When a composer feels a responsibility to make, rather than accept, he eliminates from the area of possibility all events that do not suggest that at that point in time vogue of profundity, for he takes himself seriously, wishes to be considered great, and he thereby diminishes his love and increases his fear and concern about what people will think.

If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.

The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.

The world is teeming; anything can happen.

Which is more musical, a truck passing by a factory or a truck passing by a music school?Are the people inside the school musical and the ones outside unmusical?What if the ones inside can't hear very well, would that change my question?

nothing is accomplished by writing a piece of musicnothing is accomplished by hearing a piece of musicnothing is accomplished by playing a piece of musicour ears are now in excellent condition.

Her playing which had been superb became merely correct. It was necessary to suggest a certain sloppiness, the playing of something that hadn't been written. Computer-made music-synthesized Blue Moon- presented same problem. Random elements introduced.

So somebody has talent? So what? Dime a dozen. And we're overpopulated. Actually we have more food than we have people and more art. We've gotten to the point of burning food. When will we begin to burn our art?

I needed another basis for musical structure. This I found in sound's duration parameter, sound's only parameter which is present even when no sound is intended.