Joan elliott sex chat
That’s why composers are such bad boys most of the time, and some of them are bad girls, too. [pauses] I was going to say intellectual process, but that’s not quite the word. [Ponders a moment] When I was a child in Chicago, I would get up from the dinner table and rush to the piano because it was more fun for me to go and improvise music than it was to eatand I love to eat!It’s a non-verbal process, which is why nobody can explain in words. Or, as an infant, I’d go to the bathroom, and I’d come rushing out of the bathroom without pulling up my pants, because I would want to get to the piano. I think any composer would concur that in spite of the fact that artists sometimes wrongly have the reputation for being disequilibriated, eccentric, and abnormal, in the long run they are the most well-balanced of people.
Also, I know pretty much what I’m writing for with a commissioned piece beforehand. Occasionally something sounds better than I had bargained for, and usually worse.Surely political correctness is due another cunting.PC sums up everything that is shit about modern society and is responsible for half the shit that gets cunted on here.Can’t chat up a girl without being accused of being a sex pest….thank PC. Literally one of the worst things to happen to society and if PC could be embodied in person it would match a stadium full of Tony Blairs for sheer volume of cuntitude. Can’t wave an English flag without offending Muslims….. Don’t fancy getting fucked by another man and have the bad taste to mention it? Overloaded with all the gender bending nutcases swamping the news and social media? But then as my prose became more and more cautious and well-planned, my music, I hope, became uglier, and the two arts, or modes of expression, crossed each other like two amoebas that merge and then go off in different directions, or two Neds that enter the same mirror but from opposite sides, and then look at each other from a great distance. What is it that is so difficult about writing music for the human voice, that you, almost uniquely among living composers, have found so special for your creative energies? All I’m doing is divesting it of a little bit of flesh, and taking the bones and putting on some new clothes.
Walter Piston used to tell his students when they’d bring him a song, “I am incapable of making any kind of criticism on that.
Never does it ever hit the nail on the head because there’s no such thing as the ideal in this world, except inside one’s brain.
: Yes, by definition because there is no one right way to play a piece, and certainly not the composer’s own way.
If I could explain in words what my music meant, I would have no need to write the music. So I’d run around with my pants hanging around my feet. When you are writing music, or doing anything creative — this doesn’t just go for me or anybody good; it can go for children in therapy classes making clay pottery — your mind is not so much on your own body, feeling sorry for yourself, or on the one hand thinking about sex or on the other hand thinking about food or on the third hand thinking about pains in your leg or headaches.
You are outside of time and space during the moment that you’re writing music, so that when people talk about inspired writing — which is what laymen love to hear about — a so-called inspiration comes in a flash and lasts for about a flash. Everyone has moments of illumination, and everybody is inspired.
If a piece is for a bunch of vocalists, there could be more surprises than for instrumentalists, because there’s a bigger difference, by nature, between one singer and another, or one group of singers and another, or the sex of one singer or another.