Do you even know who the enemy is?" "I think. . . it's me".
It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.
In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really about.
Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.
When I speak of "cycles," I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.
Sometimes one can be so closely involved with things that the larger context is lost to view.
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'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
Sometimes the best way to baffle them is to make moves that have no purpose, or even seem to work against you
For you cannot have gentility without paying for it.
The earth covered with a sable pall as for the burial of yesterday; the clumps of dark trees, its giant plumes of funeral feathers, waving sadly to and fro: all hushed, all noiseless, and in deep repose, save the swift clouds that skim across the moon, and the cautious wind, as, creeping after them upon the ground, it stops to listen, and goes rustling on, and stops again, and follows, like a savage on the trail.