A Quote by Chris Thile
There's a lot of steps between there not being music and there being music. Composition is one part of that, but if no one performs it... It's like if a tree falls in the forest and no one's there to hear it, does it make a sound?
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Lik the tree falling in the forest," says Ira. "Huh?" "You know, the old question - if a tree falls in a forest and no one's there to hear it, does it really make a sound?" Howie considers this. "Is it a pine forest, or oak?" "What's the difference?" "Oak is a much denser wood; it's more likely to be heard by someone on the freeway next to the forest where no one is.
To be is to be perceived (Esse est percipi)." Or, "If a tree falls in the forest and no one is there to hear it, does it make a sound?
The old saying 'If a tree falls in a forest and no one is around to hear it - Does it still make a sound?' can be adapted to: 'If someone does something interesting on the Internet and nobody is around to talk about it - Did it still make an impact?'
Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'
For me, a lot of my fondest memories of being in the music business were being in the studio with The Doobs and being part of that organization and being a part of that music.
I think it happens to a lot of people who make music just on a computer by themselves, you don't see the bigger picture. You don't see the forest for the trees. You're looking at every tree so closely, and every tree looks so cool. But you're making a forest, man, you're not making a tree.
One of the recurring philosophical questions is: 'Does a falling tree in the forest make a sound when there is no one to hear?' Which says something about the nature of philosophers , because there is always someone in a forest. It may only be a badger, wondering what that cracking noise was, or a squirrel a bit puzzled by all the scenery going upwards, but someone.
What I'm after is a composed music that will sound like improvised music when improvisors play it. You shouldn't be able to tell what parts are being improvised and what parts were written out beforehand; it should sound like the same music.
Basically, as a kid I grew up to a lot of good music, and part of my appreciation for music, from being a small child, was appreciating Jamaican music.
If a tree falls in the forest and nobody is there to hear it, doesn't it just lie there and rot?
When wheat is ripening properly, when the wind is blowing across the field, you can hear the beards of the wheat rubbing together. They sound like the pine needles in a forest. It is a sweet, whispering music that once you hear, you never forget.
I'm not sure I'm going to be that type of artist but I do love cultural icons. Like Solange has been really great at that. Releasing her album end of last year and being really strong in their sound, bands like Little Dragon, artists like James Blake. You know their music when you hear them. They have a really particular sound and it's really cultural and people copy that sound. You hear it in other songs and you're like 'That's a James Blake tune'.
Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.
We never look deeply into the quality of a tree; we never really touch it, feel its solidity, its rough bark, and hear the sound that is part of the tree. Not the sound of wind through the leaves, not the breeze of a morning that flutters the leaves, but its own sound, the sound of the trunk and the silent sound of the roots.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
Corliss wondered what happens to a book that sits unread on a library shelf for thirty years. Can a book rightfully be called a book if it never gets read? If a tree falls in a forest and gets pulped to make paper for a book that never gets read, but there's nobody there to read it, does it make a sound?
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