A Balancing Act
In 2023, any artist who wants to make a living from their work must do more than create.
Yes, there’s marketing, publishing, practice, networking, and so much more. But the importance runs deeper than any of those.
The 21st Century Artist ™ who strives to make a living from their work must understand how a work communicates one or more ideas between artist and audience.
When I was a child, I listened exclusively to classical music: Beethoven mostly, some Mozart, a dash of Brahms. Video game soundtracks were an interest, but those weren’t easily available for an elementary-aged kid in the mid-2000s. Plus the double-A batteries only lasted so long in the Game Boy Advance, and it wasn’t a great MP3 player in general.
In 5th grade I discovered Star Wars thanks to my friend group’s interest and excitement for Revenge of the Sith. I quickly became obsessed with John Williams’ scores for each film, reaching a point when I could name each CD track after only hearing the first few seconds (and even being able to identify the differences in the main themes for each of the six films).
Then, when I was about 11 or 12, I played Guitar Hero 2 while at a neighbor friend’s house. Up until this moment, my only exposure to rock music was from whatever my parents had playing on the radio: “80s, 90s, and Today!” My friend and I took turns playing Surrender by Cheap Trick, over and over, for at least half an hour - probably longer.
Less than a year later, I got Guitar Hero 3.
As if over night, my interest expanded from classical, orchestral, and media music to rock and various subgenres.
Specifically, I recall the guitar battle with Tom Morello which, upon beating it, unlocked Bulls On Parade by Rage Against The Machine. Now, from a musical standpoint, I was fascinated with the weird, DJ-like sounds Morello made using just his guitar and a few effects pedals. Soon after I began learning the guitar so I could emulate those same sounds.
I didn’t know it at the time, but Morello’s guitar technique sparked in me a love of experimental sounds.
Fast forward to my college years. My first composition professor was (and still is) incredibly experimental in his work, which affirmed and legitimized to me that I could pursue high levels of experimentation in my own work. I learned a great deal about The Abstract - the intangible and philosophical motives behind creating - while studying with him.
My second composition professor in college was able to help me codify the lessons previously learned, and apply The Abstract in tangible ways. He simultaneously encouraged my experimentation while reminding me of the importance of reaching the audience.
At the time of writing this, in 2023, my love of experimentation in music remains; however, I’ve noticed that the love is maturing. At one point, I enjoyed experimenting for the sake of experimenting - much like a four-year-old scribbling carefree on a piece of paper (or on the wall or on themselves). Eventually that four-year-old begins drawing with intent: a house, a bird, their pet cat. Someday - maybe years later - they paint with a refined precision and artistry on a canvas, each stroke an intentional conveyance of their own expression.
Taking a step back from myself, this is the direction in which my music (and my other creative work) is starting to move. The noise of experimentation is being distilled into a state of intent and clarity.
Shortly before graduating high school, I had the thought: The act of creating is an attempt to bridge the gap between two peoples’ souls. I’m reminded of this now because it is the junction I’m currently exploring - a balancing act between experimentation and tangibility in my work. I want to explore new methods, new ideas, new sounds, but not at the cost of a lost audience.
It’s my deepest goal that you - yes, you! - experience my work, in whatever form it may come, and have a meaningful interaction. Maybe you laugh, maybe you cry. Maybe it brings you brief peace or intense anger. Maybe it sparks a new idea or guides you to a different perspective.
Whatever the case, I’m failing at my own goal if my work does not communicate to you - yes, you! If a tree falls in a forest but no one is around, does it make a sound? Well, if I create a work and its message is too muddied in abstraction, did I say what I wanted to say? Truly?
I’m a 21st Century Artist ™. It’s my responsibility to you - yes, you! - to communicate my messages clearly, with intent, and with purpose.
I don’t want to be a falling tree that goes unheard.
P.S. I’m compelled to mention that I’ve received a warm amount of feedback for L’esprit Perdu. Thank you to those who have listened to, bought, and let me know their thoughts of my work. The reception and support has reaffirmed that I’m doing what I’m meant to do, what I’ve set out to do, and meeting my goal in the process.
