The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.

Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.. ..already today one can safely assume that the roots of laws of composition are the same for art as they are for nature.

Drama moves us: conflict is an inherent pattern in reality. Harmony moves us too: faced as we are with ever imminent disorder. It is a powerful idea. Van Gogh's drama and Seurat's silent harmony were born in the same country and epoch: but they do not contradict one another; they refer to different patterns among those which constitute reality.

I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome. … I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.

In 'pure' instrumental music, the strategies chosen by composers to create unity were responsive to the tenets of Romanticism...Even in the absence of an explicit program, motivic continuity created a kind of narrative coherence. Like the chief character in a novel, the 'fortunes' of the main motive--its development, variation, and encounters with other 'protagonists'--served as a source of constancy throughout the unfolding of the musical process.

I think there has never been a more misunderstood phrase than drama is conflict, conflict is drama. Instead of thinking of conflict, I like to think of dialectic, a need for opposites that undermine each other. Or, I think about the need for contrast in painting. Paintings don't need large family fights and mudslinging, but they do need contrasts of color and shade. Of course, watching people insulting other people is entertaining, as are arm wrestling, bearbaiting, and the like. But I'm not sure that it's necessary to the drama, for drama is also a spectacle, A thing of interesrt, a thing happening , an event eventing, which us not necessarily a thing fighting. Though fighting can certainly be dramatic, it is not a necessary precondition to the dramatic.

"Music without the ebb and flow would be like "watching a film with only good guys in it"."

Our sense of a composition largely inheres in how we feel about the individual parts; narrative arcs are almost always essential in drama but (unless there are lyrics involved) often less essential in music. All of this is, I suspect, again symptomatic of human memory limitations. We live, to a remarkable degree, in the present; what happened thirty seconds ago is already rapidly fading from our memory (or at least rapidly becomes harder for us to retrieve).

My natural tendency is to write dramatic music, but the job of a composer is to write whatever a show requires. The range is indeed quite broad, as you know, and in truth, each and every style has a unique set of challenges and rewards. It is not unusual for me to go from a very dark and dramatic scene to a lighthearted one. And my one comment would be that the difficulty lies in shifting gears! But shift we must, and we composers do it every day.

How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.

Great drama is great questions or it is nothing but technique. I could not imagine a theater worth my time that did not want to change the world.

Everything written is as good as it is dramatic. It need not declare itself in form, but it is drama or nothing. A least lyric alone may have a hard time, but it can make a beginning, and lyric will be piled on lyric till all are easily heard as sung or spoken by a person in a scene — in character, in a setting. By whom, where and when is the question.

Good drama (and comedy) often comes from the simple act of placing characters in a situation that is not usual nor comfortable for them.

A pitch narrative can be thought of as a series of tension loops. Push then pull. Create tension. Then resolve it.