“Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work.”

— Jon Appleton

"The Decline of Academic Freedom at Dartmouth College", 20 October 2005.
Letter published in "Appleton Leaves Dartmouth", 2005

Adopted from Wikiquote. Last update Sept. 14, 2021. History

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Jon Appleton4

American composer 1939

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“Working to timings and synchronising your musical thoughts with the film can be stimulating rather than restrictive. Scoring is a limitation but like any limitation is can be made to work for you. Verdi, except for a handful of pieces, worked best when he was 'turned on' by a libretto. The most difficult problem in music is form, and in a film you already have this problem solved for you. You are presented with a basic structure, a blueprint, and provided the film has been well put together, well edited, it often suggests its own rhythms and tempo. The quality of the music is strictly up to the composer. Many people seem to assume that because film music serves the visual it must be something of secondary value. Well, the function of any art is to serve a purpose in society. For many years, music and painting served religion. The thing to bear in mind is that film is the youngest of the arts, and that scoring is the youngest of the music arts. We have a great deal of development ahead of us.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

“Computers and music are converging in a new era of digital Renaissance as more and more musicians such as will. i. am are learning how to code while an increasing number of software programmers are learning how to play music.”

Newton Lee American computer scientist

Digital Da Vinci: Computers in Music, 2014

“Most people have music in the center of their lives. I believe my work sheds light on how music affects us and why it is so influential.”

Susan McClary (1946) American musicologist

from http://web.archive.org/20030225083736/www.ucla.edu/spotlight/archive/html_2001_2002/fac0502_mcclalry.html

“Nature herself, indeed, seems to have given music to us as a benefit, to enable us to endure labors with greater facility, for musical sounds cheer even the rower; and it is not only in those works in which the efforts of many, while some pleasing voice leads them, conspire together that music is of avail, but the toil even of people at work by themselves finds itself soothed by song, however rude.”

Quintilian (35–96) ancient Roman rhetor

H. E. Butler's translation:
Indeed nature itself seems to have given music as a boon to men to lighten the strain of labour: even the rower in the galleys is cheered to effort by song. Nor is this function of music confined to cases where the efforts of a number are given union by the sound of some sweet voice that sets the tune, but even solitary workers find solace at their toil in artless song.
Book I, Chapter X, 16
De Institutione Oratoria (c. 95 AD)
Original: (la) Atque eam natura ipsa videtur ad tolerandos facilius labores velut muneri nobis dedisse, si quidem et remigem cantus hortatur; nec solum in iis operibus in quibus plurium conatus praeeunte aliqua iucunda voce conspirat, sed etiam singulorum fatigatio quamlibet se rudi modulatione solatur.

“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.”

Milton Babbitt (1916–2011) American composer

Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

“Good ideas are infinitely available. We've just limited our availablitly to them. The music's not in the radio.”

David Allen (1945) American productivity consultant and author

3 December 2009 https://twitter.com/gtdguy/status/6297004027 <br class="br"> Official Twitter profile (@gtdguy) https://twitter.com/gtdguy

“Concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art.”

Frédéric Chopin (1810–1849) Polish composer

Said to one of his students, according to "Chopin: Pianist and Teacher: As Seen by His Pupils" by Jean-Jacques Eigeldinger

“Remember that the style of music that is popular right now might not be popular by the time you have learned to master that music style. So always stay true to yourself and the kind of music you enjoy listening to and working on.”

Jesper Kyd (1972) musician

citation needed

“My favorite aspect about horror music is you can literally write anything you want. You are limited only by your imagination! In fact, many times the more unique and completely original your music is, the better it works in the game and the more the developer loves it.”

Jason Graves (1973) American composer

Exclusive Interview: Composer Jason Graves Discusses Dead Space, F.E.A.R. 3 and Resistance: Burning Skies http://www.dreadcentral.com/news/33744/exclusive-interview-composer-jason-graves-discusses-dead-space-f-e-a-r-3-and-resistance-burning-skies (May 14, 2012)

“Somehow, suddenly, a musical idea occurs to you; either a whole phrase, or three notes, or a series of chords, something that seems pregnant with possibilities for development. Once you have the kinds of ideas that fascinate you, you're no longer in a position to decide the nature of the animal. It's going to take its essence from the musical ideas that occur to you…. Some musical ideas are too short, they don't seem long enough to carry you through ten minutes of music, so you have to start searching about for other ideas; contrasting ones that seem to fit with the original ones.”

Aaron Copland (1900–1990) American composer, composition teacher, writer, and conductor

Aaron Copland: the Life and Work of an Uncommon Man, ISBN 0805049096.

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Jon Appleton4

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