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Well, opera began with an intent to resuscitate Greek drama, that is, modern opera as we know it.
Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist.
We need to open up the future. We also need to keep everything valuable from the past.
We need to have as broad a range as possible, because life itself has that kind of range.
We need it to capture the energy of contemporary life.
The way that I got involved with microtonal music was, frankly, through jazz.
Nevertheless, one doesn't have time to think, oh, well, this is a quarter tone sharp, or flat.
It's not important to me to found a school; it's not important to me to have disciples.
In other words, I think that if an audience listens to something as an experience of how in tune it is or something of that kind, that the whole point is somehow being missed, and the music has failed.
If you look at the timing of many of the Greek dramas from the theatrical point of view, it's all off, and I think the reason for that is that music played a very important part.
I've just simply used what I've used because of the great, great expressive potential of it.
I'm thinking in terms of a point of departure, a field of action for performers to express an expressive need of mine which hopefully the context of music would convey.
I want the audience to be so involved in the sweep of the music.
Being Two Faced
Done With You
Dont Judge Me
Relationship With God
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