Hej! Mit navn er Pex!

Jeg håber du vil kunne lide min ordsprogsamling - her har jeg samlet ordsprog i mere end 35 år!
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37 ordspråk av George Crumb

George Crumb

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One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

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.

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.

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.

Perhaps of all the most basic elements of music, rhythm most directly affects our central nervous system.

The future will be the child of the past and the present, even if a rebellious child.

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.

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.

Writing seems to be more difficult as you move through the years.

In general, I feel that the more rationalistic approaches to pitch-organization, including specifically serial technique, have given way, largely, to a more intuitive approach.

An interesting practice in music since the atonal period of the Viennese composers has been the widespread use of a few tiny pitch cells.

Although we must be impressed by the enormous accruement of new elements of vocabulary in the areas of pitch, rhythm, timbre, and so forth, I sense at the same time the loss of a majestic unifying principle in much of our recent music.

Nonetheless, I sense that it will be the task of the future to somehow synthesize the sheer diversity of our present resources into a more organic and well-ordered procedure.

I think we're in a very low point of music right now.

Apart from these broader cultural influences which contribute to the shaping of our contemporary musical psyche, we also have to take into account the rather bewildering legacy of the earlier twentieth-century composers in the matter of compositional technique and procedure.

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