A Quote by Ornette Coleman
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.'
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Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.
I always wanted to be a composer, and I sort of went in to NYU as pre-med because I just thought, 'Well... who actually becomes a composer?'
If a composer could state in words what being a composer means, he would no longer need to be a composer.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
It is always interesting and sometimes even important to have intimate knowledge of a composer's life, but it is not essential in order to understand the composer's works.
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.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
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.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
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.
It's really been enlightening for me to work with composers because I used to think that everything in the music was exactly what the composer meant. Well, it's what the composer meant in that moment when they wrote it.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
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.
Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.
I'm a geek and I'm a nerd, and I can listen into any piece of music. I think, I can usually tell you what orchestra it was, I can usually tell you what hall it was in. I can tell you, obviously who the conductor was, and who the composer was.
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.
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