Quotes of All Topics . Occasions . Authors
My favourite music is the music I haven't yet heard. I don't hear the music I write: I write in order to hear the music I haven't yet heard.
I am trying to check my habits of seeing, to counter them for the sake of greater freshness. I am trying to be unfamiliar with what I'm doing.
All I know about method is that when I am not working I sometimes think I know something, but when I am working, it is quite clear I know nothing.
With just one musician, you can really do an unlimited number of things on the inside of the piano, if you have at your disposal an exploded keyboard.
Our poetry now is the realization that we possess nothing. Anything therefore is a delight (since we do not posses it) and thus need not fear its loss.
If this word "music" is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound.
I needed another basis for musical structure. This I found in sound's duration parameter, sound's only parameter which is present even when no sound is intended.
There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.
The Indians long ago knew that music was going on permanently and that hearing it was like looking out a window at a landscape which didn't stop when one turned away.
The function of Art is to imitate Nature in her manner of operation. Our understanding of her manner of operation&Rdquo; changes according to advances in the sciences.
The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason.
Food, one assumes, provides nourishment; but Americans eat it fully aware that small amounts of poison have been added to improve its appearance and delay its putrefaction.
If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.
A mind that is interested in changing...is interested precisely in the things that are at extremes. I'm certainly like that. Unless we go to extremes, we won't get anywhere.
For myself and my own experience now, I don't really need any music. I have enough to listen to with just the sounds of the environment. I listen to the sounds of 6th avenue.
An artist conscientiously moves in a direction which for some good reason he takes, putting one work in front of the other with the hope he'll arrive before death overtakes him.
The truth is that everything causes everything else. We do not speak therefore of one thing causing another. There are no secrets. It's just we thought they said dead when they said bread.
It is not futile to do what we do. We wake up with energy and we do something. And we make, of course, failures and we make mistakes, but we sometimes get glimpses of what we might do next.
If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.
One day when I was studying with Schoenberg, he pointed out the eraser on his pencil and said, 'This end is more important than the other.' After twenty years I learned to write directly in ink.
We are simple-minded enough to think that if we were saying something we would use words. We are rather doing something. The meaning of what we do is determined by each one who sees and hears it.
So somebody has talent? So what? Dime a dozen. And we're overpopulated. Actually we have more food than we have people and more art. We've gotten to the point of burning food. When will we begin to burn our art?
I believe the use of noise to make music will increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard.
It is better to make a piece of music than to perform one, better to perform one than to listen to one, better to listen to one than to misuse it as a means of distraction, entertainment, or acquisition of 'culture.'
The attitude I take is that everyday life is more interesting than forms of celebration, when we become aware of it. That when is when our intentions go down to zero. Then suddenly you notice that the world is magical.
I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' So I said, 'I'll beat my head against that wall.'
Which is more musical, a truck passing by a factory or a truck passing by a music school? Are the people inside the school musical and the ones outside unmusical? What if the ones inside can't hear very well, would that change my question?
When I went to the analyst for a kind of preliminary meeting, he said, 'I'll be able to fix you so that you'll write much more music than you do now.' I said, 'Good heavens! I already write too much, it seems to me.' That promise of his put me off.
People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.
There was a German philosopher who is very well known, his name was Immanuel Kant, and he said there are two things that don’t have to mean anything, one is music and the other is laughter. Don’t have to mean anything that is, in order to give us deep pleasure.
Artists talk a lot about freedom. So, recalling the expression "free as a bird," Morton Feldman went to a park one day and spent some time watching our feathered friends. When he came back, he said, "You know? They're not free: they're fighting over bits of food.
Paper should be edible, nutritious. Inks used for printing or writing should have delicious flavors. Magazines or newspapers read at breakfast should be eaten for lunch. Instead of throwing one's mail in the waste-basket, it should be saved for the dinner guests.
Our intention is to affirm this life, not to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we're living, which is so excellent once one gets one's mind and desires out of its way and lets it act of it's own accord.
What I'm proposing, to myself and other people, is what I often call the tourist attitude - that you act as though you've never been there before. So that you're not supposed to know anything about it. If you really get down to brass tacks, we have never been anywhere before.
Guy Nearing told us it's a good idea when hunting mushrooms to have a pleasant goal, a waterfall for instance, and, having reached it, to return another way. When, however, we're obliged to go and come back by the same path, returning we notice mushrooms we hadn't noticed going out.
When you start working, everybody is in your studio- the past, your friends, enemies, the art world, and above all, your own ideas- all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave.
I never had a hat, never wore one, but recently was given a brown suede duck-hunting hat. The moment I put it on I realized I was starved for a hat. I kept it warm by putting it on my head. I made plans to wear it especially when I was going to do any thinking. Somewhere in Virginia, I lost my hat.
Discord occasions a momentary distress to the ear, which remains unsatisfied, and even uneasy, until it hears something better. I am convinced...that provided the ear be at length made amends, there are few dissonances too strong for it. Disharmony, to paraphrase Bergson's statement about disorder, is simply a harmony to which many are unaccustomed.
I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.
A sound does not view itself as thought, as ought, as needing another sound for its elucidation, as etc.; it has not time for any consideration--it is occupied with the performance of its characteristics: before it has died away it must have made perfectly exact its frequency, its loudness, its length, its overtone structure, the precise morphology of these and of itself.
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic - here on Sixth Avenue, for instance - I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don’t need sound to talk to me.
After I had been studying with him for two years, Schoenberg said, ‘In order to write music, you must have a feeling for harmony.’ I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, ‘In that case I will devote my life to beating my head against that wall.’
I imagine that as contemporary music goes on changing in the way that I'm changing it what will be done is to more and more completely liberate sounds from abstract ideas about them and more and more exactly to let them be physically uniquely themselves. This means for me: knowing more and more not what I think a sound is but what it actually is in all of its acoustical details and then letting this sound exist, itself, changing in a changing sonorous environment.
What is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of a paradox: a purposeful purposeless or a purposeless play. This play, however, is an affirmation of life--not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.
We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.
It was at Harvard not quite forty years ago that I went into an anechoic [totally silent] chamber not expecting in that silent room to hear two sounds: one high, my nervous system in operation, one low, my blood in circulation. The reason I did not expect to hear those two sounds was that they were set into vibration without any intention on my part. That experience gave my life direction, the exploration of nonintention. No one else was doing that. I would do it for us. I did not know immediately what I was doing, nor, after all these years, have I found out much. I compose music.
Percussion music is revolution. Sound and rhythm have too long been submissive to the restrictions of nineteenth century music. Today we are fighting for their emancipation. Tomorrow, with electronic music in our ears, we will hear freedom. At the present stage of revolution, a healthy lawlessness is warranted. Experiment must necessarily be carried on by hitting anything-tin pans, rice bowls, iron pipes-anything we can lay our hands on. Not only hitting, but rubbing, scraping, making sound in every possible way...What we can't do ourselves will be done by machines which we will invent.