The Impossible Mission One Person Cannot Quit

FB Comment — “Brilliant read/writing style. Value directed by momentum and vastness of context.”(20 smart reader points)

“The greatest glory in living lies not in never falling, but in rising every time we fall — Nelson Mandela”.

A composer’s world lies underneath the status quo’s radar where music screams to be heard in all forms.

Sound bits stream to the utmost around the planet while the industrious try to figure out why its value has been relegated to a vacuum.

The game is afoot, so to speak, with a monopoly of conditions and circumstances influencing the process — a corrosive undermining, albeit innocent that would rival an oxymoron even Sherlock Holmes would never give up on.

It is simply about getting to music in a very real manner, however the fun at stake is overshadowed by those not knowing how to play.

Find the words and everything else will fall into place just by divulging something about the audience any composer needs to know and gain an upper hand.

It is stated in five singled out, bold italicized words — one per article (20 points each) with a valuable asset in article three.(20 bonus points).

The language of sound the composer gives wings to the best way he knows how causes the audience to cry for an interpretation and he makes it his mission to comply.

To quit is impossible and the answer in his estimation must be to construct an engaging storyline to go with The TW Suite music he has made.

Ah! Maybe a catchy title All in a Day’s Dance will turn everything around, but no, it is not nearly enough.

The investigation must ensue.

Thinking back to Nelson Mandela’s statement, the composer after falling for his own idea, thinking he can prove his music actually exists:

  • records and produces it,
  • characterizes it in a tale,
  • publishes and promotes it
  • and believes he will rise above the inherent hazards.

However, since thinking and its consequences is something everyone has to deal with, the composer being no exception has to ensure it is something real with a purpose and roll with it no matter what.

He must keep moving forward, thinking and applying his ideas effectively to determine whether or not they are practical because every task depends on whether its creativity and artistry is valid.

Take for example how he graduates — first being a sideman then a composer.

His direction is altered — shifted from a standard process into its precarious visionary path.

Due to the demands of creativity and artistry the progression from the first original idea to his subsequent catalogue is drastically transformed by the digital era into an unprecedented form and function.

Clinical psychologists study the use of creative imagination for writing literature to be published or music composition to be performed, dissecting the subject, intending to discern its credibility. It is as though the composer’s sanity is under scrutiny, but nothing conclusive ever seems to come of it.

Analyzing his music repertoire might uncover some clues.

Others try to determine the key differences between artists and artisans, comparing their income level and skill by relating it to their quality of life.

Once again there is no concrete proof of anything as a result.

Regardless, the composer has no way of knowing while carving out his niche and travelling on an uncharted path what he is up against.

Ultimately, the purpose for writing this is to demonstrate where value exists in products honed out of a thinking process whether fictional or functional and it is not exclusive to a composer, only industrious characters.

For the burgeoning young musician it seems at first to be a simple matter of learning fundamentals and principles then putting them into practice. Then after numerous excursions into the professional world he discerns what the dynamics causing the stresses and strains on his life are.

The basics for delivering his talent and expertise remain constant while vehicles for expression (eg. instruments and recording methods) and audience perspectives are evolving.

It always starts out as a ridiculous fascination with the magic of the unknown. (music: Echoes of the Concert Hall)

It does not naturally occur to him that he needs to think beyond the purpose at hand despite his well-established audacity. An example of necessity being the mother of invention perhaps, but the musician under pressure to transcend his futile situation eventually chooses to cast himself into the role of a creative artist.

The leap of faith is dependent on one crucial factor — an extremely tall order of know-how.

With many alternative ways to get it wrong there seems to be no promising outcome for his choice of direction.

All progress measured in increments is worth the achievement.

Progress to level 2 where the composer sees himself as fictitious and needing tangibility.

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

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This article, the first in a five part series addresses the challenge of thinking to get good results. The practicality of coming up with something new is shown through the experiences of a music composer and taken from its genesis to its authentication.

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L. R. Lane

L. R. Lane

Putting the vagaries of daily experience into a fictional context L.R. Lane draws from his original music (The TW Suite).

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