“Eftsoones they heard a most melodious sound.”

— Edmund Spenser , The Faerie Queene

Canto 12, stanza 70
The Faerie Queene (1589–1596), Book II

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Edmund Spenser 53

English poet 1552–1599

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 10

“Heard melodies are sweet, but those unheard, are sweeter”

John Keats Ode on a Grecian Urn

Stanza 2
Poems (1820), Ode on a Grecian Urn
Variant: Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on.
Source: Ode on a Grecian Urn and Other Poems
Context: Heard melodies are sweet, but those unheard
Are sweeter: therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone.
Context: Heard melodies are sweet, but those unheard
Are sweeter: therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone.
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal — yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!

“But where was it when I first heard that sweet sound of humility?
It came to my ears in the goddamn loveliest melody!
How grateful I was, then, to be part of the mystery,
To love, and to be loved!
Let’s just hope that is enough.”

Conor Oberst (1980) American musician

Let's Not Shit Ourselves (To Love and to Be Loved)
Lifted or The Story Is in the Soil, Keep Your Ear to the Ground (2002)

“The absolutely inaudible is rejected from music during the period of Viennese Classicism in which every musical line is potentially or imaginatively audible, but it makes a dramatic reappearance in the music of Schumann. The most striking of many examples is one of the episodes in the Humoresk, the last of the great piano works of Schumann's early years. … There are three staves: the uppermost for the right hand; the lowest for the left; the middle, which contains the melody, is not to be played. Note that the melody is no more to be imagined as a specific sound than it is to be played: nothing tells us that the melody is to be heard as vocal or instrumental. This melody, however, is embodied in the upper and lower parts as a kind of after-resonance-out of phase, delicate, and shadowy.”

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

Source: The Romantic Generation (1995), Ch. 1 : Music and Sound

“In the air sweet and dancing melodies of the sound, in life music is always the master.”

Prevale (1983) Italian DJ and producer

Original: (it) Nell'aria dolci e danzanti melodie del suono, nella vita la musica fa sempre da padrona.
Source: prevale.net

“THE fountain's low singing is heard on the wind,
Like a melody bringing sweet fancies to mind;
Some to grieve, some to gladden: around them they cast
The hopes of the morrow, the dreams of the past.
Away in the distance is heard the vast sound,
From the streets of the city that compass it round,
Like the echo of mountains, or ocean's deep call;
Yet that fountain's low singing is heard over all.”

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

The Middle Temple Gardens
The Vow of the Peacock (1835)

“The three great elemental sounds in nature are the sound of rain, the sound of wind in a primeval wood, and the sound of outer ocean on a beach. I have heard them all, and of the three elemental voices, that of ocean is the most awesome, beautiful and varied.”

Henry Beston book The Outermost House

p. 57: Ch. 3 http://books.google.com/books?lr=&id=edhCAAAAIAAJ&q=%22The+three+great+elemental+sounds+in+nature+are+the+sound+of+rain+the+sound+of+wind+in+a+primeval+wood+and+the+sound+of+outer+ocean+on+a+beach%22&pg=PA57#v=onepage
The Outermost House, 1928