“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

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. <br class="br"> Massimilla Doni http://fr.wikisource.org/wiki/Massimilla_Doni (1839), translated by Clara Bell and James Waring

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Honoré de Balzac157

French writer 1799–1850

Milton Babbitt (1916–2011) American composer

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

“… 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 (1919–1985) Austrian-British musician and writer

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

“All the usual rules of uprising realpolitik still apply, especially that concerning the peculiar of dialectic of dissent which—simply stated—dictates that in all but the most dedicatedly repressive hegemonies, if in a sizable population there are one hundred rebels, all of whom are then rounded up and killed, the number of rebels present at the end of the day is not zero, and not even one hundred, but two hundred or three hundred or more; an equation based on human nature which seem often to baffle the military and political mind.”

Iain Banks (1954–2013) Scottish writer

“A Few Notes on the Culture” (pp. 168-169)
Short fiction, The State of the Art (1991)

“Life is a wave, which in no two consecutive moments of its existence is composed of the same particles.”

John Tyndall (1820–1893) British scientist

Vitality.
Fragments of Science, Vol. II (1879)

“The significant problems of living organisms are seldom those in which one can rigidly maintain constant all but two variables. Living things are more likely to present situations in which a half-dozen, or even several dozen quantities are all varying simultaneously, and in subtly interconnected ways. Often they present situations in which the essentially important quantities are either non-quantitative, or have at any rate eluded identification or measurement up to the moment. Thus biological and medical problems often involve the consideration of a most complexly organized whole.”

Warren Weaver (1894–1978) American mathematician

Source: Science and Complexity, 1948, p. 536

“[L]et us assign the figures that have come into being in our theory to fire and earth and water and air. To earth let us give the cubical form; for earth is least mobile of the four and most plastic of bodies: and that substance must possess this nature in the highest degree which has its bases most stable. Now of the triangles which we assumed as our starting-point that with equal sides is more stable than that with unequal; and of the surfaces composed of the two triangles the equilateral quadrangle necessarily is more stable than the equilateral triangle… Now among all these that which has the fewest bases must naturally in all respects be the most cutting and keen of all, and also the most nimble, seeing it is composed of the smallest number of similar parts… Let it be determined then… that the solid body which has taken the form of the pyramid [tetrahedron] is the element and seed of fire; and the second in order of generation let [octahedron] us say to be that of air, and the third [icosahedron] that of water. Now all these bodies we must conceive as being so small that each single body in the several kinds cannot for its smallness be seen by us at all; but when many are heaped together, their united mass is seen…”

Plato book Timaeus

Section 55e–56c, Tr. R. D. Archer-Hind, The Timaeus of Plato (1888) pp. 199-201. https://books.google.com/books?id=q2YMAAAAIAAJ&pg=PA199 <br class="br">Timaeus

“A parish where life is precarious pays more poor-rates than its neighbors.”

Robert Chambers (publisher, born 1802) (1802–1871) Scottish publisher and writer

Source: Sanitary Economy (1850), p. 12

“Nadia Boulanger was quite aware that as a composition teacher she labored under two further disadvantages: she was not herself a regularly practicing composer and in so far as she composed at all she must of necessity be listed in that unenviable category of the woman composer. Everyone knows that the high achievement of women musicians as vocalists and instrumentalists has no counterpart in the field of musical composition. This historically poor showing has puzzled more than one observer. … Is it possible that there is a mysterious element in the nature of musical creativity that runs counter to the nature of the feminine mind? … The future may very well have a different tale to tell; for the present, however, no woman's name will be found on the list of world-famous composers.”

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

Copland on Music (1960) ISBN 0393001989.

“All my life I have, more of less consciously, sought an alternative way of life to his, one which is purer, one which is more intense and pays less regard to others, which is more exacting, which burns more dangerously, which gives one everything except a flabby happiness.”

Stig Dagerman book A Burnt Child

Source: A Burnt Child (1948), p. 200

“He was carried away by that mania of the storyteller, who never knows which stories are more beautiful—the ones that really happened and the evocation of which recalls a whole flow of hours past, of petty emotions, boredom, happiness, insecurity, vanity, and self-disgust, or those which are invented, and in which he cuts out a main pattern, and everything seems easy, then begins to vary it as he realizes more and more that he is describing again things that had happened or been understood in lived reality.”

Italo Calvino book The Baron in the Trees

The Baron in the Trees (1957), Chapter 16; English translation: Archibald Colquhoun (1959).

“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.”

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