Well when I was young, when I was very young, when I was a little boy I don't remember the music I heard, but there was an article in the Brooklyn Daily written by my Aunt about how I could choose phonograph records.

Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My entire life has really revolved around music that was written about the time that I was born, 1908, to just before the First World War and shortly after it. This music I've always known, and it is that music that's most important to me.

Silences between movements are employed only in order to bring the opposing duo to the fore.

Right at the end of the war I wrote a piano sonata, which was written at a time when Sam Barber used to come down here and we used to have lunch together in a very nice old hotel that's now not there.

That was one of the big problems when I was at Harvard studying music. We had to write choral pieces in the style of Brahms or Mendelssohn, which was distressing because in the end you realized how good Brahms is, and how bad you are.

Almost every one of my various zero numbered birthdays has had a big concert in London and often in Paris.

I've known those pieces ever since I was about 16 or 17; I also at that time was taken to meet Charles Ives whom I got to know fairly well. He was the one who wrote a recommendation for me to get into college.

It was only later on that I became more interested in older music.

When I was in Paris, all of the German refugees began to flow in and it was a very sad time.

Talking about a materialistic thing, I get about 13 times more royalties from Europe than I do from America.

These wealthy people were very interested in contemporary music. They wanted to help diffuse it and get it to be known to other people.

The Quartets have been a major part of my work.

I mean the public likes it more in Europe than they do here because the state supported organizations have felt that playing contemporary music was part of the education of the public.

Then, when the Depression came, all of this changed completely. Since that time, the entire public is of a very different sort and there was not so much support for contemporary music in a direct way.

Well I tried to, but I could never write anything that I liked or was worthwhile. I threw it all out and realized that I had to make a serious study- that my tastes were far more advanced than my abilities.

In any case, Ives encouraged me to go into music even though he himself had such a hard time being a composer.

An auditory scenario for the players to act out with their instruments.

Why write for the orchestra? For one thing it's a very challenging problem.

Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.

Well when I was young, when I was very young, when I was a little boy I don't remember the music I heard, but there was an article in the Brooklyn Daily written by my Aunt about how I could choose phonograph records.

The Third Quartet I made the instruments in pairs - Two different pairs - Violin and viola, and violin and cello. They played very different things from each other all through the whole piece.

When you use music to worship you are not attempting to entertain.

Pop music, disco music, and heavy metal music is about shutting out the tensions of life, putting it away.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

You've got to realize. In the western world, regardless of what color you are, what title the music is, it's all played by the same notes.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

Whether I'm doing music or I'm walking down the street or I'm in a record store buying a record or I walk into a comic store and I'm buying comics or having a drink with my friends, it's the same me.

When rock came along the lyrics and melodies became less important and it bothered me to think that perhaps they might not regain the value they have to music - they are music.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

There is no music that can't be used politically, but the motives behind the creation of that music can be non-political.

The kind of music or the kind of arrangements that I do, the kind of musicians I choose, is just what I like to hear.

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Since I'm allergic to various things, the army wouldn't accept me during the war, and I got into the Office of War Information, which sent music to Europe.

My singing is my hobby. It's me and my brother. We just enjoy writing music.

I was determined to carve out a music of my own. I didn't want to copy anybody.

I have tried to make the music a bit easier for them to understand.

What makes my approach special is that I do different things. I do jazz, blues, country music and so forth. I do them all, like a good utility man.

That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

My big love was the Beatles. I was more into music.

When we started making electronic music I imagined that the reaction we got from the rock musicians must have been similar to the one the beat groups got from people like my dad.

Uhm, I'm the one wanting the lessons! I don't want to say too much about it because I'd rather have you see the movie, but he's trying to find his music.

The value of music is to be able to play one note at the right time in the right way.

Younger players in this music often turn out to be middle aged; it is not a young music.

There's an inherent thing in me where, if things are going too smooth, I'll sabotage the hell out of them, just to make the music more of a sanctuary.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

We used to listen to all the marvelous operas on records. Music was a very important part of our lives.