In a broader sense, the rhythms of nature, large and small - the sounds of wind and water, the sounds of birds and insects - must inevitably find their analogues in music.
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.
I am optimistic about the future of music.
Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system.
The advent of electronically synthesized sound after World War II has unquestionably had enormous influence on music in general.
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.
Perhaps many of the perplexing problems of the new music could be put into a new light if we were to reintroduce the ancient idea of music being a reflection of nature.
If we look at music history closely, it is not difficult to isolate certain elements of great potency which were to nourish the art of music for decades, if not centuries.
The future will be the child of the past and the present, even if a rebellious child.
As interesting as that music can occasionally be, I don't think it really replaces the other.
Writing seems to be more difficult as you move through the years.
I have observed, too, that the people of the many countries that I have visited are showing an ever increasing interest in the classical and traditional music of their own cultures.
Unquestionably, our contemporary world of music is far richer, in a sense, than earlier periods, due to the historical and geographical extensions of culture to which I have referred.
I frequently hear our present period described as uncertain, confused, chaotic.
It is easy to write unthinking music.
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