I feel that I belong to the 19th century. Some composers' music is very topical. It almost says, 'This is about what I read in newspapers yesterday.' Not mine.

I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.

I'm a terrible singer, but it helps when I have to call a taxi.

I don't think events in your life affect your music.

My music is all about an idealistic human personality. I have 19th-century ideals.

If you have more money than you need, you have to give it away. It's a duty. I get to choose whom to sponsor, and I like to give to the areas that I know something about.

I want to make the world better.

Nicolette, Kendalle, and Alexandra are my children. Their mother, Cynthia Beck, and I, love them very much.

I see only adaptations - not revolutions.

My father was so much more than an accomplished businessman.

Both parents were very encouraging - especially my father. My father thought the sun rose and set with me. Neither one had a musical background or any musical talent. They liked classical music, but neither could carry a tune.

I do not think that music keeps evolving. It evolved through Bach; since then, in my humble opinion, all the innovations added nothing.

I've had every advantage in the world, despite the 18 years of silence which were nobody's fault but mine.

I've managed to dodge the curse. Not all my family have. Of course, music helped me - music is all about civilization, about something worthwhile. It's all about ideas.

The Getty family has been fully supportive throughout this situation, and for that, I am very grateful.

It's true that I tend to daydream. I'm the same person in business as I am in music: I can be distracted and absentminded. It's my style.

Either your understanding of the meaning of music is there from the beginning or it is not.

When my opera Plump Jack was performed in 1989, my first piano teacher sent me something that I'd composed when I was four. I remember I played it, and it still sounded like me. I'm the same composer I was then.

I personally do not write highbrow music. If I do, it's by accident.

I feel that I belong to the 19th century. Some composers' music is very topical. It almost says, 'This is about what I read in newspapers yesterday.' Not mine.

There is no change - I'm as deep or as shallow as I ever was. What's new is on-the-job experience. This is what you gain with years.

I just have to take my chances like any other composer.

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.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

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.

Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.

We teach young kids from 8 to 14 or 15 about their musical heritage through great songs written by American songwriters. We don't do too many modern composers, although we include songs from Billy Joel and other writers like him.

Then I started listenin' a lot to classical composers. Piano works. Just to see what they were doin'. That sort of put me in a different groove to try to blend all that in.