Experimental Music Quotes

I liked rock music going back to the '60s, but I never ever had any desire to be a rock musician and when I started doing a band it was experimental music.

You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."

I wanted to make experimental music out of pop.

I come from a background of experimental music which mingled real sounds together with musical sounds.

I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.

I am not doing something that it is experimental music in relation to classical music.

Experimental music scores are enigmatic, opaque, demanding, irritating, humorous, childlike; the best, like Cardew's Treatise, are also inspiring, giving rise, on occasion, to a music of vitality, intelligence and elegance.

The generation of composers that are just preceded me, people like [Karlheinz] Stockhausen, [Pierre] Boulez, and, well, [John] Cage for that matter,[Morton] Feldman ... That was a kind of experimental music that was very isolated. It had no real public.

I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.