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You know, I listen to contemporary music all the time
You know, I listen to contemporary music all the time.
The intelligent use of contemporary music in film has an enormous audience.
I've realised that if it is to remain relevant, contemporary music needs to change.
The whole rise of new adult contemporary music and smooth jazz was a nice surprise.
I didn't wait around for my parents' opinion about my venture out into contemporary music.
With contemporary music, you automatically get connected. It connects you to the emotion of the characters.
Edgar Meyer's violin concerto was the first piece of contemporary music I worked on in any depth. I was 18 or 19.
My mother was a classical pianist and my stepfather was an industrialist who was passionate about composing contemporary music.
These wealthy people were very interested in contemporary music. They wanted to help diffuse it and get it to be known to other people.
On 'Underground,' we had used contemporary music to pull you into the present and not just look at it as a portrait on the wall and in the past.
My parents met in music school, and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing.
Musical composition, about which I know little, is a complicated art, and some contemporary music may be the equivalent of a complex abstract painting.
I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.
What people don't understand is that my dad isn't up on the contemporary music scene. He's been a legend for decades and he doesn't know what's going on right now, and he doesn't need to.
I wanted contemporary music to be treated the same as the traditional repertoire - performed regularly by people who knew each other and the music. That is the way you convince an audience.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.
Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.
My favorite composers are the ones that tell the story. I love Wagner. I love Mahler. Prokofiev. The programmatic music. I listen more to classic rock because I don't like the contemporary music very much.
There is a kind of adventure- and risk-seeking audience in classical contemporary music that is really empowering and part of what draws me to it. The people that come to these concerts are open-minded and curious.
George's contribution to the great archive of contemporary music rests alongside the immortals. His is a legacy of unquestionable brilliance and one which will continue to shine and resonate for generations to come.
I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.
Even though I've been an avid consumer of contemporary music since my early teens, the world of rock music has always been at something of a distance - I listen to it, read about it, I talk about it, but I've had little or no contact with its denizens.
I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.
Post-minimalism implies music that's genre-less. Minimalism was very important because it came at a time when contemporary music had become so complex, so experimental and detached that people turned away from it. Minimalism broke that trend and brought music back to the people.
I've not been an admirer of contemporary music since punk rock went off the boil in 1977, but once a year I'll listen to 'Spiral Scratch' by the Buzzcocks, or 'Hippy Hippy Shake' by the Swinging Blue Jeans. Otherwise, I can put up with Chopin or shakuhachi flute in the background.
I feel that contemporary music, with very few exceptions, is missing the voice. You see an award show, you see a hundred extras on set dancing and special effects, and you don't see that solo voice that was the trademark of Adele. It's no accident that it was her album that ended up selling 27 million copies worldwide.