3

A listens to all sorts of music and all sorts of sounds. Sometimes he should even try to imitate them. He doesn’t like to judge too fast. He doesn’t try to judge at all. He absorbs.

15

musicians should stop playing the score, they should play the music.

12

A always questions his mentors. He remembers he is always free to turn his back on them — but only does so after long consideration, when the time is right. A won’t make a personal fuss, and will go in peace.

3

For all musicians of : the inside of the music makes the outside sound good. Monk once reflected on that matter, and so will we.

21

A finds inspiration and comfort in science and nature elements. Both elements are larger than a human being. It is always good to point at the mountain to see where you stand.

21

Music is a language without grammar.

7

Music is the motor of .

9

Music is visual. Music is an image. Embrace the image.

8

Don’t try to create and analyze at the same time. They’re different processes. This is a rule borrows from Sister Corrita Kent.

24

A list of might-have-been mentors of :
Morton Feldman, Kairos, Bella Tar, Sergei Loznitsa, Alexander Cozens, Johannes Ockeghem, John Cage, David Attenborough, August Sander, Alexander von Humboldt, Alexandar Hemon, Eugène Boudin, David Eagleman, J.D. Salinger, Monteverdi, Ray and Charles Eames, Georges Perec, Abbas Kiarostami and Daniel Johnston.

10

make each other sound good. They use their imagination for every note they play. Every note is equal, always.

5

uses real-life locations in nature as an inspiration for his compositions.

12

A composer writes from the land of utopia. The utopian dream is the most important stimulator. Realism needs to be reinvented on stage, location, concerts, film or graphic design.

23

Strings are of the most beautiful instruments ever made.

19

considers everything an experiment. Music is a holy good, but the ‘creation experience’ can be lighter than you might imagine it.

2

Musicians of should play on mountain tops, swim in lakes, play chess or basketball.

8

A says: “In the detail lies the exceptionality!”, because here he finds comfort and hope.

18

A never ignores history. Better yet: he reflects on it. He looks at history as a flying brown owl upon his territory, seeking and reflecting.

16

Musicians of should be interested and open-minded towards the creator’s artistic ideas.

16

Musically, favors baroque and renaissance music, 20th-century contemporary classical music, pop and electronic music. A thinks favorites should always change.

3

A wants to hop over fences and stride through tunnels to escape from the city via the land to the sea.

4

A believes in the importance of rules.
He believes that the smaller the creation street of your workspace, the larger the creativity.

17

There are a few practical rules for musicians of (this list will get larger or smaller in the future):

  1. For all string players: it is not because you are a string player that you can not sound like a horn. Most of the time, you should. Horns sound better than you.
  2. Pianissimo is the dominating dynamic, music should create time and space to expose and celebrate the detail. The detail is the ultimate.
  3. Vibrato is not allowed.
22

A always breaks rules.

8

A composer works like a painter. He or she uses only one subject to create the piece with. A digs deep: narrative along its horizontal line is less important than through its vertical line.

Excerpts from the One Trick Pony guidebook.