I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Writing seems to be more difficult as you move through the years.

The future will be the child of the past and the present, even if a rebellious child.

I frequently hear our present period described as uncertain, confused, chaotic.

Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.

Most of my influences are turn-of-the-century.

The development of new instrumental and vocal idioms has been one of the remarkable phenomena of recent music.

Perhaps two million years ago the creatures of a planet in some remote galaxy faced a musical crisis similar to that which we earthly composers face today.

It is easy to write unthinking music.

I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.

I pick up the New York Times or Time and it's talking about the latest rock group, which I'm sure is exciting to some people, but it neglects a huge area of music.

Nonetheless, I sense that it will be the task of the future to somehow synthesize the sheer diversity of our present resources into a more organic and well-ordered procedure.

I have observed, too, that the people of the many countries that I have visited are showing an ever increasing interest in the classical and traditional music of their own cultures.

If we look at music history closely, it is not difficult to isolate certain elements of great potency which were to nourish the art of music for decades, if not centuries.

I think we're in a very low point of music right now.

In a broader sense, the rhythms of nature, large and small - the sounds of wind and water, the sounds of birds and insects - must inevitably find their analogues in music.

The retrospective glance is a relatively easy gesture for us to make.

The advent of electronically synthesized sound after World War II has unquestionably had enormous influence on music in general.

I must confess, my Spanish is not so good - except I read a little, so I started with the English but then determined that it would have to be in Spanish.

As interesting as that music can occasionally be, I don't think it really replaces the other.

This is not a happy time for this kind of music in this country.

I am optimistic about the future of music.

Unquestionably, our contemporary world of music is far richer, in a sense, than earlier periods, due to the historical and geographical extensions of culture to which I have referred.

Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system.

Perhaps many of the perplexing problems of the new music could be put into a new light if we were to reintroduce the ancient idea of music being a reflection of nature.

The rhythms of nature - the sounds of wind and water, the sounds of birds and insects - must inevitably find their analogues in music.

The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.

I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Composers should write tunes that chauffeurs and errand boys can whistle.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.

Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.

There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me a reactionary.

The composers could no longer direct all performances in person, and so the responsibility of interpreting their works in the spirit in which they had been conceived was placed upon conductors.

Composers are not all good conductors.

Nobody can give a good performance unless the authors and composers have written a good part, a fact which is often overlooked.