Quotes about music (3440 quotes, page 17)

“We may have had music before we had a word for it.”

Daniel Levitin book The World in Six Songs

The World in Six Songs (2008)

“Blue jean baby, L. A. lady, seamstress for the band.
Pretty eyed, pirate smile, you'll marry a music man.
Ballerina, you must have seen her dancing in the sand.
And now she's in me, always with me, tiny dancer in my hand.”

Elton John (1947) English rock singer-songwriter, composer and pianist

Tiny Dancer
Song lyrics, Madman Across the Water (1971)

Smile , Dance , Baby

“…in serial music, the series itself is seldom audible… What I'm interested in is a compositional process and a sounding music that are one in the same thing.”

Steve Reich (1936) American composer

Source: Steve Reich, ‎Paul Hillier (2002) Writings on Music, 1965-2000, p. 35

“And oft with holy hymns he charm'd their ears, And music more melodious than the spheres.”

John Dryden (1631–1700) English poet and playwright of the XVIIth century

“Someone finally understood all the “hell” that I’d been through since a child when I’d first tried to understand language. And yet in other forms of communications, like painting, sculpture, music, math, problem-solving, and chess, I’d been very good. In fact, in high school, once I learned how to play chess, I’d play lightning-fast, intuitively seeing all these different possibilities at the same time, and I’d won well over a hundred chess games without losing a single game. And that included beating some of our faculty members who thought that they were very good at chess.”

Victor Villaseñor (1940) American writer

Burro Genius: A Memoir (2004)

School , Game , Communication , Hell

“Music so wishes to be heard that sometimes it calls on unlikely characters to give it voice, and ears. This wishing-to-be heard calls into existence the Performance Event; where music, musician and audience may come together as one, in communion. This communion has six different forms of being and experiencing itself (plus an invisible seventh); and these forms, or principles, are simultaneously present within the Performance.
I - When people get together with music, something happens.
II - In a performance, things come together, mysteriously; and go better than we might anticipate; and better than we deserve.
III - A performance can take on a life and character of its own.
IV - Any one performance is a multiplicity of performances.
V - The possible is possible.
VI - The impossible is possible.
The Seventh Principle resides within Silence.
Trust the event.”

Robert Fripp (1946) English guitarist, composer and record producer

The Six Principles of the Performance Event

Life , People , Silence

“Schumann's humor is rarely either witty or light: the unrealizable musical structure, the musical motto hidden and partly inaudible, must have stirred his musical fantasy.”

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

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

Light

“Everyman is full of music, but it is not everyman that knows how to bring it out.”

Henry Ward Beecher (1813–1887) American clergyman and activist

Proverbs from Plymouth Pulpit (1887)

“That game, just the brutal simplicity. It’s amazing as a game designer you want to have the latest graphics, and you want the Chicago Symphony playing your background music, and you want Harrison Ford and Matt Damon as your starring characters. But if you have an incredibly addictive game, you don’t need any of that crap. You just need blocks.”

Eugene Jarvis (1955) American game designer and game programmer

"Newcity Chicago," April 2008, on the arcade game "Tetris"

Game , Star

““When i say Abhinaya, oh, I can't do the abhinaya like what the great man did here yesterday”
- Great Bharatanatyam dancer Balasaraswati next day after Chakyar's lecture-demonstration at Madras Music Academy in 1973.”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya
Source: Sruti- India's premier Music and Dance magazine, August 1990 issue (71), p. 17.

“The theatre is not the place for the musician. When the curtain is up the music interrupts the actor, and when it is down the music interrupts the audience.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

Quoted in The Musical Times, February 1909; cited from Percy A. Scholes The Mirror of Music, 1844-1944 (London: Novello, 1947) vol. 1, p. 267.

“Laughter is the greatest music in the world and audiences come to my shows to escape the cares of life. They don't want to be embarrassed or insulted. They want to laugh and so do I - which is probably why it works.”

Ken Dodd (1927–2018) English comedian, singer-songwriter and actor

Quoted in Manchester Evening News, http://www.manchestereveningnews.co.uk/entertainment/comedy/s/234/234894_dodds_bolton_bonus.htmlDodd's Bolton bonus, Natalie Anglesey. (2008-04-28)

Life , World , Laughter

“For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music.”

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

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

“I propose to create an heroic, monumental style of composition simple enough to inspire all people, completely free from fads, artificial mannerisms and false sophistications, direct, forceful, sincere, always original but never unnatural. Music must be freed from decadence and stagnation. There has been too much emphasis on small things while the great truths have been overlooked. The superficial must be dispensed with. Music must become virile to express big things. It is not my purpose to supply a few pseudo intellectual musicians and critics with more food for brilliant argumentation, but rather to inspire all mankind with new heroism and spiritual nobility. This may appear to be sentimental and impossible to some, but it must be remembered that Palestrina, Handel, and Beethoven would not consider it either sentimental or impossible. In fact, the worthiest creative art has been motivated consciously or unconsciously by the desire for the regeneration of mankind.”

Alan Hovhaness (1911–2000) Armenian-American composer

Alan Hovhaness, 1940 Guggenheim Application http://www.hovhaness.com/hovhaness-biography.html

People , Truth , Food , Art

“Luther's Qualifications. Luther had a rare combination of gifts for a Bible translator: familiarity with the original languages, perfect mastery over the vernacular, faith in the revealed word of God, enthusiasm for the gospel, unction of the Holy Spirit. A good translation must be both true and free, faithful and idiomatic, so as to read like an original work. This is the case with Luther's version. Besides, he had already acquired such fame and authority that his version at once commanded universal attention.
His knowledge of Greek and Hebrew was only moderate, but sufficient to enable him to form an independent judgment. What he lacked in scholarship was supplied by his intuitive genius and the help of Melanchthon. In the German tongue he had no rival. He created, as it were, or gave shape and form to the modern High German. He combined the official language of the government with that of the common people. He listened, as he says, to the speech of the mother at home, the children in the street, the men and women in the market, the butcher and various tradesmen in their shops, and, "looked them on the mouth," in pursuit of the most intelligible terms. His genius for poetry and music enabled him to reproduce the rhythm and melody, the parallelism and symmetry, of Hebrew poetry and prose. His crowning qualification was his intuitive insight and spiritual sympathy with the contents of the Bible.
A good translation, he says, requires "a truly devout, faithful, diligent, Christian, learned, experienced, and practiced heart."”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's competence as a Bible translator

Women , Men , God , Children

“I believe that the use of noise to make music will continue and increase until we reach a music produced through the use of electrical instruments which will make available for musical purposes any and all sounds that can be heard. Photoelectric, film and mechanical mediums for the synthetic production of music will be explored.”

John Cage (1912–1992) American avant-garde composer

Quote of John Cage, in: 'The Future of Music: Credo' (1937); SILENCE 3-4
1930s

“Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.”

George Gershwin (1898–1937) American composer and pianist

"The Relation of Jazz to American Music", in Henry Cowell (ed.) American Composers on American Music (1933); reprinted in Gregory R. Suriano (ed.) Gershwin in His Time (New York: Gramercy, 1998) p. 97.

People , Feeling

“I am deeply sensitive to the spell of nationalism. I can play about thirty Bohemian folk songs… on my mouth-organ. My oldest friend, who is Czech and a patriot, cannot bear to hear me play them because he says I do it in such a schmalzy way, 'crying into the mouth organ'. I do not think I could have written the book on nationalism which I did write, were I not capable of crying, with the help of a little alcohol, over folk songs, which happen to be my favourite form of music.”

Ernest Gellner (1925–1995) Czech anthropologist, philosopher and sociologist

"Reply to Critics" in The Social Philosophy of Ernest Gellner

Alcohol , Books , Way , Thinking

“Whoever said "Wagner's music isn't as bad as it sounds" was as wrong as he was funny, but there is surely a case for saying that the story of Captain Ahab's contest with the great white whale is one of those books you can't get started with even after you have finished reading them.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Jorge Luis Borges', p. 65
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Books , Reading

“That is the spirit of the music: to not leave anyone out, to be inclusive.”

Brian Viglione (1979) American musician

March 26, 2006 - PunkTv Interview

“At various universities, I've seen black men who are treated very indulgently, over-indulgently. They are allowed to do what they want, take what they want, drop what they want. I met one young man in Philadelphia, a young black, who wanted to learn music. But he wouldn't learn music from whites because it was 'tainted' music. Well, this is bloody ridiculous…”

Anthony Burgess (1917–1993) English writer

remark made in 1971, cited in Roger Lewis, Anthony Burgess (2002), p. 152
General

Men , Learning , Universe

“Soft is the music that would charm forever;
The flower of sweetest smell is shy and lowly.”

William Wordsworth (1770–1850) English Romantic poet

Not Love, not War.
Bartlett's Familiar Quotations, 10th ed. (1919)
Variant: The flower of sweetest smell is shy and lowly.

Flowers

“I like to think of music as an emotional science.”

George Gershwin (1898–1937) American composer and pianist

Page 388
The Composer in the Machine Age (1933)

Thinking , Science

“Objective' analysis is a tool, primarily useful for suggesting or confirming putative relationships between different musical styles….'Critical' analysis results not in a statistical measurement of style or proof of relationship but rather, ideally, in a formal model for a relatively independent and artistically controllable style within a culture, and should then be viable for accounting for individual manifestations of that style…”

Harold Powers (1928–2007) American academic

“The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”

Milton Babbitt (1916–2011) American composer

From Milton Babbitt, "The Structure and Function of Musical Theory", College Music Symposium, Vol. 5 (Fall 1965), pp. 49-60; reprinted in Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone (New York: Norton, 1972), pp. 10-21, ISBN 0393005488, and in Milton Babbitt, The Collected Essays of Milton Babbitt, ed. Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus (Princeton: Princeton University Press, 2003), pp. 191-201, ISBN 0691089663.

Question , Nature , Sense , Science

“I didn't start with rock or jazz musicians. It was just my great dear friend whom I miss very much who is no more, Yehudi Menuhin, Lord Yehudi Menuhin. We got very friendly from the year 1952. And when I came to Europe and started performing, we cut three albums in those days, known as "West Meets East." And then I did many other things later on, of course. My student George Harrison, who is like my son, and a great friend of mine, whom I taught sitar initially but later on he was so interested he composed a lot of songs being influenced by our Indian music and Indian spiritual and religious teachings, things like that. And I've done a lot of experimentations, which I don't like to call fusion or trying to mix Indian music or Western music like a cocktail to make it interesting. Genuinely what I wanted to do is have the base as pure as possible Indian music within the framework of raga and tala, and use non-Indian musicians, non-Indian instruments for a special sound, for the range, for the volume, for the colors and all that. And I think some of them came out nice. Of course I was very much criticized also for it…”

Ravi Shankar (1920–2012) Indian musician and sitar player

Ravi Shankar during his talk with Gross.

Color , Thinking

“But we have higher mathematics, haven't we? This gives me freedom from my senses. The language of mathematics is even more inborn and universal than the language of music; a mathematical formula is crystal clear and independent of all sense organs. I therefore built a mathematical laboratory, set myself in it as if I were sitting in a car, and moved along with a beam of light.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Source: Attributed in posthumous publications, Einstein and the Poet (1983), p. 11

Cars , Mathematics , Sense , Freedom

“The art of music above all the other arts is the expression of the soul of a nation.”

Ralph Vaughan Williams (1872–1958) English composer

National Music (1934) p. 123.

Art , Soul

“His partitioning of the octave in the first ten bars places Varèse with Scriabin and the Schoenberg circle among the revolutionary composers whose work initiates the beginning of a new mainstream tradition in the music of our century.”

George Perle (1915–2009) American composer

Page 12
The Listening Composer

“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.

Women , World , Nature , Teachers

“If you said goodbye to me tonight
There would still be music left to write.
What else could I do?
I'm so inspired by you.
That hasn't happened for the longest time.”

Billy Joel (1949) American singer-songwriter and pianist

The Longest Time.
Song lyrics, An Innocent Man (1983)

Time

“Sweet is the breath of vernal shower,
The bee's collected treasures sweet,
Sweet music's melting fall, but sweeter yet
The still small voice of gratitude.”

Thomas Gray (1716–1771) English poet, historian

Ode for Music http://www.thomasgray.org/cgi-bin/display.cgi?text=ocmu (1769), V, line 8

Bee , Gratitude

“…WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FIELD OF SOUND, WILL BE INADEQUATE FOR THE COMPOSER, WHO WILL BE FACED WITH THE ENTIRE FIELD OF SOUND.”

John Cage (1912–1992) American avant-garde composer

Quote of John Cage, in: 'The Future of Music: Credo' (1937); SILENCE; lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, CREDO/3
1930s

Past , Future

“The theory of waves has been much simplified, and somewhat extended, and their motions have been illustrated by experiments… A similar method of reasoning has been applied to the circulation of the blood, to the propagation of sound, either in fluids or in solids, and to the vibrations of musical chords; the general principle of a velocity, corresponding to half the height of a certain modulus, being shown to be applicable to all these cases: and a connexion has been established between the sound to be obtained from a given solid, and its strength in resisting a flexure of any kind; or, in the case of ice and water, between the sound in a solid and the compressibility in a fluid state. The doctrine of sound and of sounding bodies in general has also received some new illustrations, and the theory of music and of musical intervals has been particularly discussed.”

Thomas Young (scientist) (1773–1829) English polymath

Preface
A Course of Lectures on Natural Philosophy and the Mechanical Arts (1807)

Water

“I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"”

Akira Ifukube (1914–2006) Japanese composer

That is why I agreed to work on GODZILLA VS. GHIDRAH.
As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Way , Time , Daughters

“Something new has been added, a new art of sound. Am I wrong in calling it music?”

Pierre Schaeffer (1910–1995) French musicologist

The Liberation of Sound: An Introduction to Electronic Music (Prentice-Hall edition, 1972)

Art

“Music has to do with sounds, so we need to find them somewhere and it is preferred to find musical ones. You have two sources for sounds: noises, which always tell you something — a door cracking, a dog barking, the thunder, the storm; and then you have instruments. An instrument tells you, 'la-la-la-la.' Music has to find a passage between noises and instruments. It has to escape. It has to find a compromise and an evasion at the same time; something that would not be dramatic because that has no interest to us, but something that would be more interesting than sounds like Do-Re-Mi-Fa…”

Pierre Schaeffer (1910–1995) French musicologist

Electronic Musician magazine, December 1986
Interviews

Dogs , Time

“… what could have brought him to Dalton. There were no chalybeate-springs, warranted to cure every disease under the sun; no ruins in the neighbourhood, left expressly for antiquarians and pic-nic parties; no fine prospects, which, like music, people make it matter of conscience to admire; no celebrated person had ever been born or buried in its environs; there were no races, no assizes—in short, there was “no nothing."”

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

Part 1
Other Gift Books

People , Disease , Spring , Sun

“I am astonished and somewhat terrified at the results of this evening's experiments – astonished at the wonderful power you have developed, and terrified at the thought that so much hideous and bad music may be put on record forever! … I think it is the most wonderful thing that I have ever experienced, and I congratulate you with all my heart on this wonderful discovery.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

A message on a phonograph cylinder, recorded by Arthur Sullivan at a demonstration of Thomas Edison's phonograph in London on 5 October 1888; cited from Michael Chanan Repeated Takes: A Short History of Recording and its Effects on Music (London: Verso, 1995) p. 26. See also "Historic Sullivan Recordings" http://diamond.boisestate.edu/gas/sullivan/html/historic.html at the Gilbert and Sullivan Archive; and Very Early Recorded Sound http://www.nps.gov/edis/photosmultimedia/very-early-recorded-sound.htm at the National Historical Park website. The recording was issued on CD by the British Library (Voices of History 2: NSACD 19-20, 2005).

Thinking , Heart

“It never seems to occur to people that a man might just want to write a piece of music.”

Ralph Vaughan Williams (1872–1958) English composer

Quoted in Michael Kennedy The Works of Ralph Vaughan Williams ([1964] 1992) p. 302. He reportedly said this to Roy Douglas regarding whether his Symphony No.6 was meant to be programmatic.

People

“I strive to make my art bear the same relation to painting that polyphony bears to music. Illustrative music is a thing of the past: it has become abstract and purely aesthetic, dependent for its effect upon rhythm and form.”

Stanton Macdonald-Wright (1890–1973) American artist

Quoted in Bryant American Pictures And Their Painters (1917), p. 302

Art , Past , Painting , Dependency

“On being upset by comments that suggest the music on Dirt advocates drug use, quoted in”

Layne Staley (1967–2002) American singer

https://www.rollingstone.com/music/news/alice-in-chains-through-the-looking-glass-19921126, Alice in Chains: Through the Looking Glass, Rolling Stone, November 26, 1992

Quotes

“[Harry listening to car radio] …he resents being made to realise, this late, that the songs of his life were as moronic as the rock the brainless kids now feed on, or the Sixties and Seventies stuff that Nelson gobbled up – all of it designed for empty heads and overheated hormones, an ocean white with foam, and listening to it now is like trying to eat a double banana split the way he used to. It's all disposable, cooked up to turn a quick profit. They lead us down the garden path, the music manufacturers, then turn around and lead the next generation down with a slightly different flavour of glop.
Rabbit feels betrayed. He was reared in a world where war was not strange but change was: the world stood still so you could grow up in it. He knows when the bottom fell out. When they closed down Kroll's, Kroll's that had stood in the centre of Brewer all those years, bigger than a church, older than a courthouse, right at the head of Weiser Square there,… […] So when the system just upped one summer and decided to close Kroll's down, just because shoppers had stopped coming in because the downtown had become frightening to white people, Rabbit realised the world was not solid and benign, it was a shabby set of temporary arrangements rigged up for the time being, all for the sake of money. You just passed through, and they milked you for what you were worth, mostly when you were young and gullible. If Kroll's could go, the courthouse could go, the banks could go. When the money stopped, they could close down God himself.”

John Updike book Rabbit at Rest

Rabbit at Rest (1990)

Life , Money , God , War

“[A]ny musician who has not experienced - I do not say understood, but truly experienced - the necessity of dodecaphonic music is USELESS. For his whole work is irrelevant to the needs of his epoch.”

Pierre Boulez (1925–2016) French composer, conductor, writer, and pianist

Emphasis in the original. From "Eventuellement..." (1952), translated as "Possibly..." in Stocktakings from an Apprenticeship, Oxford: Oxford University Press, 1991, p. 113. ISBN 0193112108

“The relationship of feminism to my work and the evolution of the form of my music are in violent flux.”

Beth Anderson (1950) American neo-romantic composer

Beth Anderson (1980) in: Heresies. Nr 3. p. 37; Self-cited in: Beth Anderson (1980) "Beauty is Revolution"

“I might like to be an actor, but there are loads of other things I'm interested in as well, like music and writing and sports. I want to keep my options open.”

Daniel Radcliffe (1989) English actor

about acting http://www.danradcliffe.com/index.php?option=com_content&view=article&id=23&Itemid=28

Sport

“If you and I shall, like the believing shepherds, watch and long for His appearing, one day we, too, shall hear a music grander and sweeter even than the song of angels, when the great Composer shall transpose all the strains of earth from the minor into the major, when the wail of nature shall give way to the glad harmony of the everlasting jubilee.”

Abbott Eliot Kittredge (1834–1912) American minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 555.

Angels , Way , Nature , Appearance

“The music that really turns me on is either running toward God or away from God. Both recognize the pivot, that God is at the center of the jaunt.”

Bono (1960) Irish rock musician, singer of U2

Rolling Stone interview (2005)

God

“Instead of copying Nature, we [ Cubists ] create a 'milieu', of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy of literature and music. Your [ Gelett Burgess is American] Edgar Poe did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in 'The Fall of the House of Ushur.”

Jean Metzinger (1883–1956) French painter

That subjective idea he translated into art. He made a composition of it.
Quote of Metzinger in 'The Wild Men of Paris', by Gelett Burgess https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf, in 'The Architectural Record, Vol XXVII, May 1910, p. 413

Life , Art , Color , Literature

“Twas easy following where invention trod
— All eyes can see when light flows out from God.
And thus did Jubal to his race reveal
Music their larger soul, where woe and weal
Filling the resonant chords, the song, the dance,
Moved with a wider-winged utterance.”

George Eliot (1819–1880) English novelist, journalist and translator

The Legend of Jubal (1869)

God , Soul , Light , Dance

“Americans are well aware that there has been a revolution. In morals. In manners. In speech. In crime rates. In riots. In violence. In drugs. In sex. In pornography. In politics. In movies. In education. In music. What most of us failed to realize at the moment was how important the music revolution would become. It turned out to be the catalyst for all the rest. It became the prod to promote drugs, the advertiser of sex in the hedonism manner, the mind-conditioner for four-letter gutter speech, and eventually the blatant propaganda funnel for political subversion. It also became the seductive Jezebel for a modern philosophy of no God, of Man as merely a graduate beast of the jungle, of Jesus Christ as a phoney actor--a superstar, of peace and prosperity being possible only under communism, of America as the enemy of the world, of Russia as the hope of the world.”

W. Cleon Skousen (1913–2006) ex FBI agent, conservative United States author and faith-based political theorist

Preface to Rock 'N' Reality: Mirrors of Rock Music--Its Relationship to Sex, Drugs, Family and Religion (1971)

God , World , Education , Peace

“Is there not
An art, a music, and a stream of words
That shalt be life, the acknowledged voice of life?”

William Wordsworth The Recluse

The Recluse, l. 401 (1805).

Life , Art

“My wife, my child, my music, Nature and the sun; they are my happiness.”

Richard Strauss (1864–1949) German composer and orchestra director

written on the sketches for his Domestic Symphony. Charles Youmans, Mahler and Strauss in Dialogue, Indiana University press (2016), found on page 60.
Other sources

Happiness , Nature , Sun

“Music was my way of keeping people from looking through and around me. I wanted the heavies to know I was around.”

Bruce Springsteen (1949) American singer and songwriter

Time magazine (27 October 1975)

People , Way

“Where’s the next show?’, ‘Why don’t you make a Video?’, ‘Put on these beads and clothes and The Bling, Bling!’ Well, if that’s all it’s about than I think that I want out, of a career that won’t just let me sing. …‘cause music, faith and knowledge should be free.”

Dawud Wharnsby (1972) Canadian musician

"I Just Wanna Sing"
For Whom The Troubadour Sings (2010)

Faith , Knowledge , Thinking , Singing

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

Pleasure , Hope , Art , Angels

“I can't actually play any instrument properly. I can't read music. And here's the New York Times calling me the new George Gershwin. It was so ridiculous, really embarrassing. It was embarrassing to watch these people fall into the trap of their own critical conceits.”

Elvis Costello (1954) English singer-songwriter

Musician (March 1986)

People , Time , Reading

“Music for me is therapeutic.”

C. N. R. Rao (1934) Indian chemist

Quoted in We need to have an instinct for self-preservation: C N R Rao, 30 November 2013, 22 December 2013, Business Standard http://www.business-standard.com/article/opinion/we-need-to-have-an-instinct-for-self-preservation-c-n-r-rao-113113000358_1.html,

“The composer makes plans, music laughs.”

Morton Feldman (1926–1987) American avant-garde composer

Quoted in Give My Regards to Eighth Street: Collected Writings of Morton Feldman, ISBN 1878972316.

“The Urban Literate Southern California Sub-Group of the Early Atomic Period has not yet produced a distinct body of folk music of its own.”

Sam Hinton (1917–2009) folk singer, artist, marine biologist

"The Singer of Folk Songs and His Conscience" (Possibly an allusion to his recording of "Old Man Atom" ("Atomic Talking Blues") by Vern Partlow.)

“For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. […] Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank female torsos in women’s magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.”

Naomi Wolf book The Beauty Myth

Source: The Beauty Myth (1991), Chapter 5 : 'Sex', p. 162

Women , Men , Children , History

“Temporal was the first recording that captured my true guitar sound (dinosaurs slipping and blocks of wire whittled with a feather). The mood of the world was different and yet music (sculpted time) always is there waiting to be manifested.”

Shawn Lane (1963–2003) American musician

http://bardorecords.com/Bardo136.htm Press site for the album Temporal Analogues of Paradise (1995)

World , Mood , Time , Waiting

“I'm constantly thinking melodies. Now, to add interest to those melodies, obviously you have to know what things can be superimposed over a chord, and I will think of extended arpeggios and the upper estensions. If I'm playing very vertically, I will invariably start to include certaing passing notes which imply certain scales -- like a melodic minor scale against a C minor chord, or diminished scales, something like that. But I'm not thinking of a scale at that specific moment. I'm thinking of the notes as surrounding that chord -- because I know how each of the twelve notes in music sound against a C minor seventh, for instance.”

Lee Ritenour (1952) American jazz guitarist, session musician, and composer

[Denyer, Ralph, The Guitar Handbook, 2002, 114, 0-679-74275-1]

Thinking

“Many fields use patterns in various ways: In music and literature, a pattern is the coherent structure or design of a song or book. In art, a pattern is the composition or plan of a work of graphic or plastic art. In architecture, a pattern is an architectural design or style. In psychology, a pattern is a thinking mechanism that is basic to the brain's operation, helping one to perceive things quickly. In archeology, a pattern is a group of phases having several distinguishing and fundamental features in common. In linguistics, a pattern is the manner in which smaller units of language are grouped into larger units…”

Peter Coad (1953) American software entrepreneur

Source: Object-oriented patterns. (1992), p. 152

Books , Art , Way , Literature

“In the last few years there has been a harvest of books and lectures about the "Mysterious Universe." The inconceivable magnitudes with which astronomy deals produce a sense of awe which lends itself to a poetic and philosophical treatment. "When I consider thy heavens, the work of thy hands, the moon and the starts, whuch thou hast ordained: what is man that thou art mindful of him? The literary skill with which this branch of science has been exploited compels one's admiration, but alos, a little, one's sense of the ridiculous. For other facts than those of astronomy, oother disciplines than of mathematics, can produce the same lively feelings of awe and reverence: the extraordinary finenness of their adjustments to the world outside: the amazing faculties of the human mind, of which we know neither whence it comes not whither it goes. In some fortunate people this reverence is produced by the natural bauty of a landscape, by the majesty of an ancient building, by the heroism of a rescue party, by poetry, or by music. God is doubtless a Mathematician, but he is also a Physiologist, an Engineer, a Mother, an Architect, a Coal Miner, a Poet, and a Gardener. Each of us views things in his own peculiar war, each clothes the Creator in a manner which fits into his own scheme. My God, for instance, among his other professions, is an Inventor: I picture him inventing water, carbon dioxide, and haemoglobin, crabs, frogs, and cuttle fish, whales and filterpassing organisms ( in the ratio of 100,000,000,000,000,000,000,000 to 1 in size), and rejoicing greatly over these weird and ingenious things, just as I rejoice greatly over some simple bit of apparatus. But I would nor urge that God is only an Inventor: for inventors are apt, as those who know them realize, to be very dull dogs. Indeed, I should be inclined rather to imagine God to be like a University, with all its teachers and professors together: not omittin the students, for he obviously possesses, judging from his inventions, that noblest human characteristic, a sense of humour.”

Archibald Hill (1886–1977) English physiologist and biophysicist

The Ethical Dilemma of Science and Other Writings https://books.google.com.mx/books?id=zaE1AAAAIAAJ&printsec=frontcover#v=onepage&q&f=false (1960, Cap 1. Scepticism and Faith, p. 41)

God , War , People , Books

“They are trying as directly as possible to sell you experiences, i. e. what you are able to do with the car, not the car as a product itself. An extreme example of this is this existing economic marketing concept, which basically evaluates the value of you as a potential consumer of your own life. Like how much are you worth, in the sense of all you will spend to buy back your own life as a certain quality life. You will spend so much in doctors, so much in beauty, so much in transcendental meditation, so much for music, and so on. What you are buying is a certain image and practice of your life. So what is your market potential, as a buyer of your own life in this sense?”

Slavoj Žižek (1949) Slovene philosopher

Interview in The Believer magazine, (July 2004) http://www.believermag.com/issues/200407/?read=interview_zizek

Life , Beauty , Cars , Sense

“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

Pleasure , Spring , Sun , Joy

“Art was what I originally started out to do and music came second at first. I had a year at art college but I left because it was too much like school. I give all my paintings away to people I like.”

Cat Stevens (1948) British singer-songwriter

Interview for Melody Maker with Chris Charlesworth (July 1970)

People , School , Art , Painting

“I'm signed to release the third book in the series. When they invited me to do the Noelle book I had started on an autobiography, sort of, because I still get a lot of questions about that. I done so much music in my life, and writing is a beautiful outlet to continue to grow.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

Reuters (November 17, 2006)
2007, 2008

Life , Books , Beauty , Question

“My family was musical on both sides. My father's family had a famous flautist and a classical pianist. My mother won a contest to be Shirley Temple's double -- she was the diva of the family. At 8, I learned how to play guitar. I used to play songs from the '20s, '30s and '40s in the kitchen for my grandmother. After my dad was a prisoner in Cuba for two years, we moved to Texas, where I was the only Hispanic in the class. I remember hearing "Ferry Cross the Mersey," by Gerry and the Pacemakers, and thinking, "that had bongos and maracas -- that was really a bolero." And the Beathles song, "Till There was You"… also Latin. I wrote poetry, which got me into lyrics. Stevie Wonder, Carole King, Elton John pulled me into pop. I started singing with a band -- just for fun -- when I 17. And pretty soon, I was thinking I could sing pop in English as well as Spanish. And as you know, we did that and we broke through. But we waited until 1993 to release "Mi Tierra" -- we wanted my fans to be rady for the traditional Cuban music. And then we kept adding: more Cuban influences, more Latin America. And, underneath it all, African drums and rhythm. The concept of "90 Millas" starts with the songs of the '40s. We invited 25 masters of Latin music -- giants on the cutting edge of creativity, musicians who pushed it out to the world, young Cuban artists and Puerto Ricans who are huge -- so we could blend cultures and generations. So it is like coming home, but not exactly to the old Cuba.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

World , Family , Home , Thinking

“Music will always find its way to us, with or without business, politics, religion, or any other bullshit attached. Music survives everything, and like God, it is always present. It needs no help, and suffers no hindrance.”

Eric Clapton (1945) English musician, singer, songwriter, and guitarist

"Clapton: The Autobiography"

God , Religion , Way , Business

“Our task as image-bearing, God-loving, Christ-shaped, Spirit-filled Christians, following Christ and shaping our world, is to announce redemption to a world that has discovered its fallenness, to announce healing to a world that has discovered its brokenness, to proclaim love and trust to a world that knows only exploitation, fear and suspicion…The gospel of Jesus points us and indeed urges us to be at the leading edge of the whole culture, articulating in story and music and art and philosophy and education and poetry and politics and theology and even--heaven help us--Biblical studies, a worldview that will mount the historically-rooted Christian challenge to both modernity and postmodernity, leading the way…with joy and humor and gentleness and good judgment and true wisdom. I believe if we face the question, "if not now, then when?" if we are grasped by this vision we may also hear the question, "if not us, then who?"”

N.T. Wright (1948) Anglican bishop

And if the gospel of Jesus is not the key to this task, then what is?
The Challenge of Jesus: Rediscovering Who Jesus Was and Is (2000)

Love , Wisdom , God , World

“Naturally, since I am not concerned with normative allegations, I cannot be concerned here with the invocation of the overtone series as a 'natural' phenomenon, and that application of equivocation which then would label as 'un-natural' (in the sense, it would appear, of morally perverse) music which is not 'founded' on it. Now, what music, in what sense, ever had been founded on it?”

Milton Babbitt (1916–2011) American composer

Quoted in Maus, Fred Everett (2004). "Sexual and Musical Categories", The Pleasure of Modernist Music, p. 158. ISBN 1580461433.

Nature , Sense , Appearance

“And I do this all in time to the music”

Ryan Adams (1974) American alt-country/rock singer-songwriter

Goodnight, Hollywood Boulevard
29 (2005)

Time

“I was at some night once, right. It was some night out and er, some people come running on stage. And some music started coming on. These four people came running out, it was two women, two blokes. It wasn't gay an' that. It was just a normal night -well, y'know, some party night out. These people come running on. You've got two women, you've got two blokes. They whip their knickers off. The fellas whip their undies off. All at the same time, like er, whatsit? Cheryl Baker was in it… Bucks Fizz. So that happened and all I'm saying is, right; before I had a look at the woman's bits, I just had a cheeky glance at the fellas' bits, just checkin' it out, checking everything's normal down there. Believe me, I had a look at the ladies' bits but I didn't know how long that pants were going to left off for.”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 1 Episode 2
On Nudity

Women , People , Time , Night

“We saw a raven very high above us. It called out, and the dome of the sky seemed to echo the sound. It called again and again as it flew onwards, and the mountains gave back the sound, seeming as if from their centre; a musical bell-like answering to the bird's hoarse voice.”

Dorothy Wordsworth (1771–1855) English author, poet and diarist

July 27, 1800
Cf. Wordsworth's The Excursion, Book 4, lines 1175-87 http://www.bartleby.com/145/ww401.html.
Diaries

Mountain , Bird

“Commercial rock ’n’ roll music is a brutalization of the stream of contemporary Negro church music … an obscene looting of a cultural expression.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"Some Questions and Some Answers" (1958), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 298.

“Flexibility is an essential part of Jazz. It's what gives Jazz music the ability to combine with all other types of music and not lose its identity.”

Wynton Marsalis (1961) American jazz musician

Attributed

Parting

“Rather than protecting music as a sublimely meaningless activity that has managed to escape social signification, I insist on treating it as a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities - even if it does so surreptitiously, without most of us knowning how. It is too important a cultural force to be shrouded by mystified notions of Romantic transcendence.”

Susan McClary (1946) American musicologist

"Constructions of Subjectivity in Schubert's Music", Queering the Pitch: The New Gay and Lesbian Musicology (1994), ISBN 0415907527

Way , Feeling

“Universality is the distinguishing mark of genius. There is no such thing as a special genius, a genius for mathematics, or for music, or even for chess, but only a universal genius. … The theory of special genius, according to which for instance, it is supposed that a musical genius should be a fool at other subjects, confuses genius with talent. … There are many kinds of talent, but only one kind of genius, and that is able to choose any kind of talent and master it.”

Otto Weininger book Sex and Character

Source: Sex and Character (1903), p. 112.

Fools , Mathematics , Universe

“I know what turns me on, and it's that fine line, that point where you're falling off the edge of a cliff, where your stomach turns, [and] I'm always trying to find that point in music. You rarely hit it, and again, that's the joy of playing live, because there you can be just at that point where you've lost balance. I'm always walking between polarities, trying to find the opposing sides.”

KatieJane Garside (1968) English singer

On creative aspirations, Drowned in Sound http://drownedinsound.com/in_depth/4562-i-want-to-have-a-past (2002)

Joy

“I was at a really low point, thinking of going to university and doing a course because the music thing just wasn't happening for me. But I went on the show and…”

Leona Lewis (1985) British singer-songwriter

Daily Mail, October 2007

Thinking , Universe

“To be open, receptive and exposed to the dangers of making improvised music, means exposing yourself to unwanted situations that could break the foundations of your own security. … You must engage in questioning your security, see it as a constriction. You are aware and scared, as if you were in a dark corridor. Now you are starting to realise that what you thought of as walls existed only in your imagination.”

Mattin (1977) Spanish musician

Pages 20–21.
"Going Fragile" (July 2005)

Imagination , Question

“Look out! Be on your guard, because alone of all the arts, music moves all around you.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Le Coq et l’Arlequin (1918)

Art

“The 2004 tour hasn't ended. I still have to finish Latin America and Europe. [Celia Cruz and I] were good friends. Emilio did her first video; we wrote a song for her. I would have loved to have had her there [when recording "90 Millas"]. But she was there. I felt her. That's the beauty of a legacy. Celia was economical and tasty in her choices. And in the pocket like you wouldn't believe? [Which means] It's like a rhythm, from son music. To have it it is to be locked in, like a tuned engine. Once you're in the pocket, you're free. That's why, for most of these songs, I sang and I sang until I had the emotion, then... one take. {Couldn't you be considered the heiress to Celia Cruz? ] you can't give youself a title! That's crazy! If I ever start talking like that, please put me out of my misery. I don't care if I'm 80, with my butt to my ankles, put me down.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

Love , Beauty

“Once you have a basic grasp of the theories underlying music, you can pretty much pick up any instrument you want.”

Andrew Sega (1975) musician from America

Static Line interview, 1998

“My music is best understood by children and animals.”

Igor Stravinsky (1882–1971) Russian composer, pianist and conductor

Igor Stravinsky. The Observer, Oct 8, 1961.
1960s

Children , Animals

“Director Olly Blackburn has, for the last ten years, been one of the most respected and in-demand directors of music videos and commercials.”

Olly Blackburn Film director and screenwriter

[The Skinny, Scotland, http://www.theskinny.co.uk/film/features/44237-director_olly_blackburn_talks_donkey_punch, Radge Media, 10 November 2008, 23 February 2012, Director Olly Blackburn talks Donkey Punch, Michael, Gillespie]
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