Top 1200 Experimental Music Quotes & Sayings

I owe a lot to my parents, because they kept no genre off limits. Music was always playing in the house. They never told me to be quiet, turn the music down or anything like that. So I felt pretty free and experimental as a kid to kind of figure out my own voice.

Well, I think music for kids is never anything but experimental is it?

I feel just as passionately about experimental electronic music as I do about folk music.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.

When I went to university in Colorado, I was encouraged to write very innovative, experimental things, and some of the short stories in 'Bearded Ladies' are a little bit experimental.

I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.

I was a big fan of Middle Eastern elements of music and experimental electronic and tribal sounds.

Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.

With the aid of these active experimental sciences man becomes an inventor of phenomena, a real foreman of creation; and under this head we cannot set limits to the power that he may gain over nature through future progress of the experimental sciences.

In the last few years I've been listening to jazz more than anything else. I listen to a lot of world music and experimental here and there.

I'm trying to get every man involved in art, into experimental music, or painting, or novel-writing.

I really liked punk music and experimental music that my brother was taking me to go see in the city, when I was probably, like, 13 years old. I was seeing a lot of teenagers making 'weird' music, and I think that was probably a big part of the reason that I actually started to play myself.

Whenever a man acts purposively, he acts under a belief in some experimental phenomenon. Consequently, the sum of the experimental phenomena that a proposition implies makes up its entire bearing upon human conduct.

There are a lot of experimental novels that test the boundaries of what the novel is, and 'Conversations' is not one of those. It's conventional in its structure, even though its prose style and the themes it explores and the politics that underpin it, maybe, are on the experimental side. Its basic structure is pretty conventional.

My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.

Prince turned experimental music into pop music. 'When Doves Cry,' the whole 'Purple Rain' soundtrack - he was inspired by the Cocteau Twins and new wave pop and brought it into R&B when he first started, and then it became this cool, next-level, kind of hard-to-digest music. Which is what I felt 'House of Balloons' was.

I don't really write music in the traditional sense of chorus, verse. It's more experimental sounding. The process comes from an experimentation with noise.

You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."

You're always as a musician trying to shock yourself or create music that's maybe even too weird for your own taste. In my case it's kind of weird because I started out being known more for ambient things and ambiguous music, but what's experimental for me is the more traditional structure. For me, experimenting involves traditionalism.

I think I'm still trying to be experimental on everything I ever do, but it's not as obviously way-out and experimental as what we were.

The way I approach things is from an experimental folk music standpoint. I was obsessed with the Beatles as a kid.

I really dislike when people talk about "experimental," because any good writer is experimental. As a writer, you don't know what the hell you're doing. You're just doing it. You hope it works out well. I've been experimenting with these things myself in my own books.

I'm totally up for experimental music. I'm up for music that they don't play on the radio, and I take in all of it. But my thing, the thing that comes most natural to me, is making the stuff that has a melody; it has a soul to it, yet it's head music.

I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.

In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.

Traditional songwriting, to us, is where the experimental nature comes in. We're all involved with so much outside activity with really hardcore, experimental music-making.

My intentions with any of my music is to keep it futuristic and updated and be experimental and try new things.

Post-minimalism implies music that's genre-less. Minimalism was very important because it came at a time when contemporary music had become so complex, so experimental and detached that people turned away from it. Minimalism broke that trend and brought music back to the people.

I liked rock music going back to the '60s, but I never ever had any desire to be a rock musician and when I started doing a band it was experimental music.

We need to welcome the experimental creativity that is always searching out new ways of singing the Gospel, and banish the fear that grips us when familiar music passes away.

I wanted to make experimental music out of pop.

I wanted to create a bridge between experimental music and pop.

Make music from your heart, even if it's experimental or not really common, try it out, it can only get you more recognized.

My study is NOT as a climatologist, but from a completely different perspective in which I am an expert … For decades, as a professional experimental test engineer, I have analyzed experimental data and watched others massage and present data. I became a cynic; My conclusion - 'if someone is aggressively selling a technical product who's merits are dependent on complex experimental data, he is likely lying'. That is true whether the product is an airplane or a Carbon Credit.

There's a lot for us to achieve and a lot more music to explore. I'm not saying we want to start doing experimental prog or something, where it turns into elevator music after a few records, but I don't think we've even scratched the surface.

When I started Fool's Gold and producing consistent records that were like electro beats with rapping on it that was experimental and weird. I made a mixtape called Dirty South Dance where I put rap vocals over dance music. That was literally an experiment. Now all these rappers are rapping on dance music. This is something I've been trying to build for a while.

In many ways I'm an experimental and new music composer that comes from a rural tradition rather than an urban one.

I'm a fan of 20th century orchestral music, the experimental avant-garde composers of the '50s, '60s, and '70s. In horror movies you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie all of a sudden it becomes incredibly accessible and appreciated.

I feel like the music I'm doing is very experimental and very radical.

A person doing experimental music must be responsible for the results of the experiments. They could be very dangerous emotionally.

In college, I interned at a production company and spent a lot of time on sets. I love music videos and felt I could be experimental and hone my craft in that genre, so I started there.

I think I was the only person in my experimental film class doing comedy. But my sense of humor and a lot of comedy that I love is quite surreal and strange, you know? You could argue that 'Monty Python' is experimental film. It just happens to be really funny.

There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.

I am not doing something that it is experimental music in relation to classical music.

Yeah, I always listen to both classic and newer folk-influenced music. Singer-songwriter, alternative music. I also listen to more experimental dance music.

I think everything's experimental whether you like it or not. I think that people who do generic pop are experimenting with cliches. It's no less than I am experimenting with noise or unknown music - until you say, 'This is my song, or this is my composition' - it's all experimental, whether you like it or not.

There was a time when pop music and rock music were really reaching for the stars and were not ashamed to be experimental. You think of a song like 'Shout' by Tears for Fears. That's a massive global No. 1 hit, and yet the subject matter is very dark.

If the experimental physicist has already done a great deal of work in this field, nevertheless the theoretical physicist has still hardly begun to evaluate the experimental material which may lead him to conclusions about the structure of the atom.

I come from a background of experimental music which mingled real sounds together with musical sounds.

I really dislike it when people talk about "experimental," because any good writer is experimental.

I made experimental commercials in the experimental division of a production house, Film X, that made commercials for ad agencies.

Alchemy is one of the good quote-unquote south-Asian experiences in that it has a wide variety of classical to experimental music.

Usually people like experimental music which is usually not the case in Carnatic classical concerts.

Even experimental composers, revolutionary composers, self-styled radicals are, in writing revolutionary music, recognizing the music that preceded them precisely by trying to avoid it.

I think my music is experimental, playful, challenging, focused, fun. I don't want it to be thought of as trying to appeal to a certain type of person or being very cerebral.

Ironically, my tastes aren't that experimental, and I wouldn't describe my music on the surface as being overtly experimental, either.

Experimental music scores are enigmatic, opaque, demanding, irritating, humorous, childlike; the best, like Cardew's Treatise, are also inspiring, giving rise, on occasion, to a music of vitality, intelligence and elegance.

The success of 'Dhruva' has given me more satisfaction than any of my previous hits, simply because the audience accepted the film even though it was experimental. I really hope this kind of acceptance makes experimental cinema the new mainstream cinema.

The way I approach things is from an experimental folk music standpoint.

I'm into a lot of different types of music - pretty much everything from blue grass to jazz to dub step to metal to indie experimental and progressive.