process which may be considered 'mysterious', it stems from our imagination and subconscious, based life experiences . These two avenues are both valid and applicable to the creative process in music-making. By using the theory of music: melody, harmony, and rhythm, one can 'create' within a form. On the other hand, by using one's imagination, one can create within a form something which represents and implies theoretical melodic, harmonic, or rhythmic devices. In other words, language can be used to communicate, and through communication language can be created.    

When one is creating in a musical environment there are four options one can explore: improvising, composing, arranging, and  performance of a musical score. There are common factors which co exist within this sphere: intention, interpretation, and the manner in which our time is used. With intention one can investigate developing an idea or exploring someone else's perceptions. With interpretation it is our own perception on the creative product. Regarding time and the manner in which it is used, this refers to how a creative product is developed. In other words, is it a spontaneous creation in the moment or is it developed over a period of time?        

When one is unfamiliar with a subject one needs to research and be diligent in one's preparation before giving a presentation. On the other hand, when one is familiar with a subject, less preparation is required for presentation. These two perspectives represent  a duality which exists in the creative process. It is a representation and analogy for imagination and information as necessary sources in the context of the creative act and product.  

One never really knows when inspiration and imaginative properties start to 'kick in', allowing for the jump start of a composition or improvisational performance. The process is a mystery. A mystery because no matter how much knowledge one acquires, the cycle never really ends. By seeking knowledge one may have further understanding based on fact but until such time as that information is put into practice, the new acquisition remains dormant. Only when the new information is used as application, can one start to see new perspective whilst the learning process takes place, thus adding to the creative exploration.     

Exploration leads to the topic of aesthetics and vice versa: does one find a taste for something, recognising its beauty and significance to our overall creative satisfaction whilst one's creativity is evolving as either practice or product? What is it that attracts an individuals' attention to a particular idea or perspective, generated in an artistic product? Surely this is a significant point in the input into our own practice as music performers and composers?

Our ideal musical product, either as a composition, improvisation, arrangement, or performance comes from our own expectations based on the selective and collective input of musical influences and experiences one has had, drawn from memory. This process maybe intuitive or intentional but it remains subjective in the form of “choice”.  

Our choices shape our aesthetical expectations in the creative process and vice versa. Where do these choices come from both as a creative act and as an expectation? Surely input has a big part to play? For example, if all I am exposed to is medieval music or painting then I learn to develop an appreciation and familiarity for that subject. This example is not to belittle artworks and music from this period in time but to demonstrate a point. What one is exposed to shapes one’s character.