A Quote by Elliott Carter
My musical life started with hearing and being fascinated by contemporary music.
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When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
I started playing violin because I was fascinated by how violin players could play so fast. I would buy their cassettes, and learn different concertos, but then I started rounding out my collection. My dad was a big jazz fan, so I just started hearing a lot more soul music. I loved Little Stevie Wonder, and I got really into him as a singer and a writer as I got older.
The musical culture in the United States has no doubt suffered severe setbacks, especially in funding, since the early 2000's. However, I've been amazed at the resiliency of those involved with contemporary music in this country. I think composers and those dedicated to contemporary music have reacted with tremendous creativity and resourcefulness.
My father is a violinist and my mother is a pianist, so I've been hearing music all my life. I started playing at three and had my first music teacher at five.
My mother insisted that I pursue music. I rented out my father's musical equipment and earned some money. As a child, I wasn't sure about a career goal, but I was always fascinated by electronic gadgets, specially musical equipment.
The whole point is to take from our native culture and from contemporary culture without using one art form to mimic the other, so that our native identity remains the native identity, the contemporary identity remains the contemporary identity, and the mixing of these two musical identities creates a third musical identity.
I think in Baroque music, especially in the case of Bach, what really transformed Bach's musical language, what changed it for him was hearing Vivaldi, hearing the sort of manipulation of small cells of information and patterns in order to generate sort of huge blocks of harmony.
I started writing songs for youth theater and stuff, and so it's really writing music for the stage that started me out, but then I eventually went to music college and did a two-year course in contemporary music and then just played in endless bands, cover bands, jazz bands.
I started out writing music for theatre and contemporary dance, so there has always been a dramatic and narrative element in my music.
Technology is improving to prevent musicians from losing their hearing while performing on stage... audience members losing their hearing from listening to loud music... people being able to experience music not just with their ears, but with touch or with through their eyes.
My love for dance music started when I was a child. Some of my earliest memories are hearing Trance music in the charts and later being heavily influenced by the eclectic tastes of my big brother, he quickly turned me into an avid Drum 'n' Bass head even though I was too young to rave.
Being at the show, watching people do what they do so well, hearing a full orchestra, and hearing beautiful music? There's nothing better.
Drue [Langlois] and I started making music together before we started the Art Lodge, so I guess musical collaboration came first. The music we made, and our performances, always had a visual component. I could never play an instrument, so these other elements compensated for that a little.
Musical composition, about which I know little, is a complicated art, and some contemporary music may be the equivalent of a complex abstract painting.
I enjoy listening to contemporary rock on the college stations while I'm taking long walks, love gospel and soul music, am fascinated by hip-hop and rap as the new kind of urban 'beat' poetry and, come to think of it, find something interesting about just any kind of music.
I try to listen attentively to musical sounds around me. You can think of the sounds of daily life as being musical. So I try to absorb the intricacies of the sounds as I would if I were listening to a piece of music. I try to see the beauty in everything.
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