By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.

Improvisation is terribly haphazard.

Now, there are sometimes making a connection between one section and another that sometimes you do want to see the pattern because it helps you to lead into the next thing - it's a rhetorical thing, where you just see how the pattern has to go into the next thing.

The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get.

Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.

To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision.

Of all the arts, music is really the most abstract.

It doesn't necessarily mean at all that the composer plays his own works best.

A person improvising is sometimes very fortunate that just at that second things coincide.

I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.

I think there have been some periods when the writing almost became a bit of a burden.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

You write it down because finally, when it's written down you do get it out of your system somewhat.

Hopefully, I have a certain amount of what you call musical talent.

I distrust anything that you don't hear.

By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.

We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising.

But in the end, music is ultimately an aural art, pure and simple.

Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to write music, he still was guided very much by his internal hearing, by what we call your internal ear.

No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music.

By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There's no specific line, as you know.

When I was speaking about communicating, I meant that the listener - we have to reach the listener; otherwise, of course, you're writing the piece, as I say, only for the satisfaction of seeing it on the paper for yourself, and then it ends right there.

In writing music, the structure of each piece is a very important factor.

Well, no. I believe that it's not at all impossible that some of the performances that I've heard so far by some pianists may be superior to my own playing because those are two totally different acts altogether.

Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.

There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things.

I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing.

It doesnt necessarily mean at all that the composer plays his own works best.

In order to figure this artmaking stuff out, it's trial and error and experimentation, and takes some time and hard thinking. Putting work out in many forms and stages is an extension of how I see things. I feel the art process is best served when it invites comments and constructive criticism from people.

Be strong, be fearless, be beautiful. And believe that anything is possible when you have the right people there to support you.

My father was an Episcopalian minister, and I've always been comforted by the power of prayer.

Though men determine, the gods doo dispose: and oft times many things fall out betweene the cup and the lip.

The greatest thing that ever happened to me in my life was being allowed to do business in Macau and in China. I love it here. It has been the greatest single event in my commercial career. Period.

From the very beginning, when you go into Scientology your world narrows down very quickly.

The pleasure of doing good is the only one that will not wear out.

The market is incredibly inefficient and capable on rare occasions of being utterly dysfunctional. And people have a really hard time getting their brain around that fact. They want to believe that it's approximately efficient almost all the time, and it simply isn't true.

It's amazing how, over time, a person's perspective can be altered.

We have developed our own approach towards rehabilitating people, involving psychological rehabilitation, social rehab within families and of our Religious Rehabilitation Group.

You take away the handicap of obesity, and this person becomes someone else. Take a jolly fat man for instance. You talk to him, and his heart is breaking. He wants to be thin.

Hes satisfied with himself. If you have a soul you cant be satisfied.

The idea that we're going to win this war is an idea that unfortunately is just plain wrong.

I love America, but I've now got two young kids and America has changed so much since 9/11 and Bush. It's beyond Orwellian. The idea in '1984' that if you keep saying you're being attacked then you can get away with anything has come true.

Any time we are misused or used for a purpose other than what God intended us for, it's damaging.

The value of an item - in the mind of a consumer - is simply the difference between the anticipated price and the price on the tag.

Thanksgiving dinners take eighteen hours to prepare. They are consumed in twelve minutes. Half times take twelve minutes. This is not coincidence.

I'm fascinated by almost any mythology that I can get my hands on.

I could've always worked shows, clubs, Las Vegas and Atlantic City, but I was successful in business ventures, and things weren't happening in show business, so I said, 'Let me see what I can do.'