
George Bernard Shaw, in the Manchester Guardian, November 1, 1938.
Criticism
"So You Want To Write A Fugue", Glenn Gould Reader p240
George Bernard Shaw, in the Manchester Guardian, November 1, 1938.
Criticism
to critiques
Daniel Buren (1972), cited in: Marina Abramović, Jens Hoffmann (2004). The next Documenta should be curated by an artist.
1970s
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.
Source: Essays In Biography (1933), Trotsky On England, p. 91
"Theorem I: Personal Identity, or Identical Self", Chapter 5, pp. 69–70
Moral Inquiries on the Situation of Man and of Brutes (1824)
Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 15
What Is A Jazz Composer? (1971)
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.
Source: The Romantic Generation (1995), Ch. 1 : Music and Sound
Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542
1920s and later