I came to what I think of as the critical problem: the aging process of a piece of music. I noticed in the '70s that pieces I wrote would sound great the first time I listened to them and then on repeated hearings they sounded older and older until what seemed exciting and vibrant on first listening became stale.
Paul LanskyThe experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.
Paul LanskyThere are, however, composers whose music can only be heard in a chromatic sense. George Perle, for example, wrote pieces that you might think of as leaning in a tonal direction but it's very hard to register a pitch as, say, the sixth degree of a scale, whereas in much of my music I think that's often relatively easy to do.
Paul LanskyEven today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
Paul LanskyI don't think there's something that you have to 'get' with my music. It tends toward the dramatic side rather than the narrative.
Paul LanskyI came to what I think of as the critical problem: the aging process of a piece of music. I noticed in the '70s that pieces I wrote would sound great the first time I listened to them and then on repeated hearings they sounded older and older until what seemed exciting and vibrant on first listening became stale.
Paul Lansky