“On electronic music: "The source is electronic, but what you do with it is the same as with acoustic instruments. Sound is sound and vibration is vibration, whether from an electronic source or an acoustic instrument.”

— Vangelis

The way we use these sources is the key in order to define the required musical result. Without neglecting the acoustic conventional instruments, I spend a fair amount of time dealing with the electronic sources of sound. But please do not think computers! Computers are extremely helpful and amazing for a multitude of scientific areas, but for me, when it comes to creation, they are insufficient and slow. Therefore all of my efforts are to stay away from that beast".
2012

Adopted from Wikiquote. Last update June 3, 2021. History

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Greek composer of electronic, progressive, ambient, jazz, p… 1943

Milton Babbitt (1916–2011) American composer

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

“We are using electronic instruments both in the studio and on stage but we are not living in an ivory tower, banned from any kind of popularity doing just intellectual research on electronics. So we really like to entertain people in the best way possible to show how modern, sophisticated equipment can be used today in order to create a futuristic sound.”

Edgar Froese (1944–2015) German musician and founder of Tangerine Dream

“The most sensitive musical instrument is the human soul. The next is the human voice. One must purify the soul until it begins to sound. A composer is a musical instrument and at the same time, a performer on that instrument. The instrument has to be in order to produce sound. One must start with that, not with the music. Through the music the composer can check whether his instrument is tuned and to what key it is tuned.”

Arvo Pärt (1935) Estonian composer

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

“Music has to do with sounds, so we need to find them somewhere and it is preferred to find musical ones. You have two sources for sounds: noises, which always tell you something — a door cracking, a dog barking, the thunder, the storm; and then you have instruments. An instrument tells you, 'la-la-la-la.' Music has to find a passage between noises and instruments. It has to escape. It has to find a compromise and an evasion at the same time; something that would not be dramatic because that has no interest to us, but something that would be more interesting than sounds like Do-Re-Mi-Fa…”

Pierre Schaeffer (1910–1995) French musicologist

Electronic Musician magazine, December 1986
Interviews

“At a very early stage I realised that it's a real problem to perform electronic music on stage because electronic instruments are not particularly convincing on a visual point of view: somebody behind his computer, it's not particularly visual. So I was inspired by the opera. And what was the opera in the 19th century? It was the idea for a musician to join and to work, to collaborate with a stage director, with carpenters, painters, people doing decors, graphic artists to have a visual prolongation, a visual correspondence to their work. That's what I tried to do with the tools of my generation: electronics and video and lights and all that.”

Jean-Michel Jarre (1948) French composer, performer and music producer

interviewed on the Danish Monitor radio programme 2005-11-30

“It is the historical necessity, if there is a historical necessity in history, that a new decade of electronic television should follow to the past decade of electronic music.”

Nam June Paik (1932–2006) American video art pioneer

Nam June Paik (1965), as cited in: David Dunn, " A History of Electronic Music Pioneers http://vasulka.org/Kitchen/PDF_Eigenwelt/pdf/021-062.pdf." ders.(Hrsg.), Eigenwelt der Apparate-Welt.(Katalog), Linz (1992): 21-62. <br class="br">1960s

“if a shower of electrons is shot on to a zinc sulfide screen, a number of flashes are produced - one for each electron - and we may picture the electrons as bullet-like projectiles hitting a target. But if the same shower is made to pass near a suspended magnet, this is found to be deflected as the electrons go by. The electrons may now be pictured as octopus-like structures with tentacles or 'tubes of force' sticking out from it in every direction.”

James Jeans (1877–1946) British mathematician and astronomer

Physics and Philosophy (1942)

“I was interested in making a different kind of instrument. And I wanted, of course, to make an apparatus that would be controlled in space, exploiting electrical fields, and that would use little energy. Therefore I used electronic technology to create a musical instrument that would provide greater resources.”

Léon Theremin (1896–1993) Russian inventor

Source: An Interview with Leon Theremin http://www.oddmusic.com/theremin/theremin_interview_1.html / Olivia Mattis and Leon Theremin in Bourges, France 16 June 1989.

“Mathematical programming assisted by electronic computers becomes the fundamental instrument of long-term economic planning, as well as of solving dynamic economic problems of a more limited scope. Here, the electronic computer does not replace the market. It fulfils a function which the market never was able to perform.”

Oskar R. Lange (1904–1965) Polish economist

"The computer and the market" (1967)

“Sound is defined as the result of a succession of regular and periodic vibrations. Noise is instead caused by motions that are irregular, as much in time as in intensity. 'A musical sensation,' says Helmholtz 'appears to the ear as a perfectly stable, uniform, and invariable sound.' But the quality of continuity that sound has with respect to noise, which seems instead fragmentary and irregular, is not an element sufficient to make a sharp distinction between sound and noise. We know that the production of sound requires not only that a body vibrate regularly but also that these vibrations persist in the auditory nerve until the following vibration has arrived, so that the periodic vibrations blend to form a continuous musical sound. At least sixteen vibrations per second are needed for this. Now, if I succeed in producing a noise with this speed. I will get a sound made up of the totality of so many noises--or better, noise whose successive repetitions will be sufficiently rapid to give a sensation of continuity like that of sound.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Russolo. English trans. Barclay Brown (1986: 37).
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“On electronic music: "The source is electronic, but what you do with it is the same as with acoustic instruments. Sound is sound and vibration is vibration, whether from an electronic source or an acoustic instrument.”

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