By the way, the point between rationality and what we would call the irrational is a very difficult point to establish. There’s no specific line, as you know.

A person improvising is sometimes very fortunate that just at that second things coincide.

Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.

Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express.

I'm really interested in writing a piece of music that will move you, that will really move you. That is really the only reason that I'm writing music.

There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things.

Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.