“… there is no point to musical analysis at all unless it is 'two-dimensional' – unless […] one examines the music in terms of what I call its 'Background' (and this 'Background' is the sum total of the expectations which the composer creates) and its 'Foreground' (and its 'Foreground' is what he does instead). That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead…”

— Hans Keller

Hans Keller, Lecture on Beethoven's Op.130, BBC broadcast from Leeds University, 1973.

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Hans Keller 2

Austrian-British musician and writer 1919–1985

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“Burkard Schliessmann is a fiercely intellectual pianist. He’s intellectual in two senses. First, he approaches this music with a tremendous store of background knowledge - knowledge about the composers and their works, about their early receptions, about their critical writings, about their literary inspirations, and about the cultural milieu in which they found themselves. Second, he performs the music with a rigorous sense of the ways its details contribute to its form, both in terms of its overall architecture and in terms of its vertical structure.”

Burkard Schliessmann classical pianist

Peter J. Rabinowitz in Fanfare - The Magazin for Serious Record Collectors, USA, January/February 2011, Chopin-Schumann Anniversary Edition 2010 in the interpretation of Burkard Schliessmann, Volume 34, Number 3, p. 255

“Freedom, ordered freedom, within the law, with force in the background and not in the foreground”

Stanley Baldwin (1867–1947) Former Prime Minister of the United Kingdom

Speech to the Empire Rally of Youth at the Royal Albert Hall (18 May 1937), quoted in Service of Our Lives (1937), pp. 164-165.
1937
Context: Let me proclaim my faith... Here we have ceased to be an island, but we are still an Empire. And what is the secret? Freedom, ordered freedom, within the law, with force in the background and not in the foreground... It is an Empire organised for peace... It deifies neither the State nor its rulers. The old doctrine of the divine right of Kings has gone, but we have no intention of erecting in its place a new doctrine of the divine right of States. No State that ever was is worthy of a free man's worship.

“Habitualization carries with it the important psychological gain that choices are narrowed… the background of habitualized activity opens up a foreground for deliberation and innovation [which demand a higher level of attention].”

Peter L. Berger book The Social Construction of Reality

Source: The Social Construction of Reality, 1966, p. 53

“I love when I reach Marcus on the phone and as he says hello, I can hear the music he's listening to in the background. That music is the sound of him without me. How he surrounds himself when I'm not there, which is almost all the time.”

Megan McCafferty (1973) American novelist

Source: Charmed Thirds

“I come from a background of experimental music which mingled real sounds together with musical sounds.”

Ennio Morricone (1928–2020) Italian composer, orchestrator and conductor

“I object to background music no matter how good it is. Composers want people to listen to their music, they don't want them doing something else while their music is on. I'd like to get the guy who sold all those big businessmen the idea of putting music in the elevators, for he was really clever. What on earth good does it do anybody to hear those four or eight bars while going up a few flights.”

Aaron Copland (1900–1990) American composer, composition teacher, writer, and conductor

Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

“The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.”

Jerry Goldsmith (1929–2004) film composer

ibid., p. 209

“I can respect the artistic aim of a composer if he arrives at the so-called modern idiom after an intense period of preparation…Such composers know what they are doing when they break a law; they know what to react against, because they have had experience in the classical forms and style. Having mastered the rules, they know which can be violated and which should be obeyed. But, I am sorry to say, I have found too often that young composers plunge into the writing of experimental music with their school lessons only half learned. Too much radical music is sheer sham, for this very reason: its composer sets about revolutionizing the laws of music before he learned them himself.”

Sergei Rachmaninoff (1873–1943) Russian composer, pianist, and conductor

Interviewed by David Ewen in The Etude, 1941; cited from Josiah Fisk and Jeff Nichols (eds.) Composers on Music (Boston, MA: Northeastern Universities Press, 1997) pp. 235-6

“If a composer could say what he had to say in words he would not bother trying to say it in music.”

Gustav Mahler (1860–1911) late-Romantic Austrian composer

“…WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FIELD OF SOUND, WILL BE INADEQUATE FOR THE COMPOSER, WHO WILL BE FACED WITH THE ENTIRE FIELD OF SOUND.”

John Cage (1912–1992) American avant-garde composer

Quote of John Cage, in: 'The Future of Music: Credo' (1937); SILENCE; lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, CREDO/3
1930s

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