“Classical music has struggled to keep up. Unlike any other art form, it keeps on looking backwards all the time. It used to have a real museum culture. Then it went: "Oh my God, what are we going to do? Call for Nigel Kennedy. Quick!" Classical musicians have got to change or die,' she asserts strongly, 'but they just don't know how to. Audiences for classical music have dropped. The old blue rinse audience is dying out, and young people aren't coming in.”

“I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians.”

“I have absolutely no difficulty in coming out and saying Bach and Beethoven are great composers. You must school young people into great classical music, but you must also allow them to hear other music as well. At one point classical music colonised the high ground. Now we're reaping the backlash for that.”

“We're really not very good about putting music in a social and political context, particularly classical music. It's all sort of above everything. But in South Africa, everything is politicised. You play a piece of classical music out there and you are making a real cultural statement. Or you play with a marimba band and you are saying something else. I think that's the way things should be. The way people write about music makes it seem completely devoid of social context. And audiences drift away as a result.”

“A lot of musicians are going to have to retrain. It's nonsense to say that traditional classical music is more complex. Contemporary pieces by Harrison Birtwistle are much harder to play than Mozart or Wagner. I know a lot of people don't want to hear that.”

“There are certain devices that one uses in Romantic music that are appropriate only for Romantic or subsequent music. If you take those devices and apply them to earlier music, then it’s totally inappropriate, and it makes the Classical music sound silly. However, if you were to use what you might call ‘Classical devices’ on Romantic music, historically, that would be correct! It very often benefits Romantic music, which is sometimes rather disjunctive, rather shapeless in comparison with Classical symphonic or sonata form. Romantic music very often benefits from that tighter organization that you get from Classical music.”

“Arre bhai…there is so much more to Indian music than those beats. I have done bhangra…nothing against it. But why do we present only that to the Indian and global audience. Punjabi language and music has become the language of the film industry unfortunately. Be it Singh is King or London Dreams or New York Beats are the same. agreed you cannot use classical or folk music in New York or Singh is King but London Dreams — it's supposed to be a musical. Music should have been the soul of it. But that is the weakest thing in the film. So much could have been done — classical music and folk music could have been used. But they didn't. They want to finish of work ASAP. Quantity, not quality has taken over.”

“I don't know the names of any pop musicians. Pop music is standardised; it's made to please the largest audience possible. I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.”

“You don't rely on a great army of people to spoon-feed you. Today's classical-music world is very self-defeating. I love the fact that all these corporations are falling apart. They're sinking millions into acts and getting it wrong. And I know why - it's not about the music, or the audiences. So in many ways this is a very encouraging time.”

“Jazz, often called America's classical music, so influenced our culture that Americans named a decade after it. Like the country of its birth, jazz blends many traditions, such as African-American folk, rhythm and blues, French Creole classical form, and gospel. Through the creation and performance of music like jazz, black Americans were better able to exchange ideas freely across racial and cultural barriers. Before our Nation made significant strides in truly promoting equal justice and opportunity for all, black and white musicians in the genres of jazz, blues, and country played together in jam sessions, recording studios, and small bands. In many ways, their art preceded social change, allowing black and white musicians to meet as equals and to be judged on their musical ability, rather than the color of their skin. Their music also provided an outlet for African Americans to speak passionately and brilliantly to the rest of the Nation and the world.”