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What Drives Creativity In Compositions?

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I'd argue creativity isn't to (and can not) impress large audiences, even though successful pieces have also been creative. The creative parts themselves are due to the ego, and the widely successful parts are from learning what past creatives did right.

When I compose for example, I sometimes may want to impress the requirements of the job, if that's making money or satisfying the writer's vision that's relatable to many people viewing. But on the other hand, I always feel a necessity to be creative and clever ie. to have my own voice. This often unprofitable necessity arises from what it means to compose. Composing means = being the composer yourself. To express your identity, directly or indirectly.
 

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Composition isn't a highly altruistic field, as say, the most it can ever do to help is when it brings forth naturally creative people for the good of scientific discovery, ie. If someone creates something that doesn't work for anybody, we have learned more. Thus someone who's naturally creative will get into the artistic fields, such as Classical music, and have a natural advantage to influence the thinking people, like Bach had. But we can't expect them to know they will be successful at it, or if what they're doing is influential.

It may be hard for someone to limit creativity to 'what people will like,' because our knowledge of what people like comprises things already done, already outside the vision of creativity. So in my work, I try to strike a balance. To find what to be creative about.
 

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By trying to strike a balance, on what criteria or measure do you sense that balancing act is for your audience? Do you find it easier to strike that balance for yourself as an artist or for the audience? I hope you don't mind me asking but as you are a composer, it is worth discussing if it is alright with you.
As the years go by, this answer is reflected in my taste for composers. I want to appeal to people who can understand good music. Not say, repetitive contrapuntal scribblings that nobody in history wanted to compose years later. It's important to be partly involved in the tonal Classical culture today, as everyone has a larger group they can comprehend better in skill/knowledge.
 
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