Formalism and Eclecticism
The words ‘formal’ and ‘eclectic’ in music can be thought of as two opposing camps, but the existence of each one is intrinsic to the others existence (perhaps an example of mutual causality), and I hope to explain why. ‘Formalism’ can be generally thought of as an adherence to previous custom or obeying rules set forth antecedently, while ‘eclecticism’ means the opposite; consisting of multiple influences or sources, and thus arriving at a new style (by definition, one that didn’t exist before). In music, a general example of formalism, would be music you hear and you immediately know what genre or style it is. What I mean by this is that our conceptions of genres (forms) have been gradually and continually created throughout history by the creation of music by various people and because of this, and where we are in the course of history we have the ability to categorize the music we hear as ‘formal’ or ‘eclectic’, music that resembles a previous form, or doesn’t. Eclectic music would by definition be progressive music; “music that attempts to expand existing stylistic boundaries associated with specific genres of music”.
Now, earlier I mentioned how these two are necessary for the other to exist, I would like to develop this idea. Since, as previously noted, eclecticism in music can be thought of as something new but which was invariably influenced by music that has existed before, it seems quite clear that being able to organize music in forms is the prerequisite to be able to create eclectic music; a understanding of the previous styles of music is a necessary step to being able to know that you are making something eclectic, because if you don’t have an understanding of the the music that has come before you, how is it possible to know you are making something different?
Theory of Forms
All of this brings to mind Plato’s Theory of Forms, in which he posits that ‘forms’ “are the non-physical essences of all things, of which objects and matter in the physical world are merely imitations”. This seems quite applicable to the forms of music, and how we are to go about describing them. When you start thinking about what exactly genres mean, or what their definitions are, the previously thought of conceptions seem to fail. For example, if you are asked ‘what is rock and roll?’ or ‘what is jazz?’, and define these genres as the music of certain artists, that really is only providing an example of what we are trying to define. When we try to think of what the exact parameters of certain genres are, the previously held ideas held either fall apart entirely or become very wide encompassing to the degree that they are unuseful. Ill attempt to show how this is.
Take this example, does rock and roll have to have guitar for it to be called rock and roll? Does rock and roll only use 4/4 time signatures? Or what about instrumental music, can there be rock and roll music that doesn’t use vocals? If you say ‘well no’ there can be instrumental music, that doesn’t use guitar or 4/4 time signatures that is still considered rock, then where do you draw the line for any music that follows these rules, are they all to be considered rock and roll?
Before it seemed that we had a good idea of what exactly genres were in music, at least to me. But when we try to explain with words the ‘non-physical essences’ of these genres, it seems that words fail. This brings me to the song of the week.
Song of the Week
This weeks song applies so well to what I have been talking about, more specifically, that when we try to define certain things, (the non-physical essences), namely genres and forms, we realize that words aren’t really able to get the job done. Hearing ‘Overthinker’ by INZO for the first time was the equivalent of having a religious epiphany, I encourage you all to listen the the song and share it with others. I want to talk about some of the dialogue of Alan Watts that is spliced into the song.
“A person who thinks all the time, has nothing to think about except thoughts, so he losses touch with reality and lives in a world of illusions.”
“We are so tied up in our minds that we have lost our senses, time to wake up.”
“What is reality? Obviously no one can say, because it isn’t words.”
Wow, right? Watts, seems to effortlessly express the dilemma we so often find ourselves in when we try to explain and define certain things using words only to figure out that it is nearly impossible to articulate. This seems to be part of the human-condition; our separation from the rest of the creatures on earth through our ability to form and communicate ideas in the medium of language has had a cost, namely our detachment from our senses.
Personal Note
This week, I have been working on a new Tetra Veda song, which is based off of an older idea I’ve been playing around with for a year or so. Certain ideas, it seems, don’t develop themselves into full songs as quickly as others, but I’m realizing that there isn’t really a downside to that. Some of the best things in life take there sweet time. You can expect more music releases in the coming weeks.
Very much appreciate the support I’ve been getting on my personal music, my latest video/song can be viewed here.
Thanks for reading, new articles out Sundays!
About the Author
Isaiah Grip is a 21 year old multi-instrumentalist composer (guitar, piano, violin, and voice) out of Longmont, Colorado who records and studies music independently under the name Tetra Veda, as well as collaborating with Ghostwrite Inc, and playing guitar in the progressive metal band Cloud Temple. His personal repertoire can be found on Bandcamp and YouTube under the name Tetra Veda.