A Quote by John Cage

My favourite music is the music I haven't yet heard. I don't hear the music I write: I write in order to hear the music I haven't yet heard. — © John Cage
My favourite music is the music I haven't yet heard. I don't hear the music I write: I write in order to hear the music I haven't yet heard.
I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.
The first thing I heard was spiritual music, which was imbedded. The second thing I heard was swing. And shortly, along with that, I began to hear the blues. And then I began to hear Latin music. Each one left its mark.
Everybody has they're own audience you know what I'm saying. I write rhymes and make music for the people that I fell wanna hear my music. They write rhymes and make music for the people they feel wanna hear they're music.
I enjoy music that is commercial. I think that in order for music to be heard in a lot of different situations, you have to always consider that. Commercial music, for the most part, is popular music, and you always have to keep that in mind. It's not so much financial as making sure it gets the shot and is heard on the radio.
I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.
Music exists when rhythmic, melodic or harmonic order is deliberately created, and consciously listened to, and it is only language-using, self-conscious creatures ... who are capable of organizing sounds in this way, either when uttering them or when perceiving them. We can hear music in the song of the nightingale, but it is music that no nightingale has heard.
I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.
Music is made to be heard, whether you hear it in concert, you hear it on the radio, or you hear it in your car. It's not for two people to sit in a closet and go, 'That's my band, the only band I've ever heard, and I'm the only person that's going to hear it.'
And you should hear the music. Incredible, amazing music, like nothing you've ever heard, music that almost takes your head off, you know? That makes you want to scream and jump up and down and break stuff and cry.
In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.
Partisans present some of the most refreshing music I've heard in a long while, uncompromising, very well written and very well played. It demands serious attention. I hear in these players a sense of common purpose and resolve, and a strong command of a dialect uniquely suited to this music. It's heartening to hear music that looks to find its own particular place.
You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted. I've seen the scores of my things and they don't resemble the music in any way. If you give them to somebody who has never heard the music and say, "What does this sound like to you?" they'll play you something that has no relationship with the music it derives from. Notation simply isn't adequate.
I know when somebody's heard my music. I can hear it in their music.
I know when somebodys heard my music. I can hear it in their music.
People never heard bells in Western music sounding really cataclysmic. You hear that more in Russian music or in Asian, Indonesian traditions.
You have to get past the idea that music has to be one thing. To be alive in America is to hear all kinds of music constantly: radio, records, churches, cats on the street, everywhere music. And with records, the whole history of music is open to everyone who wants to hear it.
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