I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.
There's more to music than just words over tracks.
I sometimes think a movement as rich and wild and incredible as Tropicalismo wouldn't have survived without incredibly catchy music.
I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.
I like writing for individuals with really rich musical personalities.
The music that I make is built on layers upon layers of musical ideas. I want to keep it fun and fresh to where listeners won't get everything from just one listen. They can go back to it months, weeks, or even years later and hear something that they didn't ever hear before. That's what it's all about.
Music is open-minded and has always travelled, every country takes something from another, and that's what makes the richness of music.
There's so many great songs already written, it's kind of really wonderful you don't have to write your own.
There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.
There's nothing I really wanted to record more than Bach. It's wonderful music. It's - on a grand scale, there's a lot to it. There are - I can work on it for a long time and keep discovering more things, you know, that surprise me every time.
There are so many ingredients that are contained in 'The Wall' that were not necessarily contained in other Pink Floyd records, particularly following on from 'Animals,' which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.
The rhythm, the sounds, the tonality, the chord sequences, the individual effect of each instrument and each section of the band - I'm talking about a whole continent in my music.
Each culture has some knowledge. That's why I studied with Saj Dev, an Indian flute player. That's why I studied Stockhausen's music. The pygmies' music of the rain forest is very rich music. So the knowledge is out there. And I also believe one should seek knowledge from the cradle to the grave. With that kind of inquisitiveness, one discovers things that were unknown before.
Music contains a whole gamut of experience, from sensuous elements to ultimate intellectual harmonies.
I never feel that my music is sparse or minimalist; the way fat people never really think they're fat. I certainly don't consider myself minimalist at all.
The sound of tap is not 'clickety clickety tap tap,' this monotone thing. The sound of tap has depth. We want you to hear the different highs and lows, the bass, the trebles and the melodies, if you can.
We are rich in the quantity of songs rather than in the quality. The singer has to go through hundreds of compositions before he finds one that really says something.
Depth on different levels is so important to me. You look at a band like The Beatles, all their material has so much depth to it. And I want people to be able to run away with my melodies and get lost in them and take the lyrics and be able to relate to them.
I love soul. But I love a tune that has some meat in it. Something I could hang my hat on. Because music is universal.
Music is an ocean, but the repertory is hardly even a lake; it is a pond.
I would say 'Home' is a lot richer and deeper than my earlier classical.
