Dance has been a driving force in my life for 25 years. From music videos and hip hop, to jazz and musical theater, to ballet and classic modern dance, I have had extensive exposure to a variety of techniques that inspire my own electric style.
From my music training, I knew that, some Spanish rhythms apart, 5/4 is a time signature used only in the modern era. Holst's Mars from the Planets is 5/4. But if you speak lines of poetry in that pattern you just end up hitting the off-beats. It's only when you add a rest - a sixth beat - that it sounds as it surely should sound.
From his very first works, it was clear that Henri Sauguet would bring spontaneity, romance, and a nonacademic approach back to modern music.
There is much modern music that is better adapted to a wind combination than to a string, although for obvious reasons originally scored for an orchestra. If in such cases the interpretation is equal to the composition the balance of a wind combination is more satisfying.
If anybody is interested in listening to good modern music, I would recommend Jim Fassett, 'Symphony of the Birds.' It's really beautiful... with real birds.
When you think 'Peaky Blinders,' when it first began it got mixed reviews and people didn't know what to do with it, and it was like: 'Why is there modern music on this?' So I think whenever you do something different you're going to get that response.
The danger in having modern music tied to a period piece is that hearing something may take you out of the moment.
There's the way modern music is produced, which is, 'Here's a piece of music, and I'm the producer, so pay me and make sure my credit is right and get me my splits.' But I'm trying to go backward. Now, it's more like 'What's the texture? What's the over-arching story?' There are more things to pay attention to than 'Is this the right snare?'
But I can't really say there is too much modern music that I'm blown away by at this moment.
That's what so sad about a lot of modern music, in my opinion, so many young bands never stay around long enough to fulfill their ultimate promise. They only get halfway there or a quarter of the way there.
The academic area of new music or modern music festivals is not something which attracts me at all.
I did not want to be somebody who lived off his reputation. I wanted to continue to be part of the modern music scene.
I think people should be able to have at their behest, like, four hours of music, entertainment, visual knowledge, different pathways. That's what I'm trying to do with modern technology, not just another song and another song.
Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.
I wanted to modernize music, but more than that, to completely modernize people's attitudes towards life in general.
Being from Canada, we’re in a unique position to fund the music and then, because we own the masters, reinvest the profits,” he explains. “I live still very modestly and I spend a lot of time living at my managers’ houses. We all believed in it, but I’ve had a lot of help.
I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.
The game Rock Band has been haunting me like a bad ring tone. It gets stuck in my head and momentarily effaces all that I love about music.
I feel like vocals are to music what portraits are to painting. They're the humanity. Landscapes are good and fine, but at the end of the day everyone loves the Mona Lisa.
The more I travel around the world, the more I see people want the same thing - to be happy. We wouldn't be in a monetary system if we didn't have to work, so if my music can contribute to happiness, then that's my main responsibility.
