Quotes of All Topics . Occasions . Authors
I think that what's been holding composers back a great deal is that they feel they must have a new style every year. This, in my case, would be hopeless. In fact, it is said that I have no style at all, but that doesn't matter. I just go on doing, as they say, my thing. I believe this takes a certain courage.
First and foremost an artist should pay homage to grandness, honour and bow to it, and not try to extinguish the fierce flames of such, in an attempt to have his own feeble light shine brighter. When one isn't able to acknowledge greatness, I would really want to know how he endeavours to make me experience it.
At the moment we're trying to keep what we've learnt. Because we learnt a terrific amount with 'Deep Purple In Rock,' it took six months to make that album: we think it paid off, really. I can honestly say that it's the first album we've been 100 percent satisfied with; it gave us a hell of a lot of confidence.
My partner sometimes liked to go into the studio and improvise voice things just for fun. When I returned from England I transcribed one of her melodies, and had some of the hospice participants sing it, because they said they liked to sing. Their singing is very raw, but I'm going to use it for the final work.
First of all I had to teach myself how to use the studio because there wasn't any classes in electronic music. So I'd stay there all night and leave in the morning, observe the sun rise and have a lot of different kinds of sounds in my mind. But it was a quest, it was a search. It was research, it was learning.
Only music clarifies, reconciles, and consoles. But it is not a straw just barely clutched at. It is a faithful friend, protector, and comforter, and for its sake alone, life in this world is worth living. Who knows, perhaps in heaven there will be no music. So let us live on the earth while we still have life!
it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.
I think that smoking is a very good thing to do - it's got the association with the Indians; it's a peaceable thing. But like much else that the Indians gave us, we abused the privilege. And so, in my case I must simply stop. I'm too old to smoke. But I do believe that nicotine provides a great creative thrust.
[the impression of the first time I heard Webern's music in a concert performance] was the same as I was to experience a few years later when I first laid eyes on a Mondriaan canvas...: those things, of which I had acquired an extremely intimate knowledge, came across as crude and unfinished when seen in reality
I've always been in rock bands. I was in a rock band with my brother in high school. Then I was playing classical guitar recitals, and people said, 'You know, you can't really do both things.' My intuition told me they were wrong. Somehow, what was interesting about me was that I had those two things in my life.
The sound of the sea, the curve of a horizon, wind in leaves, the cry of a bird leave manifold impression in us. And suddenly, without our wishing it at all, one of these memories spills from us and finds expression in musical language...I want to sing my interior landscape with the simple artlessness of a child.
We fell silent and all joking ceased. We gazed mutely into each other's eyes and an intense longing for the fullest avowal of the truth forced us to a confession, requiring no words whatever, or the incommensurable misfortune that weighed upon us. With tears and sobs we sealed a vow to belong to each other alone.
It's not only that I want to get things right when I'm composing but that my imagination often gets lost, and then I have to wait until I come back to the path. I think there's an internal force that makes a piece logical from beginning to end; I like to tell stories in music that are unexpected but also logical.
We all return. It is this certainty that gives meaning to life and it does not make the slightest difference whether or not in a later incarnation we remember the former life. What counts is not the individual and his comfort, but the great aspiration to the perfect and the pure which goes on in each incarnation.
The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.
The time was simply ripe for the disappearance of tonality. Naturally this was a fierce struggle; inhibitions of the most frightful kind had to be overcome, the panic fear, 'Is that possible, then?' So it came about that gradually a piece was written, firmly and consciously, that wasn't in a definite key any more.
I dream of a collaboration that will become so complete that, often, the poet will think as musician and the musician as poet, so that the work resulting from this union will not be the random conclusion of a series of approximations and concessions, but the harmonious synthesis of two aspects of the same thought.
I am a composer first and foremost, and have always believed that being able to write memorable melodies is what sets musicians apart. My songs bring images to the listener's mind. The object is to transport my listeners to another place, some place sacred and spiritual that will make them glad they took the ride.
Thousands of stars in the night sky, And shells on the shore together, Hundreds of birds that go singing by, Especially in sunny weather. Millions of dewdrops to greet the dawn, Thousands of leaves in the fall, Hundreds of butterflies on the lawn, But only one father, that's all. Happy Birthday To the One and Only
I change many things, discard others, and try again and again until I am satisfied; then, in my head, I being to elaborate the work in its breadth, its narrowness, its height, its depth...I hear and see the image in front of me from every angle as if it had been cast and only the labour of writing it down remains.
One day I decided I would like to put a record into my system. So I picked up a record that was lying on the table, and put it on. I didn't bother to look at what it was because I didn't care, and it turned out to be Madame Butterfly. So I processed the aria from Madame Butterfly in my system and I played with it.
When you're listening to music, you listen to it with a friend one day and it sounds one way. You listen to it with another friend the next day, and it sounds a little different. Sometimes the greatest pleasure of listening is not the music that you're listening to; it's the person that you're listening to it with.
My misfortune is doubly painful to me because it will result in my being misunderstood. For me there can be no recreation in the company of others, no intelligent conversation, no exchange of information with peers; only the most pressing needs can make me venture into society. I am obliged to live like an outcast.
A review of his work: His music soon spread throughout Europe, and he was invited to America were he performed the Piano Concerto. He would have wished that he would be remembered as an opera composer, but it was to be his orchestral extravaganzas, mainly the trilogy of Roman pictures that has made his name famous.
What is good is what it's going to lead to, like the song "Jai Ho." If good numbers are going to come in the future, it bodes well for a lot of things. But then, who's going to maintain that. That's the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to.
I remind myself Vincent van Gogh died without having sold a single painting. Like, art is not measured by the trappings that people attached to it. It's the thing itself, and so, as you know, it's been a dream of mine to write songs for Disney, and so, it's really exciting to finally hear. It's two and a half years.
I had the good fortune of being 9 years old when The Little Mermaid came out, that whole run of really beautiful Disney musicals, and so, the fact that I got to interview with Ron [Clements] and John [Musker], who directed The Little Mermaid, I was, like, I just walked in and said, "You're the reason I'm even here."
Automobile in America,Chromium steel in America,Wire-spoke wheel in America,Very big deal in America!Immigrant goes to America,Many hellos in America,Nobody knows in America,Puerto Rico's in America!I like the shores of America!Comfort is yours in America!Knobs on the doors in America!Wall-to-wall floors in America!
Over my career, I'd say the last 25 years; we've gone from music and computer being for 10 people in the world to having personal computers, to now being able to do amazing things on your iPhone, or with Rock Band. So, right now there's enormous capability with technology in our devices that everybody has access to.
The institution of marriage works better when there's a spiritual connection. If you're marrying just for the sake of the woman, then you may lose interest in each other very soon. When we marry in the interest of the Holy Spirit with the intention of serving God and humanity, then it gives a much larger perspective.
Some things are very low profile, but if they excite me creatively, I accept them. Sometimes there are high-profile projects, and you have to do it. We all have human limitations. It is a painful decision to turn things down. Even accepting 'Slumdog Millionaire' was a decision that I had to sacrifice another project.
I began by tinkering around with some old tunes I knew. Then, just to try something different, I set to putting some music to the rhythm that I used in jerking ice-cream sodas at the Poodle Dog. I fooled around with the tune more and more until at last, lo and behold, I had completed my first piece of finished music.
I would rather instill in my amateur students love, than knowledge, of music. Left with only knowledge, they will at the end close their books and consign the course to forgetfulness. But if they have learned to love but the smallest part of the art, they are likely to pursue some phase of it the rest of their lives.
I read a lot. I especially read memoirs and biographies. It's very helpful when you're thinking about what's possible and what exists in human behavior; if it exists out there then it can exist on the stage. I really try to go to a lot of concerts. A lot of live events. I just try to keep my ears really, really open.
Within each of us is a hidden store of energy. Energy we can release to compete in the marathon of life. Within each of us is a hidden store of courage. Courage to give us the strength to face any challenge. Within each of us is a hidden store of determination. Determination to keep us in the race when all seems lost
Music is a manifestation of the human spirit, similar to language. Its greatest practitioners have conveyed to mankind things not possible to say in any other language. If we do not want these things to remain dead treasures, we must do our utmost to make the greatest possible number of people understand their idiom.
People don't realize how much it means to your music to record on tape, whether it be for new music or old music. People don't realize how much or how imperative it is to use actual hardware when making drums because those are actual percussion samplers. They're hardware instruments that are made to have the drum hit.
As a disciple of my father's, I was certain I wanted to include one of his own raga creations on 'Home', as they are so beautiful; whilst many of his creations are part of the general classical repertoire for all musicians, many more are only played by those of us who learned from him, and therefore need to be played.
What love is to man, music is to the arts and to mankind. Music is love itself - it is the purest, most ethereal language of passion, showing in a thousand ways all possible changes of color and feeling; and though true in only a single instance, it yet can be understood by thousands of men - who all feel differently.
I am gay on the outside, especially among my own folk (I count Poles my own); but inside something gnaws at me; some presentiment, anxiety, dreams - or sleeplessness - melancholy, indifference - desire for life, and the next instant, desire for death; some kind of sweet peace, some kind of numbness, absent-mindedness.
Modern European composers...have very largely received their stimulus, their rhythms and impulses from Machine Age America. They have a much older tradition of musical technique which has helped them put into musical terms a little more clearly the thoughts that originated here. They can express themselves more glibly.
I like to separate the music- and lyric-writing processes if I can. I'll sort of noodle around on my keyboard and my computer until I have a beat or a chord progression, I'll record it as a loop, export it to iTunes, then walk around with the loop and sort of talk to myself in the loop, and that's how I get the lyrics.
Opera once was an important social instrument - especially in Italy. With Rossini and Verdi, people were listening to opera together and having the same catharsis with the same story, the same moral dilemmas. They were holding hands in the darkness. That has gone. Now perhaps they are holding hands watching television.
The women used the music to get their men to relate to them better: "talk to me, tell me what's on your mind." Men used the music to get the girls in the mood to make love. So either way you had it, Barry White is the one artist who actually was in your bedroom with you at your most sacred, sensuous moment of your life.
In a way, all recorded music is reduced to the same level, no matter what it is. You find it in the store, you put it on and, "Oh, that's not cool. That's gangsta rap. That's white supremacist punk." But in a way, the content is removed from the intention of the people that made it. That's the commercial level of music.
We find personal success and great, if not enduring, influence on the outer fashioning of the world allotted to the violent, the passionate individual who, unchaining the elemental principles of human impulse under favoring circumstances, points out to greed and self-indulgence the speedy pathways to their satisfaction.
I don't do anything digital. Everything is analog, and that's a limitation for me. However, in my world, it's not a limitation at all because I don't create the type of music that would generally be created by musicians that work with digital recording studios, and/or digital equipment, as far as production is concerned.
When Claude Debussy studied at the Paris Conservatory from age ten to age twenty-two, many considered him a rebel because of his treatment of dissonance and his disdain for the established forms. He reputedly turned to a fellow student during a performance of Beethoven with the words, "Let's go. He's starting to develop.
I always want my mouth to be like two steps ahead of my brain and I want my hands to move without thinking. I want to be able to dive into my computer or use my controllers without having to be, like, "Hmm, what would be a good choice here?" You just want music to happen like the same way the sweat's rolling off my face.
I'm not attached to a certain scene. There was certain music - and techno was a part of it - that really formulated something for me, that really was a direct connection to what I experienced in my life. Going to parties and listening to techno at home helped form my musical identity. And that changed throughout my life.