Saturday, March 3, 2018

Pragmatism (sage study)

Describes the practical aspects of artistry, particularly in the application of skills and experience towards the making of both art and product. Note, however, that the study of pragmatism in artistry incorporates, by itself, any special sense of creativity. The pragmatic bard is one that is most likely to express themselves through steady employment: as artisans, sign-makers, scribblers and copiers, musicians, common players in a company, choir singers and church musicians, compositors, journalists and so on.

Pragmatism is an important study in the creation of art, however, as the pragmatic bard is able to work more steadily and conclusively than a conceptual artist ~ and this skill can be applied to conceptualism if the character has sufficient points in both to compose. Too, the possession of creativity, with the potential for gaining the spark of inspiration, can greatly change the effectiveness of the pragmatic bard. As a stand alone study, however, a sense of pragmatism is unlikely to turn heads.

Describes the musician bard's experience with traditional music created by other artists, used as material for performance, practice and comprehension. Traditional music can be rearranged and personalized, but it's greatest strength is in familiarity, since an audience will know and appreciate the content regardless of the musician's personal level of skill.

Within formal structures such as colleges, established religious communities, festivals and so on, a musician's performance will be unwelcome unless traditional, pragmatic material is presented.

Amateur

  • Audition: possessing the necessary level of technical skill in order to gain the benefits of an accredited college of education.
  • Focus: the ability to concentrate one's attention on creating work; also, a critical skill needed in order to fashion original art.
  • Plagiarize: the ability to adopt or adapt creative work from other sources, with sufficient changes to seem original to the untrained eye.

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