A Quote by Moby

A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music. — © Moby
A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.
Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
My goal is to connect with people emotionally. I take life’s experiences and translate them into music — music that hopefully creates an impact on the listener.
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.
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing.
Elemental Music is never just music. It's bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener bust as a co-performer.
Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.
I'm very thankful, hearing impairment or not, that I've brought listening into my life. I will never say that I'm a good listener, however. Thinking that I was a good listener was one thing that kept me from being a good listener. It's a very dangerous thought. I just want to be better.
I wouldn't mind getting emotionally involved with a woman.
I'm not a good listener some times. I'm too much of a control freak. I'm learning to be better. I was so caught up in just getting the job done that I would miss out on the human aspect of this. There was a connection missing.
I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.
Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.
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 I create music, the feeling that you get... I get first. You [the listener] have a delayed experience with the feeling I initially get when I have a creative insight. Not just the voice, but all the creativity - the production, the idea, the concept, the music involved. There is a high. There is an emotional experience that happens when everything comes together... I made music as consistently as I did, especially back in the day, because it made me feel so good... When everything is on, it's a wonderful feeling.
Almost all the bars in Southeast Asia are lady bars. The listener and participants who interact and frequent the clubs are exclusively male who become actively involved with the ladies, not the music. Coming to them to listen only to the music is not what people do.
A good listener is not someone with nothing to say. A good listener is a good talker with a sore throat.
To me, country music is emotions, certain harmonies. But it's all in the emotions - a lot of good times, a lot of hard times.
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