“What is called music today is all too often only a disguise for the monologue of power. However, and this is the supreme irony of it all, never before have musicians tried so hard to communicate with their audience, and never before has that communication been so deceiving. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector.”

— Jacques Attali

Quoted in Classic Essays on Twentieth-Century Music, ed. Richard Kostelanetz and Joseph Darby (Wadsworth, 1996, ISBN 0-028-64581-2)

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Jacques Attali 2

French economist 1943

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“Before industrial civilization, local and regional communities made their own music, their own entertainment.”

Robert Crumb (1943) American cartoonist

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 180
Context: Before industrial civilization, local and regional communities made their own music, their own entertainment. The esthetics were based on traditions that went far back in time—i. e. folklore. But part of the con of mass culture is to make you forget history, disconnect you from tradition and the past. Sometimes that can be a good thing. Sometimes it can even be revolutionary. But tradition can also keep culture on an authentic human level, the homespun as opposed to the mass produced. Industrial civilization figured out how to manufacture popular culture and sell it back to the people. You have to marvel at the ingenuity of it! The problem is that the longer this buying and selling goes on, the more hollow and bankrupt the culture becomes. It loses its fertility, like worn out, ravaged farmland. Eventually, the yokels who bought the hype, the pitch, they want in on the game. When there are no more naive hicks left, you have a culture where everybody is conning each other all the time. There are no more earnest "squares" left—everybody's "hip", everybody is cynical.

“It was as if by becoming a musician and Music Master he had chosen music as one of the ways toward man's highest goal, inner freedom, purity, perfection, and as though ever since making that choice he has done nothing but let himself be more and more permeated, transformed, purified by music — his entire self from his nimble, clever pianist's hands and his vast, well-stocked musician's memory to all the parts and organs of body and soul, to his pulses and breathing, to his sleep and dreaming — so that he was now only a symbol, or rather a manifestation, a personification of music.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

“The theatre is not the place for the musician. When the curtain is up the music interrupts the actor, and when it is down the music interrupts the audience.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

Quoted in The Musical Times, February 1909; cited from Percy A. Scholes The Mirror of Music, 1844-1944 (London: Novello, 1947) vol. 1, p. 267.

“Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.”

Honoré de Balzac (1799–1850) French writer

Il y a deux musiques: une petite, mesquine, de second ordre, partout semblable à elle-même, qui repose sur une centaine de phrases que chaque musicien s'approprie, et qui constitue un bavardage plus ou moins agréable avec lequel vivent la plupart des compositeurs.
Massimilla Doni http://fr.wikisource.org/wiki/Massimilla_Doni (1839), translated by Clara Bell and James Waring

“Edwin Fischer was, on the concert platform, a short, leonine, resilient figure, whose every fiber seemed to vibrate with elemental musical power. Wildness and gentleness were never far from each other in his piano-playing, and demonic outbursts would magically give way to inner peace. It was as little trouble to him (as Alfred Polgar once said of an actor) to lose himself as to find himself.
His playing of slow movements was full of an unselfconsciousness beside which the music-making of others, famous names included, seemed academic or insincere. With Fischer, one was in more immediate contact with the music: there was no curtain before the soul when he communicated with the audience. One other musician, Furtwangler, conveyed to the same degree this sensation of music not being played, but rather happening by itself.”

Alfred Brendel (1931) Austrian pianist, poet, and author

As cited in: Ruth Hanna Sachs, ‎D. E. Heap, ‎Joyce Light (2005). White Rose History, Volume II (Academic Version). p. 366

“Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.”

Leonard Bernstein (1918–1990) American composer, conductor, author, music lecturer, and pianist

The Cambridge Companion to Conducting p. 16.

“In art, too, there is room enough for exact research... What was accomplished in music before the end of the eighteenth century has hardly been begun in the pictorial field.”

Paul Klee (1879–1940) German Swiss painter

quote of Paul Klee from the text Exact experiments in the realm of art, 1928; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
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“…human beings need community. If there are no communities available for constructive ends, there will be destructive, murderous communities… Only the social sector, that is, the nongovernmental, nonprofit organization, can create what we now need, communities for citizens… What the dawning 21st century needs above all is equally explosive growth of the nonprofit social sector in building communities in the newly dominant social environment, the city.”

Peter F. Drucker (1909–2005) American business consultant

Civilizing the City, Leader to Leader, No. 7 (Winter 1998)
1990s and later

“I'm afraid for all those who'll have the bread snatched from their mouths by these machines. You are very fond, sir, of talking about the consideration we owe to the community; it seems to me, however, that the community has its duties too. What business has science and capitalism got, bringing all these new inventions into the works, before society has produced a generation educated up to using them!”

Henrik Ibsen The Pillars of Society

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“Arre bhai…there is so much more to Indian music than those beats. I have done bhangra…nothing against it. But why do we present only that to the Indian and global audience. Punjabi language and music has become the language of the film industry unfortunately. Be it Singh is King or London Dreams or New York Beats are the same. agreed you cannot use classical or folk music in New York or Singh is King but London Dreams — it's supposed to be a musical. Music should have been the soul of it. But that is the weakest thing in the film. So much could have been done — classical music and folk music could have been used. But they didn't. They want to finish of work ASAP. Quantity, not quality has taken over.”

Waheeda Rehman (1938) Indian actress

Quote, Grace personified: Waheeda Rehman

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