Why do I write songs? Why did I write 'Shine at Christmas'? Personal insights derived from an article (published on linkedin) by Dr. Jeffrey Tobias.
Well, I was reading a highly interesting and informative article by Dr. Jeffrey Tobias. This article set me thinking about my life and about the songs that I produce as a songwriter. Dr. Tobias' article is downloadable here:
https://www.thestrategygroup.com.au/2017-lean-startup-conference-takeaways/#wpautbox_about
Properly speaking, Dr. Tobias’ article is about what’s changing in leading edge innovation thinking in start-ups. Even though the article is not on song-writing, but rather - as stated - gives an insightful appreciation of innovation thinking in start-ups, I would not hesitate to say that the content of the article has a small parallel with what is going on in my personal life. As a ‘ Start-Up guy' myself, I am proud to say that my first song Shine at Christmas will be uploaded on YouTube in the coming week.
I have given the song my upper-most love, care, dedication and attention. I have done this since the song will be relatively accessible (via YouTube, radios, etc.) to the poorer children on our planet – some of whom are very distant from the Christmas scenario with lights, trees, presents and the traditional Christmas lunch. The song Shine at Christmas is available on i-tunes: https://itunes.apple.com/album/id1304899632?ls=1&app=itunes
Dr. Tobias’ article raises four points, which I will comment upon below, relating them to songwriting; and also to what I consider would commonly be a songwriter’s aspirations.
1. Design thinking. While Dr. Tobias’ focus is centered on energizing entrepreneurs to find meaningful solutions to problems, his deeper focus is on the importance of empathy. He observes how important it is that customers’ needs, and their pains and gains are uncovered and explored, if these customers are to feel validated and trustful. I believe that what I can take from this - as a songwriter - is the need to ask myself why do people listen to songs, or more specifically, why would they listen to my songs? Both questions would be easier to answer if they were to be answered in a conversation with audience members. However, it is likely that any answers given would refer in some way to the creativity of the songwriter and/or the artist and the enjoyment of the music. No song would be appealing to anyone if nobody enjoys the song. To a certain extent this enjoyment can be traced to a conscious co-creation of the interlinking between the artist/music and the audience. On some level, perhaps on a deep soul level, the audience knows what to expect from the artist and/or the music, and the artist/musician knows what his/her performance is likely to sound like. Empathy is created through the flow of energy between the artist and the audience, manifested through the rapport that exists between them, and that culminates in both the artist and the audience showing some sort of appreciation for each other, be it in the form of smiles, nods of approval, or of outright applause. This need for validation (to give and/or receive it) is possibly why music is seen by some as therapeutic; and why the song-writer (rather than the artist unless of course they are the same person) plays such an essential part in the musical scene. It also explains why empathy is such a cardinal aspect of business relationships.
2. Experience. Experience has the potential to lead to moments that stand out and that are imprinted in a person’s memory.
As a songwriter, I need to ask myself why am I writing a song? What does the song say about me? What am I sharing through the medium of my music? Is it a lucky encounter with a person I once knew, a failing that I find hard to erase from memory, or something from Mother Nature that gave me spiritual insights, for instance? Dr. Tobias mentions that defining moments of this type go beyond everyday ‘normal’ experiences, they lead to the generation of insights or ‘aha’ moments, they are often associated with feelings; particularly our own positive feelings including achievement, and/or some sort of connections with other people, which we usually associate with contexts (such as vacations or a get-together of some sort).
3. The business portfolio map. Dr. Tobias explains that this involves mapping strategic priorities against a framework that makes strategic sense.
From the songwriting perspective, I see the business portfolio map from a different lens than Dr. Tobias does; since rather than focusing on outputs and profitability, I see it as generating a need for songwriters to appreciate systemically all that is going on in the music world. Ultimately, and it seems to me that Dr. Tobias would agree on this point - if songs are popular, they are more likely to sell, and if they are more likely to sell, they will be more likely to be profitable.
However, Dr. Tobias also refers to another point - how businesses operate within the context of other businesses. Dr. Tobias is taking a systemic perspective.
Applying this to songwriting, what is important is thereby seeing where the song fits in with other popular songs. The educational theorist Vygotsky has shown how the development of what we see as mental processes (like problem solving or imagining a work of art) is not only influenced by our interactions with other people but also our interactions with objects and symbols. Much of how people think is cultural, and this can also be proven by observing that language can only develop through socialization. In a nutshell, I would say that songwriting is a deeply cultural activity and without developing awareness about how culture influences songwriters and audiences, it is likely that the songs will not attract much affinity when they are performed. A holistic appreciation of music is as essential to musicians as a holistic appreciation of business life is to entrepreneurs.
4. Artificial Intelligence. While in my book Pedagogy for 2050, that will be published in the coming year, I ask if artificial intelligence will lead to the generation of new jobs or the loss of old ones, we must remember that in the music world, however. the technologizing of music has led to a completely different approach to music than that of times past. Studios can generate sounds which are like those of an orchestra. Recording of sounds can be so precise, that one can record a pin dropping. Everything is done electronically – the use of tapes (serial data processing) is now seen as almost pre-historic. The message here is that as a song writer, I cannot afford to not have songs which are professionally produced, mixed and mastered, as otherwise, I stand to lose out, irrespective of how much work and energy I have put into creating my song. Just as entrepreneurs need to keep abreast with relevant technology, so do song-writers. Just as entrepreneurs need to adapt to change, so do song-writers. This is if they want to remain abreast with the times, sensitive to effective demand, and in a position to validate people meaningfully.
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