I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.
Jean Michel JarreRead
When I began making electronic music, the only thing I was thinking about was creating music that I really liked. I didn't think about what effect it would have; I was busy doing it.
Interpretation
The quote emphasizes the importance of pure artistic expression over commercial considerations.
Jean Michel Jarre reflects on his early days of creating electronic music, highlighting that his primary focus was on his own enjoyment and passion for the music rather than any potential repercussions or audience reactions. This perspective underlines the value of authenticity in the creative process, suggesting that true artistry stems from doing what you love, without being overly concerned with external validation or success.
In practice
In a speech at a music festival, a speaker could use this quote to inspire young musicians to follow their passion.
I consider music like a mirage in the desert. You're obsessed with the ideal piece of music, and the more you think you're getting closer, it's not there.
With electronic music, you are not confined to the acoustics of a concert-hall, and that inspired me to bring my performances outdoors.
For me, electronic music is like cooking: it's a sensual organic activity where you can mix ingredients.
I thought we had opposite visions of electronic music. Tangerine Dream and Kraftwerk had a very robotic, mechanical approach. I had a more impressionist vision - a Ravel/Debussy approach.
Saying that you don't care about the right to privacy because you have nothing to hide is no different than saying you don't care about freedom of speech because you have nothing to say.
The major rock instruments and classical instruments were designed for performance, for sharing the music with an audience, and then later people put microphones on them and recorded them. But for electronic music, the opposite was true - they're designed in laboratories, and later, we tried to put them on stage.
In a machine age, dressmaking is one of the last refuges of the human, the personal, the inimitable.
It wasn't stone. It wasn't welded steel. It wasn't traditional sculpture. They thought it was craft, or something else, but not art. They couldn't define it in the early Fifties when I was starting out.
The writer must earn money in order to be able to live and to write, but he must by no means live and write for the purpose of making money.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
I can't distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.
No poet is ever completely lost. He has the secret of his childhood safe with him, like some secret cave in which he can kneel. And, when we read his poetry, we can join him there.
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