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" "It is the transcendent (or 'abstract' or 'self-contained') nature of music that the new so called concretism--Pop Art, eighteen-hour slices-of-reality films, musique concrete--opposes. But instead of bringing art and reality closer together, the new movement merely thins out the distinction.
Igor Fyodorovitch Stravinsky (Russian: Игорь Фёдорович Стравинский) (June 17, 1882 – April 6, 1971), a Russian-born composer, is thought to be one of the most influential composers of the 20th century. His musical language evolved over the years through many stylistic periods including neoclassicism and serialism, though he is perhaps most remembered for his early works, written in a primitive style for Sergei Diaghilev's Ballets Russes; L'Oiseau de Feu (The Firebird), Petrushka and Le Sacre du Printemps (The Rite of Spring).
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For I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc. Expression has never been an inherent property of music. That is by no means the purpose of its existence. If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality. It is simply an additional attribute which, by tacit and inveterate agreement, we have lent it, thrust upon it, as a label, a convention – in short, an aspect which, unconsciously or by force of habit, we have come to confuse with its essential being.
I was...attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism,” accused of renouncing my “true Russian heritage.” People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect,” but I love.