"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."

Music, People, Performance, Visualization

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"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."

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Explore more quotes by Leo Ornstein

"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."

Fact, Pleasure, Satisfaction

"No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music."

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"Now, there are sometimes making a connection between one section and another that sometimes you do want to see the pattern because it helps you to lead into the next thing - it's a rhetorical thing, where you just see how the pattern has to go into the next thing."

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"The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get."

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"To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision."

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"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."

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"We can use techniques in modifying things, in controlling things, but the first impulse has to be something that you simply cannot make just out of technique, or else it becomes perfectly evident that it is nothing but technique that you're exercising."

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"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."

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"Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music."

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