A Quote by John R. Pierce
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.
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When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
My husband is a composer, so he plays piano all the time and I sit there and clap telling my unborn child, 'Hear me clap, hear the music.' I know music, in general, is supposed to be good for babies to hear.
It's the vision of the composer that we have to determine, and not the absolute mathematical adherence of the score. In my experience, there have been occasions where I feel that a composer has not notated something as they meant to have it represented.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
Every bit of theorizing I've ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
When you hear composer, you think, like, Beethoven: guy in a powdered wig, at a piano, furiously scribbling on manuscript paper. That's not the only image that a composer should bring up, you know. But that's kind of what we've said it is.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.
I can admire music where you feel the composer has everything organized and perfectly shaped, but it doesn't touch me. I like to feel that a composer is wounded, like all of us.
When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
I could create music that sounded as strange as any electronic music, because you see, my opinion about electronic music is that the real composer is the guy who invented the instrument. Pressing buttons is not composing. Composing is about creating something.
See, as a music composer, I am not competing with any music composer.
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