Week 5: Individual Study and reading on Creative Flow
Date: 18th April, 2025
Time: 2-4pm
Venue: Pa 09
This is week is the first week of Easter break, Genie is away at home. Therefore, this is a one of those week that Genie and I would work separately. However, as this is also the easter week as well, performances, choral evening songs and church services, other courseworks seems to have taken away most. The project made certain progression but as productive as it should have been. This week, I have looked into the leitmotivs or musical fragements that are associated with Isolde, Turandot and Elektra, soundscapes that might be effective in representing the characters, as well as some reading regarding to the ‘flow of creativity’.
In studying Wagner’s opera, scholars often provide names to the musical motives so as to interpret the musical meaning of these fragments. In studying Tristan und Isolde, I found this website made by John Weinstock and Matthew Heisterman from University of Texas at Austin a very useful source that have gathered the motives labels that scholars have given to the leitmotiv from Tristan und Isolde. I also have copied that down some of the Isolde related motives on my manuscript for further reference. Tristan Chord is also very significant sound in the opera and the unique affect that double suspension brings signifies the soundscape of the opera.
Like Tristan Chord in Tristan und Isolde, one of the prominent elements in Elektra is definitely the Elektra chord, that are even more dissonant that Tristan Chord. This Chord signifies Elektra in the opera. Looking through score of vocal score, I found the name addressing aspect in the opera was rather interesting. Thereby I also put musical excerpt of the calling of Elektra’s from the others in opera in the the sketch.
For Turandot, I have copied Turandot’s theme- the Jasmine Flower and the riddle about her. This theme is used at the opera as the musical representation of the Turandot. I found the metaphor in the riddle interesting as they referred Turandot as ice due to her heartlessness. It might be possible that we can incooperate some icy sound as Turandot’s representations.
That sums up the materials sourcing that I did for the project this week.
Reading: Csikszentmihalyi, M. (1996) “ The Flow of Creativity”, Creativity: Flow and the Psychology of Discovery and Invention, Chapter 5, New York: Harper Collins, pp. 118-138, Available at: https://inspiredbyislam.wordpress.com/wp-content/uploads/2022/08/creativity-flow-and-the-psychology-of-discovery-and-invention-mihaly-csikszentmihalyi-z-lib.org_.pdf (Assessed on 16th April 2025)
This chapter really speaks to me and reminds me of the a conversation that I had with the Undergraduate mates at Surrey at the end of the last semester. I was, hiding myself in one of the practice rooms frantically working on my composition, having lack of sleep for so many days. This mate came over to check whether I am alive, he asked me “Why are you doing this yourself, get yourself a break!”. And I responded “ The piece is not good enough, it’s terrible”. And they were added “it’s really good”. I replied to them “Not for me.” Thinking backwards, at the start of my undergraduate, I used to be a kid who was rather result-oriented, hoping to be the best among my cohorts because of that I worked so hard for the best grade, at the point I only do well because I enjoy the sense of achievement of being the best in class. But as the course progress, I thoughts on working hard has drastically changed. To some extent, the thought of working hard so as to get a good grade has completely shifted to mainly catering my curiosity on the topic. My undergraduate dissertation is very good example. It is a project that explores Schopenhauer’s influence on Wagner’s opera and song. During the process of research, I have read of some many sophisticated philosophical literature that are very difficult to comprehend. Meanwhile, the size of literature about Wagner’s are also known amongst scholar to unbelievably massive. Knowing all these facts at beginning of the year when everyone in the year are still explore potential topic to write, as well as learning repertoires that are claimed to be ‘ not suitable for singers of my age’. If I am result-oriented person, surely I would have swapped for a relatively manageable topic that can accentuate my strength in obtaining a higher mark. Instead of doing so, despite questioning why I did that to myself, I plunged myself into endless constant suffering. To be honest, I initially don’t understand why I choose to do and I can still the self-doubt that I have experienced during the but I remember the sense of pride and fulfilment through accomplish in the target that I have set for myself. Csikszentmihalyi’s chapter suggested that the sense of fulfilment that I have experienced are called Flow. The experience of Flow often associated with a painful, risky and difficult events that broaden one’s capacity and involved in a novel and explorative qualities. (Csikszentmihalyi, 2007, 121) When one experienced flow, we find things takes place around us automatic, undemanding, yet we are in a concentrated state.
This project Genie and I am doing is an interesting territory to me. Operatic singing might be a comfort zone, but the using of electronic with opera is quite different and even more complex. It is like th same piece of music but a different idiom. I have concerned whether my music technology knowledge can support the things. I have full faith that if I worked hard, even though I failed, I have no regrets. Even thought I failed, I am still able to fulfilled the curiosity in the potential of incorporate electronics with opera. Also if the fist attempt doesn’t work out, God knows, maybe our learning from the failure would be the generative power for the second attempt. Therefore, I would say I have no fear in facing what I need to encounter. I am like the hunter who is really to embark on exploration on the new territories for goods. Csikszentmihalyi also suggested ways that enhance the chance of inducing flow, which includes having clear goals, having immediate feedback to one’ actions, balancing between challenges and skill, merging action and awareness, eliminate distractions, accepting failures and set Self-consciousness aside. (Csikszentmihalyi, 2007, 121-4) I believed if Genie and I can obtain what Csikszentmihalyi’s suggested in chapter to induced flow, Genie and I will be able to create the favourable morale to group that enhance the motivation that we already have, hence boost the productivity. I am also very looking forward the day arrival of happiness that project will bring to me through fulfilling the curiosity that I have.
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Reference List:
John Weinstock and Matthew Heisterman (2007), Tristan un Isolde, University of Texas at Austin. Available at: https://www.laits.utexas.edu/tristan/motive2.php (Accessed at: 18th April 2025)
Strauss, R. (1906-08) Elektra, Op.58 [Score]. O. Singer II (arr.). Berlin: Adolph Fürstner, 1908. Available at: https://ks15.imslp.org/files/imglnks/usimg/4/4f/IMSLP151615-PMLP55122-Strauss_-_Elektra_VS_Sibley.1802.16776.pdf (Accessed at: 18th April 2025)
