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John Eaton Quotes

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John Eaton
June 18, 1790 - November 17, 1856
Nationality: American
Category: Politician
Subcategory: American Politician

I really write for people.


Nevertheless, one doesn't have time to think, oh, well, this is a quarter tone sharp, or flat.


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.


It's not important to me to found a school; it's not important to me to have disciples.


We need to have as broad a range as possible, because life itself has that kind of range.


But nevertheless, it's music ultimately that matters in opera, and opera is a piece of music reaching out as a vision in sound reaching out to the world.


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.


I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.


We need it to capture the energy of contemporary life.


I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.


Well, the very best operas are the ones written by the very best composers.


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.


However, yes, especially as one gets older, you know, you really hope that your music will become more generally available, even though some of the performances might be riddled with faults.


I think one of the greatest enemies in the use of technology, however, is the idea that if you use the technology you have to throw other things out of the window.


We need to open up the future. We also need to keep everything valuable from the past.


What's important for me is to communicate the vision that I have in sound with the audience that's hearing it.


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.


The way that I got involved with microtonal music was, frankly, through jazz.


I want the audience to be so involved in the sweep of the music.


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