“The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile.”

"So You Want To Write A Fugue", Glenn Gould Reader p240

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Glenn Gould8

Canadian pianist 1932–1982

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“Sibelius is unquestionably a leader in the front rank of symphonic composers. He has got out of the ruts worn by his predecessors far more completely than Brahms got away from Beethoven, or even Richard Strauss from Wagner. If someone would only burn Finlandia he would come to our young people as an entirely original inventor of a new art form and a new harmony technique.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

George Bernard Shaw, in the Manchester Guardian, November 1, 1938.
Criticism

“More and more, the subject of an exhibition tends not be the display of artworks, but the exhibition of the exhibition as a work of art. Here, the Documenta team, headed by Harald Szeemann, exhibits (artworks) and exposes itself”

Daniel Buren (1938) sculptor from France

to critiques
Daniel Buren (1972), cited in: Marina Abramović, ‎Jens Hoffmann (2004). The next Documenta should be curated by an artist.
1970s

“We have a priori reasons for believing that in every sentence there is some one order of words more effective than any other”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

Pt. I, sec. 3, "The Principle of Economy Applied to Sentences"
The Philosophy of Style (1852)
Context: We have a priori reasons for believing that in every sentence there is some one order of words more effective than any other; and that this order is the one which presents the elements of the proposition in the succession in which they may be most readily put together.

“All the political parties alike have their origins in past ideas and not in new ideas — and none more conspicuously so than the Marxists.”

John Maynard Keynes (1883–1946) British economist

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“Every animal possesses something which distinguishes it from all other animals; and this is what I understand by personal identity, or rather the identical self. This in every animal is perfectly distinct and indivisible, since the only knowledge we have of it is when it is entire; and divisibility of this is what we cannot conceive: but if indivisible, it must also be indestructible, and must always have existed. Itis not possessed of any kind of consciousness: but no consciousness can, it appears, exist without it; as life itself seems to be composed of personal identity, and other essentials of the mind or body, and that it is the combination which produces consciousness.”

Lewis Gompertz (1783–1861) Early animal rights activist

"Theorem I: Personal Identity, or Identical Self", Chapter 5, pp. 69–70
Moral Inquiries on the Situation of Man and of Brutes (1824)

“Pytheos made a mistake by not observing that the arts are each composed of two things, the actual work and the theory of it. One of these, the doing of the work, is proper to men trained in the individual subject, while the other the theory is common to all scholars.”

Vitruvius book De architectura

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“I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

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Context: Now, whether there is feeling or not depends upon what your environment or your association is or whatever you may have in common with the player. If you feel empathy for his personal outlook, you naturally feel him musically more than some other environmental and musical opposite who is, in a way. beyond you.
I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around. But there is no need to compare composers. If you like Beethoven, Bach or Brahms, that's okay. They were all pencil composers. I always wanted to be a spontaneous composer. I thought I was, although no one's mentioned that. I mean critics or musicians. Now, what I'm getting at is that I know I'm a composer. I marvel at composition, at people who are able to take diatonic scales, chromatics, 12-tone scales, or even quarter-tone scales. I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived.

“It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal.”

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

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“It is of great advantage to the student of any subject to read the original memoirs on that subject, for science is always most completely assimilated when it is in the nascent state…”

James Clerk Maxwell book A Treatise on Electricity and Magnetism

A Treatise on Electricity and Magnetism (1873), Preface, p. xiii.

“.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.”

Giorgio de Chirico (1888–1978) Italian artist

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Glenn Gould8

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