A Quote by Ennio Morricone

I come from a background of experimental music which mingled real sounds together with musical sounds. — © Ennio Morricone
I come from a background of experimental music which mingled real sounds together with musical sounds.
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.
Clipping is a very specific, concept-y thing. We have all these rules: we don't sample drums. We create all our own sounds. I don't speak in the first person. We come from a background of experimental music like John Cage... Philip Glass.
I don't understand anything technical about music at all. I don't understand any of it, why you can't put these sounds together with those sounds. I only know what sounds good.
Sounds of daily life are musical. I try to absorb the intricacies of sounds as if I were listening to music.
If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.
When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.
The most important thing is that you honor that musical integrity, whether you make music that sounds like ABBA or you make music that sounds like Void.
I think the problem with the term graphic novel is it sounds pompous, it sounds pretentious, whereas on the continent, they call it an album, which to me sounds, it's got more much of a connotation of a kind of a music single and an album collection.
One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.
We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music.
The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
After I came out of surgery - I was in the hospital for five weeks - I found that I gravitated toward very gentle sounds: chant music, solo bamboo flute sounds, a laid-back record of my own called 'Inside.' And the music became a very real part of my recovery process.
There are simply two kinds of music, good music and the other kind ... the only yardstick by which the result should be judged is simply that of how it sounds. If it sounds good it's successful; if it doesn't it has failed.
The task is to investigate speech sounds in relation to the meanings with which they are invested, i.e., sounds viewed as signifiers, and above all to throw light on the structure of the relation between sounds and meaning.
One of my pleasantest memories as a kid growing up in New Orleans was how a bunch of us kids, playing, would suddenly hear sounds. It was like a phenomenon, like the Aurora Borealis -- maybe. The sounds of men playing would be so clear, but we wouldn't be sure where they were coming from. So we'd start trotting, start running-- 'It's this way! It's this way!' -- And sometimes, after running for a while, you'd find you'd be nowhere near that music. But that music could come on you any time like that. The city was full of the sounds of music.
I love that tension between machine sounds and organic sounds, and also the contrast between abrasive sounds and soft sounds.
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