There's a similarity between European and North African folk musics.

All over the world, the idea of creating an melange of international musics, it's a very healthy thing.

Generally, I've got to say that all sounds, musics, noises since conception are bound to have influenced me.

The great musics of the world are great for very similar structural reasons: good melody, good harmony, and a balance of feminine and masculine energy.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

I tried so many different musics. I kind of burned out on classical and wanted to make it fun again. I started playing with indie bands and country bands and finally realized electronic music brought my style to life.

So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.

When you talk or write or film, you work with the music inside you, the music that formed you. Different generations have different musics in them, so whatever they do, it's going to come out differently, and it will speak in beats of their own generation.

I've always believed in good music over bad music. I believe in two sorts of musics. And the lines that separate us, I don't believe in that. That's for people who need to easily define what they're hearing. Me, I'm cool with everything and anything I'm hearing that's music. It comes under one definition for me.

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