All Quotes

"On the Town"

"On the Verge"

"Once on this Island"

"Paint Your Wagon"

"The Pajama Game"

"Perestroika (2nd part of Angels in America)"

"The Phantom of the Opera"

"Pipe Dream"

"The Play That Went Wrong"

"Porgy and Bess"

"Pretty Woman (musical)"

"Priscilla Queen of the Desert"

"The Producers"

"Promises, Promises"

"Queen o' Hearts"

"Ride the Cyclone"

"Spongebob Squarepants the musical"

"Spring Awakening"

"Starlight Express"

"State Fair"

"Steel Magnolias"

"Steel Pier"

"Stop The World - I Want to Get Off!"

"Streetcar Named Desire, A"

"Strike Up the Band"

"Sunday in the Park with George"

"Sunset Boulevard"

"Sweeney Todd"

"Sweet Charity"

""Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception." Quoted in Classic Essays on Twentieth-Century Music, ."

""We have all been affected as composers, as teachers, as musicians by recordings to an extent that cannot possibly be calculated as yet or predicted for the future. The music which is being most widely disseminated and most widely discussed, and therefore most widely imitated and influential, is that music which is available on records. The music that is only published is very little known. I don't think one can possibly exaggerate the extent to which the climate of music today is determined by the fact that the total Webern is available on records, that the total Schoenberg is becoming available." Quoted in Classic Essays on Twentieth-Century Music, ."

"Naturally, since I am not concerned with normative allegations, I cannot be concerned here with the invocation of the overtone series as a 'natural' phenomenon, and that application of equivocation which then would label as 'un-natural' (in the sense, it would appear, of morally perverse) music which is not 'founded' on it. Now, what music, in what sense, ever had been founded on it?"

""The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”"

"This compositional variety is mediated by a highly redundant set structure, a second-order all-combinatorial set; each set form is hexachordally equivalent to or totally disjunct from fifteen other set forms, so that one-third of all the available set forms belong to a collection of sets which are hexachordally aggregate forming, that is, hexachordally identical."

"I don’t understand any music! I feel it. I want them to feel something! I don’t want them to understand it. If I wanted them to understand exactly what I meant, I can write an essay! I’ve written a lot of speeches and essays and articles and everything else, but I don’t want that! I don’t want a particular thing; I want them to let themselves go and feel something they’ve never felt before. That’s all. That’s what a concert is — not a pleasurable experience; it is an experience of life-changing dimensions!"

"For me, the most important thing is the element of chance that is built into a live performance. The very great drawback of recorded sound is the fact that it is always the same. No matter how wonderful a recording is, I know that I couldn't live with it -- even of my own music -- with the same nuances forever."

"What is called music today is all too often only a disguise for the monologue of power. However, and this is the supreme irony of it all, never before have musicians tried so hard to communicate with their audience, and never before has that communication been so deceiving. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector."

"The depopulation plan behind Covid goes back at least to the 1970’s when Jacques Attali, still today a key adviser to the French government, said in a public interview, “Useless eaters are good for the slaughter-house.” Hence the dangerous and deadly “vaccinations.”"

"Maybe that's what life is... a wink of the eye and winking stars."

"All of life is a foreign country."

"I want to work in revelations, not just spin silly tales for money. I want to fish as deep down as possible into my own subconscious in the belief that once that far down, everyone will understand because they are the same that far down."

"I hope it is true that a man can die and yet not only live in others but give them life, and not only life but that great consciousness of life."

"Write in recollection and amazement for yourself"

"Accept loss forever"

"Believe in the holy contour of life"

"Be in love with your life every detail of it"

"We should be wondering tonight, "Is there a world?" But I could go and talk on 5, 10, 20 minutes about is there a world, because there is really no world, cause sometimes I'm walkin' on the ground and I see right through the ground. And there is no world. And you'll find out."

"Who knows, my God, but that the universe is not one vast sea of compassion actually, the veritable holy honey, beneath all this show of personality and cruelty?"

"Listen to the silence inside the illusion of the world"

"John Clellon Holmes ... and I were sitting around trying to think up the meaning of the Lost Generation and the subsequent Existentialism and I said, 'You know, this is really a beat generation' and he leapt up and said 'That's it, that's right!'"