A Quote by Missy Mazzoli
There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.
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I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.
Many activists don't want to hear about some grand narrative, one that could unify all of our struggles. So the major issue that needs to be addressed is how to get people to see that there is indeed a grand narrative which just happens to be true.
When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.
The partisans of eugenic planning hear that other music, the music that says that there shall be nothing random in the world, nothing independent, nothing moved by its own vitality, nothing out of keeping with some idea: even our children must not be our progeny, but our creation.
Classical music fulfills for me the function of narrative. I spend 90 minutes a day listening to symphonic music - Beethoven to Bartók - some chamber pieces, and that's my enrichment.
The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.
Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.
Yet it is the narrative that is the life of the dream while the events themselves are often interchangeable. The events of the waking world on the other hand are forced upon us and the narrative is the unguessed axis along which they must be strung.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
It is however, difficult to make your narratives relative by yourself. A novelists' work is to provide models to make your narratives relative. If you read my novels then you may feel, "I have the same experience as this narrative", or "I have the same idea as this novel". It means that your narrative and mine sympathize, concord and resonate together.
Y'know, I think, inherently, when you hear something like a teenage narrative come into play, even the idea that it's being called 'teenage' is a notion that it's being reduced to a problem that's not quite adult. That's a problematic thing to say about a narrative that could actually be dangerous, could be hurtful, could be upsetting.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.
I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.
I think when you hear good music or the experience you have to the music which makes you remember it, it's so priceless. Really, it's the same thing for us when we make it, to actually see the idea come together to be something that's special and then to see people kinda degrade it, it is a little discouraging.
Trump is such a unique candidate. He's incredibly polarizing. But I see the same kind of blinders on the left. There's perhaps a little less anger, but there is nothing that Hillary Clinton can do to stop most of this nation from voting for her. You do see people who are just buying into the narrative they want to hear, and they are pushing out the narrative they don't.
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