A Quote by Hildur Gudnadottir
I view music mostly as communication, so when I record, I'm communicating to the listener in the future.
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A reason to have computers understand natural language is that it's an extremely effective way of communicating. What I came to realize is that the success of the communication depends on the real intelligence on the part of the listener, and that there are many other ways of communicating with a computer that can be more effective, given that it doesn't have the intelligence.
When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.
I have this ideal listener, as John Cage did. This listener doesn't bring expectations that my music will fit into some part of music history, or that it will do any particular thing. This listener is just open to listening.
For a very great many years, I asked this question: ‘To communicate or not to communicate?’ If one got himself in such thorough trouble by communication, then of course one should stop communicating. But this is not the case. If one gets himself into trouble by communicating, he should further communicate. More communication, not less, is the answer.
Music speaks to people at a level that is much more universal and can kind of trigger things in the listener in ways that other forms of communication can't.
I speak onstage to try to establish some method of communication. The songs are supposed to be a way of communicating. But speech and drinks and sometimes chocolates are also a way of communicating.
Music should be demanding for the listener. You can gain more out of it that way. I always try to leave space in the music for the listener to have their own experience of it, so it's not bombarded with only one meaning.
When you're onstage, it's a communication technique when you make people laugh. You're communicating. You're communicating with other human beings and when they laugh you know that you're connecting. Laughing is an honest reaction and it's something that I can trust, and I love that feeling of knowing that I connected.
In the point of view of my personal feelings, I love the music as well as the cinema, but the future of a trumpet player - in the money point of view, but also any point of view - is very short on expectations. The life of a moviemaker can be glorious and wonderful. It can put your life in the best of possibilities. I decided to forget music. Not forget, because this is impossible, but to work in cinema, and just to be someone who loves music, and who tries to make music with his films.
When I perform, I always opt for communication with God, and in pursuit of communicating with God, you can enter some very dangerous territory. I also have come to realize that total communication with God is physical death.
I don't believe in good music and bad music anymore. I'm through with that phase of my life. Sometimes I just wanna feel good, so I put on a good record. But mostly I'm more of a businessman than a music fan, so I'm listening to music in terms of, is this effective or not effective?
Art is basically communication, and I think everyone who's a music lover has had that experience where a record or a recording has kept you company when no one else is around. And I think that is what I'm hoping that people get out of my music.
I can't imagine how people will react to my music. For me, it's a really fluid process from one record to the next, but it's really up to the listener.
Ultimately what we actors are doing is communicating with people who are feeling alone or feeling different or confused or whatever and you're communicating and saying, "Hey, I don't get to know you, but here's a piece of me and you're not alone. We're in this together." Hopefully that communication has maybe made some people feel less alone.
To talk about communication theory without communicating its real mathematical content would be like endlessly telling a man about a wonderful composer, yet never letting him hear an example of the composer's music.
To me, soul music is anything that is made from the heart, and therefore moves the listener; it's not overly self-aware, and leaves room for the listener to make their own conclusions.
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