But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.

It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.

If we are able to get inside the music and inhabit it convincingly enough, it will cause everyone to find each other in this new psychological space. And that's most exciting.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

Being an American musician means being adventurous.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.

The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.

You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.

But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.

I can't do pieces I only admire technically. I have to feel some direct contact with them.

And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated.

Conductors are performers.

But some people will say you just did these programs. Well, yes, the programs are important and I'm proud of the programs, but mostly I'm proud of the way the San Francisco Symphony plays these programs.

Extreme volume in music very often disguises a lack of actually important content.

Earlier in my life, I performed a lot of music. Some of it because I felt it was a demonstration, or a representation of certain intellectual concepts that were very exciting and important.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.

Classical music is an unbroken living tradition that goes back over 1000 years and every one of those years has had something unique and powerful to say to us about what its like to be alive.

Classical music is a wonderful 1200 year old tradition that witnesses everything that it has meant and what it means right now to be human.

But those musics do not address the larger kind of architecture in time that classical music does whatever each one of us knows that classical music must mean.

If youre alive you have all the experience necessary to understand classical music.

And what classical music does best and must always do more is to show this kind of transformation of moods to show a very wide psychological voyage. And I think thats something that we as classical musicians have underestimated.

If you improve a teacher's self-esteem, confidence, communication skills or stress levels, you improve that teacher's overall effectiveness across the curriculum.

I'm a great believer that any tool that enhances communication has profound effects in terms of how people can learn from each other, and how they can achieve the kind of freedoms that they're interested in.

I think sex is very interesting for most people, but I'm interested in sex as a way of communication, I'm not that interested in the fantasy version of a sex scene.

Of all of our inventions for mass communication, pictures still speak the most universally understood language.

I have a very open line of communication with both my children.

I agree that it is not just the extremists who harbor bad thoughts or engage in bad acts, but they are usually the source of the polarization and try to keep education and communication of the main stream from moving forward.

Society cannot share a common communication system so long as it is split into warring factions.

Without television and mass communication, that knowledge wouldn't exist. So I think it actually has the possibility of turning people into more understanding and more empathetic people.

To effectively communicate, we must realize that we are all different in the way we perceive the world and use this understanding as a guide to our communication with others.

Any problem, big or small, within a family, always seems to start with bad communication. Someone isn't listening.

It's a fact that more people watch television and get their information that way than read books. I find new technology and new ways of communication very exciting and would like to do more in this field.

The biggest lesson I've learned by living abroad for the last four years is the importance of communication.

To listen well is as powerful a means of communication and influence as to talk well.

We know that communication must be hampered, and its form largely determined, by the unconscious but inevitable influence of a transmitting mechanism, whether that be of a merely mechanical or of a physiological character.

Our most tragic error may have been our inability to establish a rapport and a confidence with the press and television with the communication media. I don't think the press has understood me.

But despite the universality of URLs, we often forget that they're not just a handy way to address network resources. They're also valuable communication tools.

Self-expression must pass into communication for its fulfillment.

Communication works for those who work at it.

No pleasure has any savor for me without communication.