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.

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.

Art teaches nothing, except the significance of life.

The principal rule of art is to please and to move. All the other rules were created to achieve this first one.

I grew up with art from the innocent age of ten - with art, but with no sense of identity.

One does not devote one's life in art to shock an audience.

The other great development has been in photography, but that too was influenced by Conceptual art.

My art became very public.

Riding a race bike is an art - a thing that you do because you feel something inside.

The idea is, if I can't heal from my art, then how can you heal?

But in the finished art of the song the use of words has no connection with the use of words in poetry.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I don't believe in art. I believe in artists.

Art cannot be modern. Art is primordially eternal.

Without art, the crudeness of reality would make the world unbearable.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Where the spirit does not work with the hand, there is no art.

It is veneer, rouge, aestheticism, art museums, new theaters, etc. that make America impotent. The good things are football, kindness, and jazz bands.

At the University of Maryland, my first year I started off planning to major in art because I was interested in theatre design, stage design or television design.

Art is an expression of who you are. Parts that I play are my sculptures.

There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

A man who exposes himself when he is intoxicated, has not the art of getting drunk.

What motivates me in art is the ugly and beautiful nature of the truth. It has to be truthful and honest, even if it is ugly and grotesque.