A Quote by Eyvind Kang
In a way, composing on the melodic level is an expression of a melodic truth, almost like a geometric truth. If it has clarity, other people will recognize it. There's no way of isolating it in a gallery on a white wall and saying, "This is a work of art. This is a mathematical proof."
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The unvarnished truth is that almost all the people you meet feel themselves superior to you in some way, and a sure way to their hearts is to let them realize in some subtle way that you recognize their importance, and recognize it sincerely.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.
I believe that in a certain way this is proof of the truth of Christianity: Heart and reason encounter one another, beauty and truth converge, and the more that we ourselves succeed in living in the beauty of truth, the more that faith will be able to return to being creative in our time too, and to express itself in a convincing form of art.
In many cases a dull proof can be supplemented by a geometric analogue so simple and beautiful that the truth of a theorem is almost seen at a glance.
As far as I'm concerned, the essentials of jazz are: melodic improvisation, melodic invention, swing, and instrumental personality.
The best way to test whether you are saying the truth or not - if you say something and people don't react then it's not the real truth. But if people start reacting then what you are saying has got an element of truth.
I don't care about truth; I care about art and style and writing and occupying the wall. For me, my writing style is very linked to the fact that it is a work of art on the wall. I had to find a way to write in concise, effective phrases that people standing or walking into a room could read.
Within the human consciousness is the unique ability to perceive the transparency between absolute, permanent relationships, contained in the insubstantial forms of a geometric order, and the transitory, changing forms of our actual world. The content of our experience results from an immaterial, abstract, geometric architecture which is composed of harmonic waves of energy, nodes of relationality, melodic forms springing forth from the eternal realm of geometric proportion.
The pianist Cecil Taylor is extremely melodic; the guitarist Derek Bailey is extremely melodic, and Ornette Coleman.
In this world of lies, Truth is forced to fly like a scared white doe in the woodlands; and only by cunning glimpses will she reveal herself, as in Shakespeare and other masters of the great Art of Telling the Truth, even though it be covertly, and by snatches.
I write in a very melodic way, so that will never leave. I think my records will always tend to be approachable.
Improvisation was the blood and bone of jazz, and in the classic, New Orleans jazz it was collective improvisation in which each performer, seemingly going his own melodic way, played in harmony, dissonance, or counterpoint with the improvisations of his colleagues. Quite unlike ragtime, which was written down in many cases by its composers and could be repeated note for note (if not expression for expression) by others, jazz was a performer's not a composer's art.
I'm not saying the whole world will work this way, but with Airbnb, people are sleeping in other people's homes and other people's beds. So there's a level of trust necessary to participate that's different from an eBay or Facebook.
All of a sudden it hit me - if there was such a thing as composing music, there could be such a thing as composing motion. After all, there are melodic figures, why can't there be figures of motion?
When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.
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