David Byrne: “Context largely determines what is written, painted, sculpted, sung, or performed”

“I had an extremely slow-dawning insight about creation. That insight is that context largely determines what is written, painted, sculpted, sung, or performed. That doesn’t sound like much of an insight, but it’s actually the opposite of conventional wisdom, which maintains that creation emerges out of some interior emotion, from an upwelling of passion or feeling, and that the creative urge will brook no accommodation, that it simply must find an outlet to be heard, read, or seen. The accepted narrative suggests that a classical composer gets a strange look i his or her eye and begins furiously scribbling a fully realized composition that couldn’t exist in any other form. Or that the rock-and-roll singer is driven by desiree and demons, and out bursts this amazing, perfectly shaped song that had to be three minutes and twelve seconds — nothing more, nothing less. This is the romantic notion of how creative work comes to b, but I think the path of creation is almost 180º from this model. I believe that we unconsciously and instinctively make work to fit preexisting formats.

Of course, passion can still be present. Just because the form that one’s work will take is predetermined and opportunistic (meaning one makes something because the opportunity is there), it doesn’t mean that creation must be cold, mechanical, and heartless. Dark and emotional materials usually find a way in, and the tailoring process — form being tailored to fit a given context — is largely unconscious, instinctive. We usually don’t even notice it. Opportunity and availability are often the mother of invention. The emotional story — ‘something to get off my chest’ — still gets told, but its form is guided by prior contextual restrictions. I’m proposing that this is not entirely the bad thing one might expect it to be. Thank goodness, for example, that we don’t have to reinvent the wheel every time we make something.”

“It’s usually assumed that much Western medieval music was harmonically ‘simple’ (having few kew changes) because composers hadn’t yet evolved the use of complex harmonies. In this context there would be no need or desire to include complex harmonies, as they would have sounded horrible in such spaces. Creatively they did exactly the right thing. Presuming that there is such a thing as ‘progress’ when it comes to music, and that music is ‘better’ now than it used to be, is typical of the high self-regard of those who live in the present. It is a myth. Creativity doesn’t ‘improve.’”

  • David Byrne

David Byrne on How Music and Creativity Work