my future looping....PROCESS

["Liebig, Steuart A." <LiebigSA@Maritz.com>]

> I certainly agree with what your both saying and often practice that
> approach.  However, I still think it's valid to understand the process
> that others use. 
> 
> I think that it's useful to figure out what other people are doing/did
> (Bach for instance) . . . I also think that it's useful to remember that
> it's a good idea to go to internal sources as well . . . the trick is
> getting to a place where you can intuit when those times are and to keep 
>a
> good balance between the external and internal. 
>   
> 
> It beats trying to figure out if Phish
> is more original than Zappa 
> 
> Eno (I think) had an interesting idea when he said that (paraphrasing
> here) "originality" was an overated concept in western music . . . I 
>don't
> always agree, but I think that it's worth considering.
> 
> (Also: One thing that eventually got to me about Zappa was that I started
> listening to Varese and then realized that not all of the stuff on 
>Frank's
> records was "his" . . . he seemed to have borrowed quite a lot  - - also 
>I
> read something where the Dead said that the Allman Bros Band was doing
> stuff that they had already done . . . for me the Dead were boring, but I
> thought that the ABB [Duane and Berry version] rocked better and SOUNDED
> better . . . IMHO)
> 
> 
> >Listening to other music is a
> > great education. But you need to be careful that you don't come away
> from it
> > with just another set of licks or rules that locks you in.
> 
> I couldn't agree more . . . you gotta deal with it on your artistic 
>level.
> 
> 
> Sort of what creativity is about: analysis (learning what others did) 
>into
> synthesis (doing what you're going to do with it). (I know that there's
> some sort of archetypal theory that has three steps  - - I think that
> these are two and three - - anybody help me out on number one?)
> 
> stig
>  
> 
>