A Quote by Elliott Carter

The first thing that struck me about contemporary music in general had been thatthere was not much interest in rhythm. — © Elliott Carter
The first thing that struck me about contemporary music in general had been thatthere was not much interest in rhythm.
Doing a story about my mundane, waking life, how much I don't like my job, or breaking up with someone, I don't think so. Those stories don't interest me that much as a general thing.
Even though I've been an avid consumer of contemporary music since my early teens, the world of rock music has always been at something of a distance - I listen to it, read about it, I talk about it, but I've had little or no contact with its denizens.
I was always struck by how Picasso had no interest in music.
The thing which attracted me to Google and to the Internet in general is that it's a great equalizer. I've always been struck by the fact that Google search worked the same, as long as you had access to a computer with connectivity, if you're a rural kid anywhere or a professor at Stanford or Harvard.
When you think of Napster, you think of music. But the first thing that struck me was that this was an important case not only for the music industry but for the whole Internet.
The weirdest thing I've been fascinated with nowadays is the new contemporary country music, which to me sounds like very strange '70s pop, and sometimes like rock music. But some of the themes in there - maybe it's because I know how the songs were written, but it really does sound like it was written by two or three people, with the idea to appeal to the most general audience.
My training in music has been very eclectic - as first a flute player from classical chamber music to jazz, Greek, Brazilian and African music to contemporary concert music.
I think there is a general interest in films that deal with contemporary issues. Constructions of Iran, Islam, the Middle East as well as the U.S. itself are also of interest, it seems.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.
Making dance music is a spiritual thing. It's about being completely absorbed by rhythm and vibration, so much so that the petty stuff of life stops mattering.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
In the streets through which we passed, I must own the houses in general struck me as if they were dark and gloomy, and yet at the same time they also struck me as prodigiously great and majestic.
You know, the thing that struck me about Civil War music was how bloody it was; it was full of hatred. There was incredible vitriol in it.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
I've always been struck by how unsuspicious people are in general, if you tell them what you're about.
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