“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance.”

— Ansel Adams

Paraphrased as "Film is the score and the print is the performance."
Sheff
David
May 1983
Playboy
http://davidsheff.com/article/ansel-adams/
Playboy Interview: Ansel Adams
226

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American photographer and environmentalist 1902–1984

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“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance. (Paraphrased as "Film is the score and the print is the performance.")”

Ansel Adams (1902–1984) American photographer and environmentalist

“Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can't select any of my scores as favorites.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

“I’m nothing but a conduit. The music goes though my ears, my fingers… Composer is a god. Composer creates music. We’re performers. We’re just passing it on.”

Valentina Lisitsa (1973) Ukrainian-American classical pianist

telegraph.co.uk http://www.telegraph.co.uk/culture/music/classicalmusic/9467708/Pianist-Valentina-Lisitsa-interview-with-the-YouTube-star.html

“I always wanted to be a comedian and actor, […] I basically stumbled into the music medium, though. I'm OK, but that's about it. I like to think I'm good enough not to negatively affect the performance.”

Bo Burnham (1990) American comedian, musician, and actor

Source: [Joseph P., Kahn, Joseph P. Kahn, Nonfamily humor, straight from home, y, http://www.boston.com/ae/theater_arts/articles/2008/02/13/nonfamily_humor_straight_from_home/, The Boston Globe, P. Steven Ainsley, Boston, Massachusetts, USA, 2008-02-13, 2009-01-25, Irreverent songs win Hamilton youth a cult following]

“My mentally handicapped son Hikari was awakened by the voices of birds to the music of Bach and Mozart, eventually composing his own works. The little pieces that he first composed were full of fresh splendour and delight. They seemed like dew glittering on grass leaves. The word innocence is composed of in — "not" and nicer — "hurt", that is, "not to hurt". Hikari's music was in this sense a natural effusion of the composer's own innocence.”

Kenzaburō Ōe (1935) Japanese author

Japan, The Ambiguous, and Myself (1994)

“If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed.”

Alfred Brendel (1931) Austrian pianist, poet, and author

Studs Terkel (2006). And They All Sang: The Great Musicians of the 20th Century Talk about Their Music. p. 287

“I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"”

Akira Ifukube (1914–2006) Japanese composer

That is why I agreed to work on GODZILLA VS. GHIDRAH. <br class="br">As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

“I find it breathtaking […] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?”

Daniel Dennett book Consciousness Explained

Consciousness Explained (1991)

“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.

“A. No matter what you do, you're always hearing something.
Q. You mean to say that all of the accidental environmental sounds that surround the piece become a part of the realization of the score?
A. Yes, that's right.
Q. In that case, even the chairs are musical?
A. Yes. In fact, there is perhaps nothing that is not musical. Perhaps there's no moment in life that's not musical.”

George Brecht (1926–2008) American artist and composer

Source: James Fitzsimmons, ‎Jim Fitzsimmons (1967). Art International. Vol. 11. p. 24

“Yes, in the sense that the negative is like the composer’s score. Then, using that musical analogy, the print is the performance.”

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Ansel Adams29

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