Brian Eno Quotes
When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That's one of the great feelings - to stop being me for a little while and to become us. That way lies empathy, the great social virtue.
When our governments want to sell us a course of action, they do it by making sure it's the only thing on the agenda, the only thing everyone's talking about. And they pre-load the ensuing discussion with highly selected images, devious and prejudicial language, dubious linkages, weak or false 'intelligence' and selected 'leaks.'
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture.
The lyrics are constructed as empirically as the music. I don't set out to say anything very important.
The basis of computer work is predicated on the idea that only the brain makes decisions and only the index finger does the work.
Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
People tend to play in their comfort zone, so the best things are achieved in a state of surprise, actually.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
One of the things you're doing when you make art, apart from entertaining yourself and other people, is trying to see what ways of working feel good, what feels right.
Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'
In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.