A Quote by Ravi Shankar

In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.
I grew up mostly in Champaign, Illinois. My dad was at the University of East Illinois, so I was always around the music. One of my dad's buddies was the avant-garde composer John Cage, so I picked up on that weird classical and eclectic music.
I am, it seems, an avant-garde dramatist. It would even seem obvious since I am present here at discussions on the avant-garde theatre. It is all entirely official. But what does the term avant-garde mean?
The only outlet in mainstream culture for classical and more experimental music to be heard is through movie soundtracks, and they're such a wonderful display of emotion. I think the guy that did that best is Stanley Kubrick, working with Wendy Carlos who is an electronic composer.
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.
If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
Love is the keynote, Joy is the music, Knowledge is the performer, the Infinite All is the composer and audience.
He's not a performer, he's not a composer, he's not even a musician, but Norman Granz is Mr. Jazz.
I believe that classical music comes through listening and practice, and it can be fun both for the singer or performer and the listener or audience, as long as the performer is taught to recognise the pulse of the audience.
I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.
If I belong to a tradition it is a tradition that makes the masterpiece tell the performer what he should do and not the performer telling the piece what it should be like, or the composer what he ought to have composed.
The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the composer, and with God.
I always felt of myself as a composer, performer, improviser. I've never called myself a jazz man. I make art.
I love listening to things like those wonderful piano pieces of Stockhausen. It's just not my thing as a composer or performer, and thank goodness we're not obliged to be Modernist any more.
Once I tried to find myself as a musician and a composer, I went back and saw that there was something special about Puerto Rican music. I knew that before, but had never sat down and thought about it. The more I learned about it, the more it found its way into the music I was writing.
I'm a composer, music director, singer and performer. So it is a Bollywood rule that people don't know who has sung a song and whether your voice will be chosen.
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