Model and Concept in the Music Paradigm of Creativity
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Abstract
Composers who create music always make use of certain ideas as their main points of reference. In other words, the composer works by creating a certain foundation in his mind. Music is an expression of thoughts contained in the composer’s ideas of sound. The composer who thinks about certain topics for his musical composition generally comes up with cognizing certain objects of thought, for example, certain unusual or unique values understood and favored by him, so that he feels the need to express them. The objects of thought targeted by composers are those that suit their personal tastes and interests. Epistemologically the process of creating music departs from verbal discourse and produces musical discourse. The latter occurs in the epistemology of the creation of music in general, and may be perceived in various musical genres, including that of gamelan music. The complexity of the discourse, on which composers’ thinking is oriented, is the paradigm of all music composition. This paradigm is comprised of eight important elements, which include two interesting components, namely, the model and concept. This article makes the attempt to comprehend the elements of models and concepts in music composition. Models can be present in an auditive, visual or conceptual form present in the imagination of the composer. Composers consciously choose to present this element in the form of musical works as an empirical and symbolic reality. The concept is an explanation of the models existing in the composer’s imagination. The explanation is related to the function and meaning of the model. The two elements of the paradigm are the minimum requirements that must be developed in the mind of the composer before he sets down to compose music.
Keywords: epistemology, composing music, paradigm, model, concept.
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