Is form really necessary? Some say that what matters is the work itself, what it wants to say or communicate. The substance, then. Many people, even professionals, say that form is not necessary. I have already argued, previously, points against this fallacy. Today new examples came to me in musical fields with groups or characters known to all.
In fact it was a song by George Harrison that triggered this new argument. The song in question comes from his first album as a soloist, the one he presented on three LPs, on vinyl at the time. According to what they explained on the radio when they presented the song, that song was a "pop hit" that his musicians focused on in the recording studio and that someone, I don't know if intentionally or not, cut the recording tape. George liked it and decided to leave it on the album.
After this explanation we proceeded to listen to it. Noticeably they lacked someone to make corrections AND re-record that first attempt to achieve something of higher quality.
The same thing happened to Roger Waters in some of his solo albums. The noise and the occurrence displaces the music and the planning.
In the aspect of the correction and the improvement, the Beatles owe a lot to George Martin who gave us the versions of the quartet's albums that we know best. Here perhaps we could talk about when the "corrector" exceeds his functions (it is well known that Martin edited some songs in such a way that the Beatles were unhappy with the result and, recently, published The Beatles Naked), but let's leave that for another text.
Finally, we will bring the case of T. S. Eliot in the English-speaking poetry (let's leave for a moment the musical groups). Eliot had his poems corrected by his great friend Ezra Pound, achieving the unsurpassable versions we know of the Four Quartets and others. Victor Manuel Pazarin said that Ezra also needed his own proofreader and that it is a pity that he did not have one.
Thus, the correction (which occurs in all the arts) is in reality a pointing towards a much more balanced form than the first impulses can give us. This formality responds to a criterion of knowledge on the part of a professional (not necessarily with institutional studies) who has an irreplaceable tact to reconsider the finished work as a matter to improve. Some will seek to achieve something balanced and others, to present originalities that had never existed before.
Of course, there is a lot of risk in all these considerations. A risk that must be taken if a true improvement of the original work is to be achieved.
Translated with www.DeepL.com/Translator (free version)