I've just simply used what I've used because of the great, great expressive potential of it. — John Eaton Copy Share Image
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. — John Eaton Copy Share Image
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… — John Eaton Copy Share Image
It's not important to me to found a school; it's not important to me to have disciples. — John Eaton Copy Share Image
What's important for me is to communicate the vision that I have in sound with the audience that's hearing it. — John Eaton Copy Share Image
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… — John Eaton Copy Share Image
I think one of the greatest enemies in the use of technology, however, is the idea that if you use the technology you have… — John Eaton Copy Share Image
In other words, I think that if an audience listens to something as an experience of how in tune it is or something of… — John Eaton Copy Share Image
Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist. — John Eaton Copy Share Image
I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear… — John Eaton Copy Share Image
Well, opera began with an intent to resuscitate Greek drama, that is, modern opera as we know it. — John Eaton Copy Share Image
I think I was first to do live performances on a modern electronic sound synthesizer. — John Eaton Copy Share Image
The way that I got involved with microtonal music was, frankly, through jazz. — John Eaton Copy Share Image
