how to find your voice as an artist

Summary

In this video, the speaker reflects on the journey of finding their unique voice as a composer. They recount how their professors pushed them to create a distinctive sound, but it wasn't until they attended a Q&A with composer Philip Glass in 2007 that their perspective changed. Glass's response to the question of whether his music all sounds the same helped the speaker realize that an artist's voice comes naturally through genuine expression, not forced uniqueness. The speaker encourages others to embrace their creative instincts and not fear imitation, as true originality arises from personal expression.

Takeaways

• 😀 The concept of 'finding your voice' as a composer is often emphasized in education, but it's not clearly explained how to actually achieve it.
• 😀 In 2007, attending a Q&A with composer Philip Glass changed the speaker's perspective on finding their voice as an artist.
• 😀 Philip Glass is known for minimalism, and although his music might sound repetitive, each piece is an expression of his unique artistic intent.
• 😀 The pressure to have a completely unique sound can cause stress for composers, leading them to artificially create a distinct 'voice' using certain techniques.
• 😀 The idea of ‘finding your voice’ often leads to self-judgment, where composers scrutinize their work if it sounds similar to someone else's style.
• 😀 The speaker once tried to define their musical style by incorporating specific elements, like a major ninth interval, but later realized this approach was artificial.
• 😀 Success in specific genres, like tension or thriller music, doesn’t necessarily mean it defines a composer’s unique voice.
• 😀 Trying to narrowly define one’s style can backfire, as shown when the speaker misjudged their ability to write music for comedy.
• 😀 The analogy of a 5-year-old child being told to find their own voice before speaking is used to show that it's unrealistic to expect immediate uniqueness from composers early in their careers.
• 😀 Philip Glass’s response to being asked if all his music sounds the same was a revelation: he explained that he writes what he wants, focusing on subtle differences in his work, not on artificial uniqueness.
• 😀 The takeaway from Glass’s perspective is that true artistic expression comes from focusing on what the composer wants to express, without worrying about conforming to external expectations of originality.
• 😀 The speaker advocates for writing music authentically, even if it means drawing inspiration from other composers, like Mozart. Originality is not about avoiding influence but finding personal meaning in your work.

Q & A

What did the professors at the narrator's college constantly tell him to do?

The professors constantly encouraged the narrator to find his unique voice and figure out what his distinct sound as a composer was.

How did the narrator initially try to find his voice as a composer?

The narrator initially tried to find his voice by incorporating specific musical elements, such as the leap of a major ninth in melodies, based on advice from one of his instructors.

What was the result of the narrator's early success with Thriller and tension music?

The narrator had success with Thriller and tension music, landing several library placements and even winning an award for a feature Thriller he scored. However, this also led to challenges when trying to diversify his work, as he was labeled as a composer for dark, intense music.

What incident at a filmmaker networking event made the narrator rethink his approach to his music?

At a filmmaker networking event, when the narrator mentioned that he mostly composed Thriller and dark tension music, the writers responded that they were looking for a composer for a comedy, which made the narrator realize that pigeonholing himself into one genre could limit his opportunities.

How does the narrator relate the pressure of finding a unique voice in music to everyday conversations?

The narrator compares the pressure to find a unique voice to an unrealistic scenario where a person constantly tells a child, like a nephew, that they need to speak in a completely unique way. The narrator emphasizes that it takes years of experience and learning to express oneself uniquely.

What lesson did the narrator learn from Philip Glass's response at the Q&A session?

From Philip Glass’s response, the narrator learned that developing a unique voice doesn’t mean avoiding repeating certain musical choices. Instead, it’s about expressing oneself authentically, embracing the repetition of ideas, and focusing on small differences in one's work.

How does the narrator explain the importance of repetition in music, using the example of Philip Glass?

The narrator explains that Philip Glass’s music might sound similar because he deliberately made similar choices, but those choices were important to Glass as he expressed his ideas. This repetition is part of Glass's minimalist style, where small variations hold great meaning.

What does the narrator say about criticism of music that sounds familiar or clichéd?

The narrator argues that criticism of familiar or clichéd elements, like using a common chord, is often an expression of the critic's struggle to find their own voice. The narrator suggests that it's fine to repeat musical elements if they express something meaningful, much like enjoying an ice cream flavor everyone else likes.

What does the narrator mean by the statement 'write the music that you want to write'?

The narrator encourages composers to embrace their personal expression in their music, whether that involves imitating great composers like Mozart or using familiar musical elements. The key is authenticity and creating music that resonates with the composer’s own voice.

Why does the narrator believe it's important to have compassion for critics of originality?

The narrator believes that critics who focus on originality are often still struggling to find their own voice. Having compassion for them acknowledges their journey in discovering their own musical expression.