“The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.”

Pop Chronicles, Show 1 - Play A Simple Melody: Pete Seeger on the origins of pop music http://digital.library.unt.edu/ark:/67531/metadc19745/m1/, interview recorded 2.14.1968 http://web.archive.org/web/20110615153027/http://www.library.unt.edu/music/special-collections/john-gilliland/o-s.

Source: The Life Energy in Music, Vol. 1 (1981), p. 25

Music For All Of Us (1943); also quoted as "...Music can be all things to all persons... "
Context: I believe that music can be an inspirational force in all our lives — that its eloquence and the depth of its meaning are all-important, and that all personal considerations concerning musicians and the public are relatively unimportant — that music come from the heart and returns to the heart — that music is spontaneous, impulsive expression — that its range is without limit — that music is forever growing — that music can be one element to help us build a new conception of life in which the madness and cruelty of wars will be replaced by a simple understanding of the brotherhood of man.
Music can be all things to all men. It is like a great dynamic sun in the center of a solar system which sends out its rays and inspiration in every direction. … It is as if the heavens open and a divine voice calls. Something in our souls responds and understands. We are speaking here of the most inspired music.

Source: Real Presences (1989), III: Presences, Ch. 6 (p. 218).

What Is A Jazz Composer? (1971)
Context: Now, whether there is feeling or not depends upon what your environment or your association is or whatever you may have in common with the player. If you feel empathy for his personal outlook, you naturally feel him musically more than some other environmental and musical opposite who is, in a way. beyond you.
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around. But there is no need to compare composers. If you like Beethoven, Bach or Brahms, that's okay. They were all pencil composers. I always wanted to be a spontaneous composer. I thought I was, although no one's mentioned that. I mean critics or musicians. Now, what I'm getting at is that I know I'm a composer. I marvel at composition, at people who are able to take diatonic scales, chromatics, 12-tone scales, or even quarter-tone scales. I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived.

blogs.legacyrecordings.com (February 5, 2008)
2007, 2008

Read from his musical diaries while speaking at St. Vladimir’s Seminary https://vimeo.com/221011528/

Edgard Varèse lecture, edited by Chou Wen-Chung, published in: 391, Nr. 5. June 17, 1917. Translated by Louise Varèse; Quoted in: Classic Essays on Twentieth-Century Music: A Continuing Symposium (1996), .
Context: Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs new means of expression, and science alone can infuse it with youthful vigor.
Why, Italian Futurists, have you slavishly reproduced only what is commonplace and boring in the bustle of our daily lives.
I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm.

Source: The Seasons (1726-1730), Summer (1727), l. 1752.