23

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.

18

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

3

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

11

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

7

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

21

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

8

A always breaks rules.

17

Music is the motor of .

16

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

1

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

5

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.

17

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

23

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.

18

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.
8

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

13

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

21

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.

6

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

22

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

12

Music is a language without grammar.

2

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

5

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.

19

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

13

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.

16

Strings are of the most beautiful instruments ever made.

Excerpts from the One Trick Pony guidebook.