A Quote by Allan Gurganus

There's a kind of ear music . . . a rhythmic synchronicity which creates a kind of heartbeat on the page. — © Allan Gurganus
There's a kind of ear music . . . a rhythmic synchronicity which creates a kind of heartbeat on the page.
Babymetal's music is kind of - no one else creates this kind of music. When Babymetal first started, we wanted to give the impression of like, 'What the heck?!'
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
Karmic progression implies that we are kind of alliterating steps to life. There's alliteration, a kind of rhythmic structure. Once we're in time and space, the variable structures are somewhat limited.
Rachmaninov has some kind of weird dark edge to his music which I don't think I've heard with any other kind of music before.
My writing just kind of exists out there in the air-it's all sort of intended as spoken, or sung, word. So, to commit them to the page...that way was kind of intimidating to me, yet intriguing, to try to reflect the rhythms and connotations and emotions that you can deliver, speaking-wise, on a page.
I hope people describe my music as lyrically driven, cross genre. Kind of alternative, kind of indie, kind of rap, kind of everything.
I know it sounds weird, but the kind of music I write isn't the kind of music that I listen to, which is quite underground, left-of-centre stuff like PJ Harvey and Tom Waits.
I care more about the fans in general, just making sure they enjoy what I do. And then also I kind of had this kind of ideal of the kind of music I want to make and what I'm aiming for kind of creatively and just the quality of the music that I'm trying to make. And I have that in my head.
I definitely have a gift for language that is rhythmic and attractive to the ear, and I have interesting [verbal] imagery which I guess is a poetic touch.
A lot of people record on a laptop and use plug-ins, which might be OK for the kind of music that they're doing. But for the kind of music that I'm doing, that just doesn't work. I can't cut corners; everything has to be organic.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
I'm kind of lucky in the fact that I can take something that's in my head and write it down, or I can listen to a piece of music that somebody else has written and try to tap into what the music's saying and just kind of follow that, you know. I mean, nine times out of 10, I'm just kind of following where the music takes me.
I've kind of codified certain things for myself, rhythmic patterns and mechanical ways of using the bow to create layers of rhythm. What I'm trying to do is to create a complete piece of music on one instrument.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
The wrong kind of praise creates self-defeating behavior. The right kind motivates students to learn.
I love thinking of music of this way to access some kind of illogical realm filled with all kinds of aberrations and weird stuff. It's not implicit in music to have a story, so it creates this incredible potential for vague stories.
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