“In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f”

— Jean-Philippe Rameau

a F major chord
ibid, p. 14.

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Jean-Philippe Rameau 2

French composer and music theorist of the Baroque era 1683–1764

Charles Rosen (1927–2012) American pianist and writer on music

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“As for the moral status of majority rule, it must be pointed out that it allows for A and B to band together to rip off C, C and A in turn joining to rip off B, and then B and C conspiring against A, and so on.”

Hans-Hermann Hoppe book Democracy: The God That Failed

Democracy - The God That Failed: The Economics and Politics of Monarchy, Democracy, and Natural Order (Transaction: 2001): 104.
Democracy: The God That Failed (2001)

“Man (in B major) asks: When? When? Nature, (in C Major) answers from the depths Never, never, never will the weather improve.”

Richard Strauss (1864–1949) German composer and orchestra director

Whilst composing Also Sprach Zarthustra, Strauss made this joke about the Bavaria weather to his friend, the conductor Max von Schillings. Quoted in Kurt Wilhelm, Richard Strauss - an intimate portrait, page 73.
Other sources

“In the passage quoted here from Monteverdi's madrigal [Cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant.”

François-Joseph Fétis (1784–1871) Belgian composer

Joseph Fétis, (1844). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p. 166. Brussels and Paris.

“There are only four Hindu writers on algebra whose names are particularly noteworthy. These are Āryabhata, whose Āryabhatiyam (c. 510) included problems in series, permutations, and linear and quadratic equations; Brahmagupta, whose Brahmasiddhānta (c. 628) contains a satisfactory rule for solving the quadratic… Mahāvīra, whose Ganita-Sāra Sangraha (c. 850) contains a large number of problems involving series, radicals, and equations; and Bhāskara, whose Bija Ganita (c. 1150)… extends the work through quadratic equations.”

David Eugene Smith (1860–1944) American mathematician

Source: History of Mathematics (1925) Vol.2, Ch. 6: Algebra

“So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song… so many variables that it's almost impossible to predict how a song will affect a given person.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

“Then M. Ravel discussed another idea. That was that in these days of cacophony it might be quite an original idea for the orchestra to start, say, in C major, and then, through a series of discords the instruments should divide, some going up a semitone at every three or four bars, while others went down in the same way, eventually ending in perfect harmony in C major two octaves apart. He said: 'It is just an idea but it might be rather fun working it out and certainly a novel way of resolving harmony from discord.”

Maurice Ravel (1875–1937) French composer

Maurice Ravel and unattributed. "Finding Tunes in Factories", Evening Standard, London, 24 February 1932.
Also printed in: Orenstein, Arbie, ed. (1990). A Ravel Reader: Correspondence, Articles, Interviews, p.490-91. New York: Columbia University Press.