I'm not religious, but I've always been attracted to the rituals of religion; as a kid, Sunday church was the closest thing I had to an interactive, theatrical experience.
Missy MazzoliI don't think anyone listening to my music needs any special knowledge. They don't need to have a background in contemporary music. They don't need to go to new-music concerts all the time in order to be able to understand it.
Missy MazzoliI write my music with the idea that it will appeal to all of those people, and I want them to go in with all the history that's within all of us - all the things that they've listened to in the backs of their minds, whether it's country music or minimal techno, or classical music or whatever. I want them to bring that excitement, that love, or that hate, or whatever it might be, to my music. I feel that my music draws on so many different things.
Missy MazzoliI feel like there's not this black-and-white division between concert hall music and music that bands play in a bar. I don't know if this was ever truly the case, but I don't feel that I need to decide between playing for a sit-down, totally silent audience and playing for a bunch of noisy, drunk people in a bar. What I do with the group is somewhere in between.
Missy MazzoliIf the music is good, and if it makes sense as a strong structure and as a drama, and things happen as a result of what happened before, not just as a string of unrelated events, then the question doesn't come up.
Missy MazzoliI don't think that those things [so called common practice] ever truly existed in the way that we like to believe that they do, the way we learn about them in music history class. Those things are defined at least decades after they happen. And even then, it's a fallacy because when you're in the moment, when you're in a thriving scene of musicians, inevitably everyone is going to be doing something completely different from everyone else
Missy Mazzoli