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

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.

So begins a question which has of late become more and more urgent: what is the relation of aesthetics to politics?

At one of the annual conventions of the American Society for Aesthetics much confusion arose when the Society for Anesthetics met at the same time in the same hotel.

The film's dramatic requirements should always take precedence over the mere aesthetics of editing.

This required the development of a view which allowed one to integrate research with belief, thing with person, fact with aesthetics, knowledge with application of knowledge.

I like the aesthetics of the Church.

When applied to politics and taken to its extreme, kitsch is the mask of death. Fascism was all aesthetics. There was no core principle to it. There was no truth to it.

Art is an invention of aesthetics, which in turn is an invention of philosophers... What we call art is a game.

Leonardo Da Vinci combined art and science and aesthetics and engineering, that kind of unity is needed once again.

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

Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.

There's no particular evidence that any of the lower mammals or any of the other animals have any interest in aesthetics at all. But Homo sapiens does, always has and always will.

There's only so much you can do until you get on set and see the aesthetics of what you're dealing with. Then you see what the other players are giving to you. It's all about the transfer of energy between different actors.

The course hitherto pursued in musical aesthetics has nearly always been hampered by the false assumption that the object was not so much to inquire into what is beautiful in music as to describe the feelings which music awakens.

Well, I've always been interested in approaching a big city in a train, and I can't exactly describe the sensations, but they're entirely human and perhaps have nothing to do with aesthetics.

Let architects sing of aesthetics that bring Rich clients in hordes to their knees; Just give me a home, in a great circle dome Where stresses and strains are at ease.

Buildings designed with careful attention to aesthetics arouse and enlighten their occupants and that promotes their good health.

Nothing is beautiful, only man: on this piece of naivete rests all aesthetics, it is the first truth of aesthetics. Let us immediately add its second: nothing is ugly but degenerate man - the domain of aesthetic judgment is therewith defined.

Don't talk to me about aesthetics or tradition. Talk to me about what sells and what's good right now. And what the American people like is to think the underdog still has a chance.

I've handled colour as a man should behave. You may conclude that I consider ethics and aesthetics as one.