A Quote by Karlheinz Stockhausen
But since the middle of the century in particular, the music has become very irregular in rhythm.
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I think that the rhythm sections, drummers in particular, are the unsuing heroes of the music. It's the rhythm section that has changed the styles from one period to the other.
I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.
The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.
I suppose as an actor you become very sensitive to rhythm, not just rhythm as you look at it sort of from the, from the outside as a director might see it, but within yourself you become used to the idea of hearing your fellow actors, responding to them in space.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
At the root of all power and motion, there is music and rhythm, the play of patterned frequencies against the matrix of time. We know that every particle in the physical universe takes its characteristics from the pitch and pattern and overtones of its particular frequencies, its singing. Before we make music, music makes us.
I've always loved punk music, since I was in my early teens, since middle school.
Music definitely is part of my rhythm, you know I play with a rhythm so I have to listen to music.
It has become part of the accepted wisdom to say that the twentieth century was the century of physics and the twenty-first century will be the century of biology.
I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
I grew up in a middle-class family in the middle of America in the middle of the last century.
It is not the irregular hours or irregular diet that makes the romantic life.
In silence one can receive more because all one's activities become concentrated at one point. There is only one real rhythm; in silence you hear it. When you live to the rhythm of this silence, you become it, slowly; everything you do, you do to it.
The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.
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