मैं नहीं चाहता था कि मेरी संगीत को इलेक्ट्रॉनिक संस्कृति के उदाहरण के तौर पर देखा जाए; मैं बस यह चाहता था कि लोग उन्हें केवल संगीत के बेहतरीन टुकड़ों के रूप में याद रखें।
I didn't want my music to be seen as examples of an electronic culture; I just wanted them to be thought of as pieces of music.
I didn't want my music to be seen as examples of an electronic culture; I just wanted them to be thought of as pieces of music.
हाइडेन, मोज़ार्ट या बीथोवेन के किसी शास्त्रीय संगीत को सुनते वक्त, पहली बार में मैं उसकी तुलना उनके उन दूसरे गानों से करता हूँ जिन्हें मैं पहले से जानता हूँ। मुझे लगता है कि ज़्यादातर लोग ऐसा ही करते हैं—वे संगीत को उन गानों के चश्मे से सुनते हैं जिन्हें वे पहले से पहचानते हैं।
With a piece of classical music by Haydn, Mozart, or Beethoven, on first listening I'm referencing it with other pieces by them that I know. I think that most people do this - they listen to pieces through the filter of pieces they already know.
With a piece of classical music by Haydn, Mozart, or Beethoven, on first listening I'm referencing it with other pieces by them that I know. I think that most people do this - they listen to pieces through the filter of pieces they already know.
मैंने अपने कंप्यूटर संगीत में कुछ ऐसी चीज़ें नोटिस कीं जो अब पुरानी पड़ रही थीं, और मैंने यह समझना शुरू किया कि इसका ताल्लुक इस बात से है कि श्रोता संगीत के साथ कैसे जुड़ता है।
I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.
I noticed things in my computer music that were getting old, and I started to figure out that this has to do with the way the listener interacts with music.
आपको ऐसे लोगों की एक अच्छी खासी संख्या मिल जाएगी जो प्रतियोगिताओं में हिस्सा न लेने का फैसला करते हैं क्योंकि उनका संगीत उस दायरे में फिट ही नहीं बैठता।
I think you'll find a significant number of people who decide not to enter competitions because their music just won't fit in that world.
I think you'll find a significant number of people who decide not to enter competitions because their music just won't fit in that world.
मुझे पर्कशन (ताल-वाद्यों) का संगीत लिखने में बहुत मज़ा आया। यह काफी हद तक कंप्यूटर संगीत लिखने जैसा ही लगता है। लेकिन मैंने पाया कि मैं एक तरह से कोरियोग्राफर की भूमिका में आ गया हूँ, जो शारीरिक गतिविधियों और ऐसी ही दूसरी चीज़ों की फिक्र कर रहा है।
I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.
I've had a lot of fun writing percussion music. It feels quite similar to writing computer music. But I found myself in the role of choreographer in a way, worrying about physical movement and such.
अक्सर, जब आप किसी संगीत को पहली बार सुनते हैं, तो आप उसे अपने पहले से सुने हुए दूसरे गानों के सांचे में रखकर सुनते हैं। लेकिन एक खास बिंदु के बाद, वह संगीत अपनी एक अलग पहचान बना लेता है और आप उसे उसकी अपनी खूबियों के आधार पर समझने लगते हैं।
Very often, when you're listening to a piece for the first time, you're listening through a model of other pieces that you know. At a certain point, a piece becomes idiosyncratic and you start to understand it on its own terms.
Very often, when you're listening to a piece for the first time, you're listening through a model of other pieces that you know. At a certain point, a piece becomes idiosyncratic and you start to understand it on its own terms.
मैं टेप पर ऐसा संगीत तैयार कर रहा था जिसे लाइव परफॉर्मेंस की बजाय एक रिकॉर्डिंग के रूप में सुना जाना था।
I had been creating music on tape that was to be listened to as a recording, rather than through performance.
I had been creating music on tape that was to be listened to as a recording, rather than through performance.
मैं जो प्रयोग करता हूँ, उसका सीधा संबंध धुनों, सुरों (पिचेस) और मेलोडी को आपस में पिरोने के तरीकों से होता है।
The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.
The experimentation that I do has a lot to do with tunes and pitches and ways that melodies are put together.
बार-बार सुनने पर, कोई भी संगीत आखिरकार अपनी खुद की एक जीवित हस्ती या पहचान बना लेता है। मैं अक्सर छात्रों से कहता हूँ कि यह किसी से पहली बार मिलने जैसा है। जब आप पहली बार किसी से मिलते हैं, तो आप उसकी तुलना ऐसे लोगों से करते हैं जिन्हें आप पहले से जानते हैं; लेकिन, जैसे-जैसे आप उस व्यक्ति को बेहतर तरीके से जानने लगते हैं, आप उसकी अनूठी और खासियतों को समझने लगते हैं।
With repeated listenings, a piece eventually becomes its own being. I very often say to students that this is like meeting a person for the first time. When you first meet someone, you reference that person with others who are similar; but, as you get to know that person better, you begin to understand his unique qualities.
With repeated listenings, a piece eventually becomes its own being. I very often say to students that this is like meeting a person for the first time. When you first meet someone, you reference that person with others who are similar; but, as you get to know that person better, you begin to understand his unique qualities.
मैं बहुत भाग्यशाली था कि मुझे एक अमीर संस्थान का साथ मिला। मैं अकादमिक दुनिया की कमियों और सीमाओं को अच्छी तरह समझता हूँ, लेकिन आखिरकार मैं इसी माहौल में पला-बढ़ा हूँ और किसी भी तरह से इस तथाकथित 'असली दुनिया' में जीवित नहीं रह पाता।
I was very fortunate to be at a wealthy institution. I do recognize the drawbacks and limitations of the academic world but it's basically the world I grew up in and there's no way in which I would have been able to survive in the so-called real world.
I was very fortunate to be at a wealthy institution. I do recognize the drawbacks and limitations of the academic world but it's basically the world I grew up in and there's no way in which I would have been able to survive in the so-called real world.
अगर संगीत की अपनी एक आंतरिक तर्कशक्ति या लॉजिक है—जैसा कि मुझे लगता है कि मेरे संगीत का है—तो एक खुले दिमाग वाला श्रोता उसे आसानी से पकड़ लेगा और समझ जाएगा।
If the music has a logic of its own - as I think my music has - an open-minded listener will apprehend and understand.
If the music has a logic of its own - as I think my music has - an open-minded listener will apprehend and understand.
मैं यह नहीं कह सकता कि सुरों की भाषा (पिच लैंग्वेज) या संगीत को आपस में जोड़ने का कोई एक तयशुदा और सामान्य तरीका है, क्योंकि आज के समय में कुछ भी संभव है (anything is fair game)। जहाँ तक मेरा सवाल है, मेरा अपना तरीका बस एक ऐसा संगीत बनाना है जो सुनने वाले का ध्यान शुरू से अंत तक बांधे रखे, और इस बात पर निर्भर न रहे कि श्रोता बीच में कहीं खो जाए या ध्यान भटका ले।
I can't say that there's a common practice that has to do with pitch language or with the way pieces are put together because today, anything is fair game. As far as I'm concerned, my own common practice is a piece that engages the attention of listeners from beginning to end, and doesn't rely on or expect the listener to zone out.
I can't say that there's a common practice that has to do with pitch language or with the way pieces are put together because today, anything is fair game. As far as I'm concerned, my own common practice is a piece that engages the attention of listeners from beginning to end, and doesn't rely on or expect the listener to zone out.
अकादमिक दुनिया को लेकर मेरा नज़रिया बहुत सकारात्मक है। मैंने वहाँ कुछ ऐसे काम किए जो मैं किसी अन्य परिस्थिति में कभी नहीं कर पाता।
My perspective on the academic world is very favorable. I did certain kinds of things that I could never have done otherwise.
My perspective on the academic world is very favorable. I did certain kinds of things that I could never have done otherwise.
मुझे नहीं लगता कि मेरी संगीत को समझने के लिए आपको कुछ खास 'पाने' की ज़रूरत है। यह कहानी बयां करने के बजाय थोड़ा नाटकीय ज़्यादा होता है।
I don't think there's something that you have to 'get' with my music. It tends toward the dramatic side rather than the narrative.
I don't think there's something that you have to 'get' with my music. It tends toward the dramatic side rather than the narrative.
मैं बहुत भाग्यशाली रहा हूँ कि पिछले 25 वर्षों से ब्रिज रिकॉर्ड्स मेरी धुनों को प्रकाशित करने में दिलचस्पी ले रहा है। मेरा अधिकांश संगीत उनके कैटलॉग में उपलब्ध है।
I've been really fortunate to have Bridge Records interested in publishing my music for the past 25 years. Most of my music is available in their catalog.
I've been really fortunate to have Bridge Records interested in publishing my music for the past 25 years. Most of my music is available in their catalog.
यूट्यूब पर जब भी मैं अपने संगीत के नए वर्ज़न देखता हूँ, तो मुझे हमेशा एक अलग ही रोमांच महसूस होता है।
It's always a thrill for me to see new versions of my pieces on YouTube.
It's always a thrill for me to see new versions of my pieces on YouTube.
मैं खुद को एक प्रयोगधर्मी मानता हूँ, भले ही मेरा अधिकांश संगीत एक तरह से काफी तार्किक और सामान्य लगता हो।
I think of myself as an experimentalist even though much of my music sounds logical and normal, in a sense.
I think of myself as an experimentalist even though much of my music sounds logical and normal, in a sense.
मैंने साठ के दशक में शुरुआत की थी; वह दौर संगीत में एक क्रांति का समय था। स्ट्रॉविंस्की बारह-टोन वाले संगीतकार बन चुके थे; यहाँ तक कि आरोन कोपलैंड भी उस समय बारह-टोन की रचनाएँ लिख रहे थे!
I came up in the '60s; that was a time when there was a revolution going on in music. Stravinsky had become a twelve-tone composer; even Aaron Copland was writing twelve-tone pieces at that time!
I came up in the '60s; that was a time when there was a revolution going on in music. Stravinsky had become a twelve-tone composer; even Aaron Copland was writing twelve-tone pieces at that time!
मुझे नहीं लगता कि मेरा संगीत किसी खास विषय पर आधारित होता है।
I don't think of my music as being about something.
I don't think of my music as being about something.
अपनी पत्नी के साथ बैठकर संगीत सुनना मेरे लिए बहुत दिलचस्प अनुभव होता है। वह कोई संगीतकार नहीं हैं, लेकिन अक्सर किसी धुन पर उनकी ऐसी टिप्पणियाँ होती हैं जो बिल्कुल वैसी ही होती हैं जैसी मैं सोच रहा होता हूँ।
It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.
It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.
मुझे महसूस हुआ कि मैं अपने ही विचारों को बार-बार दोहरा रहा हूँ और मैंने देखा कि किसी रोमांचक विचार से शुरुआत करने के बजाय मुझे कोई धुन बनाने के पीछे की वजह खुद तलाशनी होगी।
I found myself recycling ideas and I saw that I had to invent reasons to compose a piece rather than start from some exciting idea.
I found myself recycling ideas and I saw that I had to invent reasons to compose a piece rather than start from some exciting idea.
मैं एक ऐसी गंभीर समस्या के सामने आ गया जिसे मैं संगीत के पुराना होने की प्रक्रिया मानता हूँ। मैंने सत्तर के दशक में गौर किया कि जिन धुनों को पहली बार सुनने पर वे बहुत बेहतरीन लगती थीं, बार-बार सुनने पर वे धीरे-धीरे पुरानी लगने लगती थीं; यहाँ तक कि पहली बार में जो चीज़ें रोमांचक और जीवंत लगती थीं, वे बाद में बासी लगने लगती थीं।
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.
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.
हालाँकि, कुछ ऐसे संगीतकार भी हैं जिनका संगीत केवल क्रोमैटिक (अर्ध-स्वरों वाले) अंदाज़ में ही सुना जा सकता है। उदाहरण के लिए, जॉर्ज पर्ले ने ऐसी रचनाएँ लिखीं जिन्हें आपको लग सकता है कि वे स्वर-प्रधान (टोनल) दिशा में झुकी हुई हैं, लेकिन किसी सुर को यह पहचान पाना बहुत मुश्किल होता है कि वह, मान लीजिए, किसी स्केल का छठा स्वर है या नहीं; जबकि मेरे संगीत में मुझे लगता है कि यह काम अक्सर तुलनात्मक रूप से काफी आसान होता है।
There 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.
There 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.
कभी-कभी मुझे ऐसा लगता है कि समकालीन संगीत शैली में क्रोमैटिक और डायटोनिक के बीच एक द्विआधारी (बाइनरी) विभाजन चल रहा है। मैं देखता हूँ कि मेरा झुकाव डायटोनिक अंदाज़ में सुनने की तरफ रहता है, यानी मैं गैर-टोनल संदर्भ में भी किसी सुर को डायटोनिक स्केल के हिस्से के रूप में महसूस करता हूँ।
Sometimes I imagine that there's a binary division going on in contemporary practice that has to do with chromatic versus diatonic. I notice that I tend to listen in a diatonic sense, that I register a pitch as a member of a diatonic scale, even in a non-tonal context.
Sometimes I imagine that there's a binary division going on in contemporary practice that has to do with chromatic versus diatonic. I notice that I tend to listen in a diatonic sense, that I register a pitch as a member of a diatonic scale, even in a non-tonal context.
मैं खुद को गानों की संरचना करने के अलग-अलग तरीकों के साथ प्रयोग करते हुए देखता हूँ। ज़ाहिर है, इसमें से ज़्यादातर काम कंप्यूटर की मदद से होता है।
I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.
I think of myself as experimenting with different ways of structuring pieces. A lot of it has to do with the computer, of course.