A Quote by Abel Korzeniowski
I always try not to overload my music with orchestration and to use only those instruments that are absolutely necessary.
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It is not the ownership of the instruments of production which it is important for the State to assume. If the State is able to determine the aggregate amount of resources devoted to augmenting the instruments and the basic rate of reward to those who own them, it will have accomplished all that is necessary. Moreover, the necessary measures of socialization can be introduced gradually and without a break in the general traditions of society.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
There are tons of people in the West who love fiddles, banjos and mandolins. If you got to any cowboy poetry and music gathering those are the instruments they use. It's acoustic music. We don't do that much modern country that has electric guitars and a lot of volume. It's a gentler form of music. It's from the land and comes from the ranchers and farmers.
When I was a kid, during those days, you couldn't use instruments. It was against the pastor's religion, so all the singers would make these instruments with their voices. It was just unbelievable. I couldn't explain it.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.
You don't ever want to devalue music. Music is important; it's necessary product. I always try to make sure that there's a value - that people appreciate music and realize that there's a value to it.
I've always wanted to be a communicator of ideas through music. Today, I wanna be the most effective musical communicator of social change I could be, so I try to find different ways to do it and I'm always challenging myself to find new things, learn new instruments. But I always try to find in my heart, what it is I really want to say with words.
I hate it when I have to abandon my children. I politely turn down most of the invitations I get from abroad and try to fly only when it's absolutely necessary.
Our hearts resonate at the same frequency as the earth and the universe. Therefore, we are all valuable instruments in the orchestration of the world and its harmony.
I sometimes like to think of God as a great symphony and the various spiritual paths as instruments in an orchestra. The gift that you have is like music waiting to be played. You need only to find the instrument that will best bring it out. You alone can never play all the instruments, and your music might not find voice in all the instruments. All you can do is find the instrument that suits you best, play it as well as you can, and add your music to the great symphony of divine creation.
I hate cars and wish they had never been invented. I try to use them only when I absolutely have to.
You are a valuable instrument in the orchestration of your own world, and the overall harmony of the universe. Always be in command of your music. Only you can control and shape its tone. If life throws you a few bad notes or vibrations, don't let them interrupt or alter your song.
People don't realize how much it means to your music to record on tape, whether it be for new music or old music. People don't realize how much or how imperative it is to use actual hardware when making drums because those are actual percussion samplers. They're hardware instruments that are made to have the drum hit.
I'm a huge Hayao Miyazaki fan. He might be my favorite director of all time - the beauty that he sees in the world and the attention to detail. I try and focus on that while making music: trying to use as many real instruments as possible, have it feel as tactile and tangible as possible.
The state dinner is almost a formula, but you try to make it interesting. You try not to overload it with too many political types. You try to get a cross section.
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