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.
I love the simplicity of the Cube because it's a very clear geometrical shape, and I love geometry because it's the study of how the whole universe is structured.
I'm not interested in possible complexities. I regard song structure as a graph paper.
Where can we find greater structural clarity than in the wooden buildings of the old. Where else can we find such unity of material, construction and form? Here the wisdom of whole generations is stored. What feelings for material and what power of expression there is in these buildings! What warmth and beauty they have! They seem to be echoes of old songs.
Try making a poem as if it were a table, clear and solid, standing there outside you.
Where can we find greater structural clarity than in the wooden buildings of old? Where else can we find such unity of material, construction and form? here, the wisdom of whole generations is stored.
My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.
The absurd consequences of neglecting structure but using the concept of order just the same are evident if one examines the present terminology of information theory.
The piano is the X factor. People have a tough time following the structures when there's no piano there, spelling it out. It makes it more easily understood, particularly to people who don't know as much about music.
To me, part of the beauty of a comma is that it offers a rest, like one in music: a break that gives the whole piece of music greater shape, deeper harmony. It allows us to catch our breath.
