A Quote by Pat Metheny

My first relationship to any kind of musical situation is as a listener. — © Pat Metheny
My first relationship to any kind of musical situation is as a listener.
I think I'm now screwed for life because my first relationship was the most bizarre relationship ever, and I'm not normal any more. I've kind of been spoiled, and I guess I am kind of screwed up now.
People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
It's hard to confront someone without knowing, [but] I think the first thing you should do in a relationship - any kind of relationship - is confront. Then, if they seem shady, maybe go for the email or the text message.
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'm not sure it's a better music world of appreciation and performance. I think the listener is a different guy, and listening is something he does in passing, with other stuff going on. There's less care and understanding of the relationship between the song and the listener.
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
I can make any kind of movies. I can put up with any kind of situation. And I can tackle them.
I feel sorry for girls getting caught up in it and still thinking they have to define themselves and their success by being in a relationship, straight women, straight girls, by being in a heterosexual relationship or being in any relationship, as if that's in any way a mark of what kind of successful human being you are.
Any musical form that has been around long enough to have cultural resonance beyond just being a cutting edge kind of communication - but, especially, when it begins to reflect on a time and reflect on a culture - is effective in a musical.
I came from the musical stage. My first show was '110 In The Shade.' I started as a ballet dancer and then sort of gravitated toward musical theater, so any time I got asked to sing or dance, it was a joy for me.
I'm not focused on radio or whether I'm going to get all the audiences... all I wanted were great songs that were universal to any listener - Black, White, Green, Yellow; any kind a age difference.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
I work in response to the limitations of any situation and in relationship to what's possible.
I've never really had a competitive relationship in any work situation.
No matter where you're at, there are always guys you don't get along with. If it's any kind of job or any kind of situation in life, there's always going to be someone that gets on your nerves, and it definitely is the case with some of the fighters.
I grew up in such a musical family, and my dad was the first chair in the Johannesburg Symphony Orchestra, and my mom was a piano teacher and a painter, so it was kind of a creative environment, and it was kind of in my DNA.
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