Meredith Monk: Sometimes it's really hard. You know, like, now what? It has that quality. You know I feel like I’m in a period like that a little bit now. I have to start a new piece. So I think that sometimes, before you really know what a piece is demanding of you or what the world of that piece is going to be, it feels always this, kind of, slightly fragmented quality. You know, maybe having a lot of different ideas or not really any ideas that you can get your fingers on. And then, you've got to wait. I always say it's like throwing seeds into the garden. And then some things take and some things don't take. So it's a little disconcerting, you know, before those seeds take. Like, "What am I doing?" That always ends up being pretty terrifying. I mean, I've been working over 45 years and I'm still scared to death every time. But I think that's part of it. It's, like, let yourself be afraid, because if you're not, then you're just doing something you already know. What's the point of doing it if you already know it? It's better to do something you don't know. And you just have to kind of have the confidence. And it becomes more and more a matter of faith that this world that already exists is going to reveal itself to you. And the process will also reveal itself to you. So it's really faith.
Monk is a prolific composer and performer, and I wondered how she began a new piece of work. Was she excited by the prospect of a new creation or slightly daunted by the proverbial blank page? Or is it a little bit of both? [2:05]