A Quote by Philip Glass
I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.
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There is something false in this search for a purely feminine writing style. Language, such as it is, is inherited from a masculine society, and it contains many male prejudices. We must rid language of all that. Still, a language is not something created artificially; the proletariat can't use a different language from the bourgeoisie, even if they use it differently, even if from time to time they invent something, technical words or even a kind of worker's slang, which can be very beautiful and very rich. Women can do that as well, enrich their language, clean it up.
Most of the dramatism in Wagner comes from a very close link between the music and the language of the text. So much of the expressivity of Wagner's music dramas comes from the singers' capacity to play with the sound of the language. This kind of thing you can do very well in concert performance.
We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
Music is one whole force. And I think the Proms have always represented very clearly that music is a universal language, one that everyone can speak. I've just followed my goosebumps in every direction and have found a recipe for what my music feels and sounds like.
Poems have a different music from ordinary language, and every poem has a different kind of music of necessity, and that's, in a way, the hardest thing about writing poetry is waiting for that music, and sometimes you never know if it's going to come.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Linguistic philosophers continue to argue that probably music is not a language, that is in the philosophical debate. Another point of view is to say that music is a very profound language.
I was able to learn a new language - a new musical language is learning a new language, because it's so extremely different from Western classical music. African music is completely different.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
I love vocal music, but I've had a hard time understanding myself through the English language. So it just seemed to me that if I relied solely on creating a voice out of the music, then I might be able to reach something more profound.
When I was younger, I was able to write with music playing in the background, but these days, I can't. I find it distracting. Even when the music is just instrumental or has lyrics in a language I don't understand, the clash between the voices in my head and the song can be very disorienting.
I just have a connection with sign language. I always thought the deaf community was a different community to be a part of. In high school, me and my friend took sign language.
I take music very seriously, but it's important to me that my music is - I don't know if 'intuitive' is the word, but there's a really important element of something kind of mysterious. It's not academic or esoteric.
I'm not an academic; I'm not an archaeologist. I'm a writer, communicating ideas to the public. There is a model of how the past is, and a lot of academic archaeology is about refining the model. It's not about changing the model radically. I'm not aware of any current which is about radically changing the model. It's just me, really.
I'm chasing a kind of language that can be unburdened by people's expectations. I think music is the primary model-how close can you get this language to be like music and communicate feeling at the base level in the same way a composition with no words communicates meaning? It might be impossible. Language is always burdened by thought. I'm just trying to get it so it can be like feeling.
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