THE PROCESS OF SONGWRITING
In Subproject 2, my aim is to create a new musical expression that honors two distinct genres. This endeavor is driven by my deep personal and professional connection to these styles since touring and recording with Brazilian artists and interning in the US (Nashville), pushing me to be as ambitious as possible while staying within the realm of my musical expertise. This challenge has been both demanding and rewarding.
My process of being inspired when composing music is not about dissecting where a chord progression comes from or when a melody line sounds ‘country’ and then try to reverse engineer a rational thought into something emotional. It is a more diffuse impression which is really difficult to say something about.
Who directly that has inspired me in songwriting for this project would be from Brazil Djavan, Marcos Valle, Milton Naschimento, Ivan Lins among others. From USA I would point towards Chris Stableton, Willie Nelson, Robert Lee Castleman, Wendy Waldman among others.
My songwriting process follows a structured journey that integrates meditation, spontaneous creation, and iterative refinement. This approach captures the flow of creativity, allowing each song to evolve naturally over time.
What can become tricky is when I think too much about the music. If I overthink, my experience tells me it might lose the real feeling or idea that sparked the song in the first place. I’ve seen this to be true for me and for others I work with. If we lose that first spark, the music might end up feeling like a bunch of parts just thrown together, not a complete story – I try to be remember to be mindful of where it all started.
For ten days, I dedicated myself to songwriting, starting each day with a meditation session aimed at clearing my mind and fostering creativity. Techniques such as mindfulness and focused breathing helped me achieve a state of "flow," a concept introduced by Csikszentmihalyi (1996), which enhances focus and creative output. Meditation is crucial for setting a calm and open state of mind, allowing creative ideas to emerge naturally. Lubart (2001) explores how altered states of consciousness, such as those induced by meditation, can enhance creative thinking. I have little good experience with being very deterministic or using rationale in the initial phase.
Carl Jung's theories, particularly his insights into the subconscious, plays a significant role in my creative approach. Jung posited that the subconscious mind is a reservoir of creativity, containing archetypes and symbols that influence our thoughts and behaviors. By tapping into this subconscious reservoir, I can access deeper layers of inspiration and innovation. Also, Jung's idea of the "collective unconscious" suggests that there are universal symbols and themes shared across humanity. These archetypes emerge in art and can resonate deeply with audiences. In my work, I strive to create music that taps into these universal symbols, creating a connection with listeners that transcends cultural and personal boundaries.
Furthermore, the concepts from "The Hidden Order of Art" by Anton Ehrenzweig complement this approach by emphasizing the importance of embracing the chaos of the creative process. Ehrenzweig argues that the unconscious mind can bring order to this chaos, revealing patterns and structures that the conscious mind might overlook. This perspective encourages me to trust the intuitive and subconscious aspects of my creativity, rather than trying to reduce the chaos in the initial phase of coming up with something new.
(Maybe this Jungian theory can help explain why musicians from diverse cultural backgrounds, such as those in Brazil and the US, can connect with my songwriting. The archetypes and symbols that are universally understood, allow musicians from different cultures to find common ground in my music. These shared elements may create a sense of familiarity and resonance, enabling an intuitive connection despite cultural differences).
In practice, this means allowing improvisation and spontaneity to guide the initial phases of music creation. By fostering a state of flow through meditation and being open to the subconscious influences identified by Jung, I try to create music that is both deeply personal and universally resonant. This approach ensures that my creative process remains fluid and dynamic, allowing for the emergence of unique and innovative musical ideas that resonate with myself in the beginning.
Immediately following meditation, I dedicate 2-3 hours to creating a demo. During this time, I focus on capturing spontaneous ideas and emotions, letting the creative process flow without self-criticism. The goal during this session is to translate the raw creative impulse into a tangible musical idea. I record what comes to me: what I hear inside my head or what impulses I get from going through a sample library. It can be very specific ideas like chords, a melody or a beat or it can be very abstract notions in the form of a feeling. The feeling is often embodied immediately. The important thing in this stage is being open while also trying to remember the initial feeling or impulse I felt when the idea came to me. I have to be able to revisit the idea so it serves as a guiding light throughout the coming stages all the way until the product is finished and even when remembering a song: the strength of the initial spark needs to be apparent and be ingrained.
Revisiting and Refining
The following day, I would revisit the demo with fresh ears. This step is crucial for evaluating and refining initial ideas, identifying strengths, and recognizing areas that need improvement.
Next step would be to expand and develop. During this phase, I add’ed layers or new elements inline with the initial seed, I would refine lyrics and adjust the arrangement. This iterative process builds on the previous day’s work, with a focus on enhancing the song’s quality. The goal is to gradually evolve the song, ensuring each new thing or revision brings it closer to a song structure and genuine message the musicians who were to play it would then adopt and personlize.
From a scientific point of view Webster (2002) highlights the importance of revision and iterative development in creative work, supporting my method of daily refinement. Also Bennett (2012) discusses how creative ideas evolve over time through continuous evaluation and adjustment, reinforcing the approach of revisiting and refining work.
My use of meditation when creating something ‘out of thin air’ is not a random choice or a novel way of working. From my research and knowledge of the field I know artists or creators of art from an initiator-position has used this. It could have charateristics of mysticism or spiritual ways of being in the world and I do believe that to be what art does to us but I don’t think I am well versed to put words to where it comes from. Taking a phenomenological stance I’ve looked into how other music producers speak about the use of beginning with a clear mind. For instance, Rick Rubin (2023) emphasizes the role of meditation, daily routines, and the iterative process in creative work. He suggests that embracing uncertainty and cultivating a relationship with the unknown can heighten the creative process. This approach aligns with my practice of using meditation to initiate songwriting sessions and iteratively refining work. Diane Warren’s songwriting process often involves writing quickly to capture the initial burst of creativity, then revisiting her work to refine and perfect it. This parallels my method of creating demos and refining them the next day, emphasizing persistence and revision.
Great art often involves ego transcendence, where the artist moves beyond personal ego to tap into a more universal creative source. Meditation helps clear the mind and connect deeply with creative impulses, allowing for a more authentic and profound expression in music. Maslow (1964) discusses peak experiences and self-actualization, where individuals transcend their ego and connect with higher states of consciousness during creative acts. Maslow's research highlights how these transcendent experiences can lead to greater creativity and deeper artistic expression. Rubin (2023) emphasizes the importance of letting go of ego and embracing uncertainty to access deeper levels of creativity, suggesting that artists who relinquish control and open themselves to spontaneous inspiration often produce more innovative and resonant works.
Many renowned musicians and music producers have spoken about the importance of ego transcendence in their creative processes. Brian Eno, the influential music producer and ambient music pioneer, believes that letting go of ego allows for a more collaborative and experimental approach to music production, leading to unexpected and innovative outcomes. John Lennon frequently spoke about using meditation and other techniques to transcend his ego, which he credited with enhancing his songwriting and artistic vision. Filmmaker and musician David Lynch has extensively explored transcendental meditation (TM) and its impact on creativity, asserting that TM helps him access deeper levels of consciousness, fostering greater creativity and artistic insight.
My songwriting process integrates meditation, initial creative bursts, iterative refinement, and ego transcendence. This method, supported by scientific research and insights from other creators, facilitates the development of authentic musical works.