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. — John Eaton Copy Share Image
We need to have as broad a range as possible, because life itself has that kind of range. — 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
