“If one is to take Lulu's twelve-tone chord as the integral totality of complementary harmony, then Berg's allegorical genius proves itself within a historical perspective which makes the brain reel: just as Lulu in the world of total illusion longs for nothing but her murderer and finally finds him in that sound, so does all harmony of unrequited happiness long for its fatal chord as the cipher of fulfillment — twelve-tone music is not to be separated from dissonance. Fatal: because all dynamics come to a standstill within it without finding release. The law of complementary harmony already implies the end of the musical experience of time, as this was heralded in the dissociation of time according to Expressionistic extremes.”

Philosophy of Modern Music (1973) as translated by Anne G. Mitchell and Wesley V. Blomster

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Theodor W. Adorno90

German sociologist, philosopher and musicologist known for … 1903–1969

George Perle (1915–2009) American composer

Page 98
See: Common practice period, Twelve-tone technique
The Listening Composer

“Rest springs from strife and dissonant chords beget
Divinest harmonies.”

Lewis Morris (poet) (1833–1907) Welsh poet in the English language

Love's Suicide, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

“They say that, hung in ancient halls,
At midnight from the silent lute
A melancholy music falls
From chords which were by daylight mute.
And so the human heart by night
Is touched by some inspired tone,
Harmonious in the deep delight,
By day it knew not was its own.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Meditation
Heath's book of Beauty, 1833 (1832)

“By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs…Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.”

George Perle (1915–2009) American composer

Pages 46-47
The Listening Composer

“the search for meaning is really the search for the lost chord. When the lost chord is discovered by humankind, the discord in the world will be healed and the symphony of the universe will come into complete harmony with itself.”

John O'Donohue (1956–2008) Irish writer, priest and philosopher

Source: Anam Cara: A Book of Celtic Wisdom

“The pre-World War I works of Schoenberg, Berg, and Webern, "give a glimpse of a new universe of emancipated discourse, unfortunately quickly abandoned when Schoenberg returned to the classical musical shapes upon adopting the twelve-tone system."”

Elliott Carter (1908–2012) American composer

Elliott Carter (1977). The Writings of Elliott Carter, p.186. Bloomington: Indiana University Press.
Cited in Albright, Daniel (2004). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0226012670.

“Therefore we well observe that the title of perfect cadence is attached only to a dominant that progresses to the main tone, because this dominant, which is naturally contained within the harmony of the main tone, seems, when it progresses to it, to return as if to its source.”

Jean-Philippe Rameau (1683–1764) French composer and music theorist of the Baroque era

Jean-Philippe Rameau (1726). Nouveau système de musique théorique, p. 59. Paris.

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules <br class="br">Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf <br class="br">Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890 <br class="br">From Delacroix to Neo-Impressionism, 1899

“I integrate music from all over the world in my sets, harmony is what my music and life are built upon.”

Tiësto (1969) Dutch DJ and record producer

Tiësto.
Source: [WE8 Coca-Cola Campaign, http://www.coca-cola.com/template1/index.jsp?locale=en_US&site=../we8/we8.jsp, Coca Cola, 2008-08-02]

“[Before]
Just two or three sweet chords, that seemed
An echo of thy tone,—
The cushat's song was on the wind
And mingled with thine own.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Vow of the Peacock (1835)

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Theodor W. Adorno90

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