A Quote by Morton Feldman

Boulez, who is everything I don't want art to be... Boulez, who once said in an essay that he is not interested in how a piece sounds, only how it is made. — © Morton Feldman
Boulez, who is everything I don't want art to be... Boulez, who once said in an essay that he is not interested in how a piece sounds, only how it is made.
It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed....To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition...Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with.
Boulez seemed to me to be a guy who wrote laws. Like a company lawyer.
Growing up, my father was never interested in how many goals I scored, how many passes I made, but only in how many mistakes I made, and how I could be more efficient.
I really think there's no difference between an art piece made by a man and one made by a woman. Is it a good art piece or a bad art piece? Of course, if you're female, you're maybe dealing with different issues.
At one point [Cardew] taught himself to play guitar simply in order to take part in the performance in a composition by Boulez, which is a little like saying he learned Danish to read Kiekegaard.
I'm interested in acting as much as I'm interested in gardening. I want to garden, eventually. I want to learn how to do a lot of things. I've always wanted to learn how to paint, too. I'd like to try everything, but music is my reason for living.
There was this kind of dictatorship of the Darmstadt school, composers like Boulez and Stockhausen, who were very strict and orthodox. They would not allow other composers to write the music they wanted to write, and only a certain kind of music could be played.
When I came across something I liked, I wanted to find out as much as I could about it. This was as true of hearing Hoagy Carmichael for the first time as it was later when I first heard Boulez.
It's the ultimate for me not to see how it's made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale de la Haute Couture in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn't know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision.
The generation of composers that are just preceded me, people like [Karlheinz] Stockhausen, [Pierre] Boulez, and, well, [John] Cage for that matter,[Morton] Feldman ... That was a kind of experimental music that was very isolated. It had no real public.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
As we all saw in grade school, once you learn how to read a book, somebody is going to want to write one - that's how authors are made. Once we know how to read our own genetic code, someone is going to want to rewrite that 'text,' tinker with traits - play God, some would say.
I want labor to be the point, because everything in our lives is miraculously made with no idea of how it's done. As an active and critical consumer, and as someone who has attempted to make the flawless and failed, I wanted a transparency of construction here. If we know how it is made and how it falls apart, we will know how to rebuild it.
People want to put women in one box, and I'm interested in how women can be everything at once.
I don't care how much people understand what it is that I'm doing, except if they're players in my ensemble or other ensembles. I just want people to be moved by the music. If you're not moved by the music, then everything else falls away. You're not interested in the text, you're not interested in how it was done, and you're not interested in interviewing the composer and all the rest of it.
People want to put women in one box, and Im interested in how women can be everything at once.
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