20th-century Composer Quotes

Satyajit Ray
Sergei Prokofiev
George Gershwin
Carl Orff
Andrew Lloyd Webber
Dave Brubeck
Thelonious Monk

This fact, the surfacing of structure in an undeliberate action, is too big to take on here, but it was enough to convince me that the structuralists—the advocates of planning music before you hear or care what the plan gives you—were right: do not rely on unplanned music; it comes out as though it were planned, but planned by someone you cross the street to avoid.

"Cage's Music of Changes was a further indication that the arts in general were beginning to consciously deal with the "given" material and, to varying degrees, liberating them from the inherited, functional concepts of control."

There is no doubt that the first requirement for a composer is to be dead.

When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head.

The relationship of feminism to my work and the evolution of the form of my music are in violent flux.

Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work.

I dare suggest that the composer would do himself and his music an immediate and eventual service by total, resolute and voluntary withdrawal from this public world to one of private performance and electronic media.

Music is everything that one listens to with the intention of listening to music.

My attitude to writing is.. it's like when you do wallpapering, you know, you remember where all the little bits are that don't meet, you think: "Oh my God that's horrible..." And then your friends come and say: "Who did this wallpapering? It's terrific!"

Do I have to tell you about the spiritual cannibalism of the culture, our culture, which has been bombarding us with ultrasensory overstimulation aiming to reprocess us into full-time consumption machines, stealing above all from us our time (not an inch of time without an imprint of message), and even our very sense of time (to be measured in lengths of no more than one message unit each) under the guise of entertainment, and even of 'art,' commoditizing the eternal, hyping the primal? Our time is the sine qua non of our identity. We need to take extreme measures to reclaim it for ourselves and each other.

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.

The recollection of how, when and where it all happened became vague as the lingering strains hung in the rafters of the studio. I wanted to shout back at it, Maybe I didn't write you, but I found you.

Hoagy Carmichael
Hoagy Carmichael
In the future (...) people will become more sensitive and aware than they are now. They will have to, because society will become more complicated, more full of people, with more different things happening. People will have to become much cleverer and much sharper. Then they will like my music.

I was once married to a woman who could eat anything and tell you what was in it: the most complicated recipes. Her memory of taste - now that's what I call memory!

True music... must repeat the thought and inspirations of the people and the time. My people are Americans. My time is today.

George Gershwin
George Gershwin
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account

Jerry Goldsmith
Jerry Goldsmith
The distance in form, intention, mood and expression between Schubert's songs for voice and piano and those of, say, Adele is remarkably small.

The piano is the easiest instrument to play in the beginning, and the hardest to master in the end.

My purpose is to create music not for snobs, but for all people, music which is beautiful and healing. To attempt what old Chinese painters called 'spirit resonance' in melody and sound.

The hotel wasn't that empty, however. Soon an old man walked unsteadily out of the nearby lounge and plopped himself into a big easy chair beside the piano. There, he slowly sipped his wine and watched me play. I felt distracted and uneasy, trapped on the bench where at any moment he might request one of his favourite tunes, one I most likely did not know how to play. [...] He said me: Who will play your music if you don't do it yourself?