Sincere composers believe in God.

I think that the quality of all bands is steadily improving and it is a pleasant thought to me that perhaps the efforts of Sousa's Band have quickened that interest and improved that quality.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.

From childhood I was passionately fond of music and wanted to be a musician. I have no recollection of any real desire ever to be anything else.

Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds?

I still feel the impulse to give young writers a hearing, and I believe I have played more unpublished compositions than any other band leader in the country.

Anybody can write music of a sort. But touching the public heart is quite another thing.

There is one thing that freezes a musician more than the deadliest physical cold, and that is the spiritual chill of an unresponsive audience!

I am happy now, to recall that I was no only his son but his companion, and whenever there was a hunting expedition or any other pleasure, I was always with him.

Remember always that the composer's pen is still mightier than the bow of the violinist; in you lie all the possibilities of the creation of beauty.

Sincere composers believe in God.

My religion lies in my composition.

The average music-lover hears only the production under prevailing conditions.

Grand opera is the most powerful of stage appeals and that almost entirely through the beauty of music.

The movements which I make I cannot possibly repress because, at the time, I am actually the idea I am interpreting, and naturally I picture my players and auditors as in accord with me. I know, of course, that my mannerisms have been widely discussed.

I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.

I firmly believe that we have more latent musical talent in America than there is in any other country. But to dig it out there must be good music throughout the land, a lot of it. Everyone must hear it, and such a process takes time.

I have always believed that 98% of a student's progress is due to his own efforts, and 2% to his teacher.

No nation as young as America can be expected to become immediately a power in the arts.

I can almost always write music; at any hour of the twenty-four, if I put pencil to paper, music comes.

My success is not due to any personal superiority over other people.

Jazz will endure just as long people hear it through their feet instead of their brains.

The office of President is a great one; to every true American it seems the greatest on earth. And to me, as I was engaged in weaving a background of music for the pageantry of it, there came a deeper realization of the effect of that office on the man.

There is much modern music that is better adapted to a wind combination than to a string, although for obvious reasons originally scored for an orchestra. If in such cases the interpretation is equal to the composition the balance of a wind combination is more satisfying.

American teachers have one indisputable advantage over foreign ones; they understand the American temperament and can judge its unevenness, its lights and its shadows.

To the average mind popular music would mean compositions vulgarly conceived and commonplace in their treatment. That is absolutely false.

Composers are the only people who can hear good music above bad sounds.

Governmental aid is a drawback rather than an assistance, as, although it may facilitate in the routine of artistic production, it is an impediment to the development of true artistic genius.

I am happy now, to recall that I was not only his son but his companion, and whenever there was a hunting expedition or any other pleasure, I was always with him.

Remember always that the composers pen is still mightier than the bow of the violinist in you lie all the possibilities of the creation of beauty.

The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.

I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Composers should write tunes that chauffeurs and errand boys can whistle.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.

Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.

There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.