Quotes about music

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Burn the books — Kill the priests — Kill! Kill! Kill!
The Soft Machine (1961)
The Soft Machine (1961)

On his music for Le martyre de St. Sébastien (1911), in a 1911 interview, as quoted in Dancing in the Vortex : The Story of Ida Rubinstein (2001) by Vicki Woolfe, p. 56
Context: Do you really think that my music is devoid of religious antecedents? Do you wish to put an artist's soul under restraint? Do you find it difficult to conceive that one who sees mystery in everything — in the song of the sea, in the curve of the horizon, in the wind and in the call of the birds — should have been attracted to a religious subject? I have no profession of faith to utter to you: but, whichever my creed may be, no great effort on my part was needed to raise me to the height of d'Annunzio's mysticism. I can assure you that my music was written in exactly the spirit as if it had been commissioned for performance in church.
Have I succeeded in expressing all that I felt? It is for others to decide. Is the faith which my music expresses orthodox? I do not know; but I can say that it is my own, expressed in all sincerity.

As quoted in Through Music to the Self : How to Appreciate and Experience Music Anew (1979) by Peter Michael Hamel, p. 18
Context: Elemental Music is never just music. It's bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener bust as a co-performer. It is pre-rational, has no over-all form, no architectonics, involves no set sequences, ostinati or minor rondo-forms. Elemental Music is earthy, natural, physical, capable of being learnt and experienced by anybody, child's play.... Elemental Music, word and movement, play, every-thing that awakens and develops the powers of the soul builds up the humus of the soul, the humus without which we face spiritual soil-erosion.... we face spiritual soil-erosion when man estranges himself from the elemental and loses his balance.

Context: The last verse [In My Secret Life] completely got to me, about how we all have great ideals but in reality we end up conforming, following everyone else. We want to be stronger so we lead that life inside, thinking of ourselves as these great brave souls. I literally thought when I was 15 that I was a musical genius and I could change the world, but in fact you're not and you can't and you don't, and that realisation is almost heartbreaking.

What Is A Jazz Composer? (1971)
Context: Let my children have music! Let them hear live music. Not noise. My children! You do what you want with your own!

We Are Still Married : Stories & Letters (1989),, "The Meaning of Life", p. 217 <!-- Viking -->
Context: To know and to serve God, of course, is why we're here, a clear truth, that, like the nose on your face, is near at hand and easily discernible but can make you dizzy if you try to focus on it hard. But a little faith will see you through. What else will do except faith in such a cynical, corrupt time? When the country goes temporarily to the dogs, cats must learn to be circumspect, walk on fences, sleep in trees, and have faith that all this woofing is not the last word. What is the last word, then? Gentleness is everywhere in daily life, a sign that faith rules through ordinary things: through cooking and small talk, through storytelling, making love, fishing, tending animals and sweet corn and flowers, through sports, music and books, raising kids — all the places where the gravy soaks in and grace shines through. Even in a time of elephantine vanity and greed, one never has to look far to see the campfires of gentle people.

Literary and Historical Miscellanies (1855), The Necessity, the Reality, and the Promise of the Progress of the Human Race (1854)
Context: The glory of God is not contingent on man's good will, but all existence subserves his purposes. The system of the universe is as a celestial poem, whose beauty is from all eternity, and must not be marred by human interpolations. Things proceed as they were ordered, in their nice, and well-adjusted, and perfect harmony; so that as the hand of the skilful artist gathers music from the harp-strings, history calls it forth from the well-tuned chords of time. Not that this harmony can be heard during the tumult of action. Philosophy comes after events, and gives the reason of them, and describes the nature of their results. The great mind of collective man may, one day, so improve in self-consciousness as to interpret the present and foretell the future; but as yet, the end of what is now happening, though we ourselves partake in it, seems to fall out by chance. All is nevertheless one whole; individuals, families, peoples, the race, march in accord with the Divine will; and when any part of the destiny of humanity is fulfilled, we see the ways of Providence vindicated. The antagonisms of imperfect matter and the perfect idea, of liberty and necessary law, become reconciled. What seemed irrational confusion, appears as the web woven by light, liberty and love. But this is not perceived till a great act in the drama of life is finished. The prayer of the patriarch, when he desired to behold the Divinity face to face, was denied; but he was able to catch a glimpse of Jehovah, after He had passed by; and so it fares with our search for Him in the wrestlings of the world. It is when the hour of conflict is over, that history comes to a right understanding of the strife, and is ready to exclaim: "Lo! God is here, and we knew it not."

Sarkis an old Greek Shepherd, called the madman: Jesus and Pan
Jesus, The Son of Man (1928)
Context: "And now let us play our reeds together."
And they played together.
And their music smote heaven and earth, and a terror struck all living things.
I heard the bellow of beasts and the hunger of the forest. And I heard the cry of lonely men, and the plaint of those who long for what they know not.
I heard the sighing of the maiden for her lover, and the panting of the luckless hunter for his prey.
And then there came peace into their music, and the heavens and the earth sang together.
All this I saw in my dream, and all this I heard.

Optimism (1903)
Context: Let pessimism once take hold of the mind, and life is all topsy-turvy, all vanity and vexation of spirit. There is no cure for individual or social disorder, except in forgetfulness and annihilation. "Let us eat, drink and be merry," says the pessimist, "for to-morrow we die." If I regarded my life from the point of view of the pessimist, I should be undone. I should seek in vain for the light that does not visit my eyes and the music that does not ring in my ears. I should beg night and day and never be satisfied. I should sit apart in awful solitude, a prey to fear and despair. But since I consider it a duty to myself and to others to be happy, I escape a misery worse than any physical deprivation.

Song lyrics, American Pie (1971), American Pie
Context: So come on, Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
'Cause fire is the Devil's only friend
Oh, and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in hell
Could break that Satan's spell
And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died.

To A Friend
Poems (1851)
Context: Our love was nature; and the peace that floated
On the white mist, and dwelt upon the hills,
To sweet accord subdued our wayward wills:
One soul was ours, one mind, one heart devoted,
That, wisely doating, ask'd not why it doated.
And ours the unknown joy, which knowing kills.
But now I find how dear thou wert to me;
That man is more than half of nature's treasure,
Of that fair beauty which no eye can see,
Of that sweet music which no ear can measure;
And now the streams may sing for other's pleasure,
The hills sleep on in their eternity.

Music For All Of Us (1943); also quoted as "...Music can be all things to all persons... "
Context: I believe that music can be an inspirational force in all our lives — that its eloquence and the depth of its meaning are all-important, and that all personal considerations concerning musicians and the public are relatively unimportant — that music come from the heart and returns to the heart — that music is spontaneous, impulsive expression — that its range is without limit — that music is forever growing — that music can be one element to help us build a new conception of life in which the madness and cruelty of wars will be replaced by a simple understanding of the brotherhood of man.
Music can be all things to all men. It is like a great dynamic sun in the center of a solar system which sends out its rays and inspiration in every direction. … It is as if the heavens open and a divine voice calls. Something in our souls responds and understands. We are speaking here of the most inspired music.

Source: What Time's the Next Swan? (1962), Ch. 1, p. 3
Context: In that wonderful musical show Knickerbocker Holiday Maxwell Anderson defined the outstanding characteristics of an American as "one who refuses to take orders!"
I think that I qualified for that, my chosen nationality, at an early age. As far back as I can remember, an expressly given order triggered instant defiance. My little mind started functioning like an IBM machine; signals flashed in my resistance center, lights flickered around my resentment glands, bell and buzzer alerted all the cunning of a five-year-old.
Strategy and tactics went to work, not to rest till they had circumvented or defied that specific order.
I don't know if that character trait was deplorable or laudable; I only know that I have never been able to lose it. And I am extremely grateful that I was too young to serve in the First World War and too old for the Second; I surely would have been court-martialed for insubordination, and expired in front of a firing squad.
Even today, at my ripe old age, if someone suggests I do something and this suggestion is tinged with an excessive amount of authority, I immediately turn into a bristling fortress of resistance.

Never Been to Spain · Three Dog Night performance http://www.youtube.com/watch?v=TKSrHMqQTEI · Elvis Presley performance http://www.youtube.com/watch?v=62s5QIB3WXE
Joy To The World (1971)
Context: Well, I never been to Spain
But I kinda like the music
Say the ladies are insane there
And they sure know how to use it
They don't abuse it, never gonna lose it
I can't refuse it.

Introduction to "(The Marines Have Landed on the Shores of) Santo Domingo," Phil Ochs in Concert (1966)
Context: Before the days of television and mass media, the folksinger was often a traveling newspaper spreading tales through music. There is an urgent need for Americans to look deeply into themselves and their actions, and musical poetry is perhaps the most effective mirror available. Every newspaper headline is a potential song.

Part III Poems, To the Air of "Lörelei." (January, 1858)
The Life of James Clerk Maxwell (1882)

Orthodoxy (1884).
Context: Love is the only bow on Life's dark cloud. It is the morning and the evening star. It shines upon the babe, and sheds its radiance on the quiet tomb. It is the mother of art, inspirer of poet, patriot and philosopher. It is the air and light of every heart — builder of every home, kindler of every fire on every hearth. It was the first to dream of immortality. It fills the world with melody — for music is the voice of love. Love is the magician, the enchanter, that changes worthless things to Joy, and makes royal kings and queens of common clay. It is the perfume of that wondrous flower, the heart, and without that sacred passion, that divine swoon, we are less than beasts; but with it, earth is heaven, and we are gods.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 92

Book VIII, 5, 1339a
Politics

John Williams, quoted from the E.T. the Extra-Terrestrial CD liner notes

Source: Gertrude (1910), p. 4
Context: At about the age of six or seven, I realized that of all the invisible powers the one I was destined to be most strongly affected and dominated by was music. From that moment on I had a world of my own, a sanctuary and a heaven that no one could take away from me. Oh, music! A melody occurs to you; you sing it silently, inwardly only; you steep your being in it; it takes possession of all your strength and emotions, and during the time it lives in you, it effaces all that is fortuitous, evil, coarse and sad in you; it brings the world into harmony with you, it makes burdens light and gives wings to to depressed spirits.

"The Music of This Sphere"
The Lives of a Cell: Notes of a Biology Watcher (1974)
Context: The need to make music, and to listen to it, is universally expressed by human beings. I cannot imagine, even in our most primitive times, the emergence of talented painters to make cave paintings without there having been, near at hand, equally creative people making song. It is, like speech, a dominant aspect of human biology.

The Sounds of Taqwa (2006)
Context: My intention is to use music as a tool for social change. It is always a prayer of mine that the work I produce will help, in some small way, to better the world or provide others with hope in themselves or trust in The Creator’s mercy to us all.

As quoted in "The Billboard Q and A: Yusuf Islam" by Nigel Williamson, in Billboard Magazine (17 November 2006) http://web.archive.org/20070817023056/www.billboard.com/bbcom/feature/article_display.jsp?vnu_content_id=1003409809
Context: The last place I wanted to return to was the music business. But it's the people and the cause that matter and right now there's an important need, which is bridge-building. I wanted to support the cause of humanity, because that's what I always sang about.
Music can be healing, and with my history and my knowledge of both sides of what looks like a gigantic divide in the world, I feel I can point a way forward to our common humanity again. It's a big step for me but it's a natural step. I don't feel at all irked by the responsibility — I feel inspired.

Music, Mind, and Meaning (1981)
Context: How do both music and vision build things in our minds? Eye motions show us real objects; phrases show us musical objects. We "learn" a room with bodily motions; large musical sections show us musical "places." Walks and climbs move us from room to room; so do transitions between musical sections. Looking back in vision is like recapitulation in music; both give us time, at certain points, to reconfirm or change our conceptions of the whole.

All the Trouble in the World (1994)

1860s, The Good Fight (1865)
Context: Yes, yes, caste is a glacier, cold, towering, apparently as eternal as the sea itself. But at last that glittering mountain of ice touches the edge of the Gulf Stream. Down come pinnacle and peak, frosty spire and shining cliff. Like a living monster of shifting hues, a huge chameleon of the sea, the vast mass silently rolls and plunges and shrinks, and at last utterly disappears in that inexorable warmth of water. So with us the glacier has touched the Gulf Stream. On Palm Sunday, at Appomattox Court House, the spirit of feudalism, of aristocracy, of injustice in this country, surrendered, in the person of Robert E. Lee, the Virginian slave-holder, to the spirit of the Declaration of Independence and of equal rights, in the person of Ulysses S. Grant, the Illinois tanner. So closed this great campaign in the 'Good Fight of Liberty'. So the Army of the Potomac, often baffled, struck an immortal blow, and gave the right hand of heroic fellowship to their brethren of the West. So the silent captain, when all his lieutenants had secured their separate fame, put on the crown of victory and ended civil war. As fought the Lieutenant-General of the United States, so fight the United States themselves, in the 'Good Fight of Man'. With Grant's tenacity, his patience, his promptness, his tranquil faith, let us assault the new front of the old enemy. We, too, must push through the enemy's Wilderness, holding every point we gain. We, too, must charge at daybreak upon his Spottsylvania Heights. We, too, must flank his angry lines and push them steadily back. We, too, must fling ourselves against the baffling flames of Cold Harbor. We, too, outwitting him by night, must throw our whole force across swamp and river, and stand entrenched before his capital. And we, too, at last, on some soft, auspicious day of spring, loosening all our shining lines, and bursting with wild battle music and universal shout of victory over the last desperate defense, must occupy the very citadel of caste, force the old enemy to final and unconditional surrender, and bring Boston and Charleston to sing Te Deum together for the triumphant equal rights of man.

Elmer Gantry, paraphrasing the eloquence of the "atheist" Robert G. Ingersoll in his sermon.
Elmer Gantry (1927)
Context: His text was from Proverbs: "Hatred stirreth up strifes: but love covereth all sins."
He seized the sides of the pulpit with his powerful hands, glared at the congregation, decided to look benevolent after all, and exploded: "In the hustle and bustle of daily life I wonder how many of us stop to think that in all that is highest and best we are ruled not by even our most up-and-coming efforts but by Love? What is Love—the divine Love of which the—the great singer teaches us in Proverbs? It is the rainbow that comes after the dark cloud. It is the morning star and it is also the evening star, those being, as you all so well know, the brightest stars we know. It shines upon the cradle of the little one and when life has, alas, departed, to come no more, you find it still around the quiet tomb. What is it inspires all great men—be they preachers or patriots or great business men? What is it, my brethren, but Love? Ah, it fills the world with melody, with such sacred melodies as we have just indulged in together, for what is music? What, my friends, is music? Ah, what indeed is music but the voice of Love!"

All the Trouble in the World (1994)

Letter of Petronius to Nero, Ch. 73
Quo Vadis (1895)
Context: Rome stuffs its ears when it hears thee; the world reviles thee. I can blush for thee no longer, and I have no wish to do so. The howls of Cerberus, though resembling thy music, will be less offensive to me, for I have never been the friend of Cerberus, and I need not be ashamed of his howling.

Asked what she might be if she were not a musician, in an interview with Angela Page on Folk Plus WJFF Radio (24 June 2000) http://www.wjffradio.org/FolkPlus/interviews/Gold.html
Context: I've never had any other loving heartfelt desire. From the minute I heard music I knew why I was born. To make music to play to listen to music, and for some reason I have been lucky enough to llive this beautiful life as a musicisan. I don't know. I love all things "nature". I'm an animal lover, but I don't have the smarts to be a vet, or the heart to have been a vet cause I cry over any wounded animal. … I might have been maybe a zoo keeper helping feed the animals. Feeding or petting the big cats or whatever. I don't know what else I would have done, because I love music too much. For anyone who has that calling and is trying also to make a living at it, it is really hard. Getting gigs and getting listened to. Getting respect, it's hard. Its what bonds us all because we have been so rejected and dejected. Yet we know in our hearts why we are here.

The Rosebud, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Cinema, p. 17
Catching the Big Fish (2006)
Context: I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium.
For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film.

As quoted in New Musical Express ( May 1957), also in NME Rock 'N' Roll Years (1992) by John Tobler, p. 40
Context: The sham engineers of the music industry, who steer the wheels of public opinion, are driving the good features of calypso into the ground. I shudder to think what these greedy men will eventually do to this true art form.

Source: Letter to his daughter (1978), p. 78 - 79
Context: Earlier, I have cautioned you against an outright pragmatist approach. Now I am cautioning you against an outright populist approach. Sometimes a populist decision is, in the long run, not beneficial to the masses. Neither pragmatism nor populism are fundamental political and socio-economic doctrines. Nor do I say that you should play it by ear. I have made this melancholy analysis in anguish. My jail surroundings have not influenced my objectivity. I do not want to see the whole world in a death-cell merely because I am in a death cell. I do not say that the High Court has pronounced a death sentence on the world because a law court has pronounced a perverse death sentence on me. I would be the happiest man if the gloomy winter of mankind were to give way to a shaft of sunlight and to coloured flowers. The world is very beautiful. "A thing of beauty is a joy forever". There is the beauty of the landscape, of the tall mountain, the green plains, the humped deserts. There is the beauty of the flowers and the forests, of the azure oceans and the meandering rivers. There is the splendour of architecture, the magnificence of music, and the sparkle of the dance. Above all, there is the beauty of man and woman, the most perfect creations of God.

On Jacques Brel, in liner notes for Greatest Hits - Without a Worry in the World (August 1992)
Context: As friends and as musical collaborators we had traveled, toured and written — together and apart — the events of our lives as if they were songs, and I guess they were. When news of Jacques’ death came I stayed locked in my bedroom and drank for a week. That kind of self pity was something he wouldn’t have approved of, but all I could do was replay our songs (our children) and ruminate over our unfinished life together.

Song for St. Cecilia's Day (1692).
Context: Consecrate the place and day
To music and Cecilia.
Let no rough winds approach, nor dare
Invade the hallow'd bounds,
Nor rudely shake the tuneful air,
Nor spoil the fleeting sounds.
Nor mournful sigh nor groan be heard,
But gladness dwell on every tongue;
Whilst all, with voice and strings prepar'd,
Keep up the loud harmonious song,
And imitate the blest above,
In joy, and harmony, and love.

"Fidelity"
Begin to Hope (2006)
Context: I never loved nobody fully
Always one foot on the ground
And by protecting my heart truly
I got lost in the sounds
I hear in my mind
All these voices
I hear in my mind all these words
I hear in my mind all this music
And it breaks my heart
It breaks my heart...

Song lyrics, American Pie (1971), American Pie
Context: I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away
I went down to the sacred store
Where I'd heard the music years before
But the man there said the music woudn't play
And in the streets the children screamed
The lovers cried, and the poets dreamed
But not a word was spoken
The church bells all were broken
And the three men I admire most
The Father, Son and the Holy Ghost
They caught the last train for the coast
The day the music died.

Source: The Life of Poetry (1949), p. 31
Context: The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images.

Song for St. Cecilia's Day (1692).
Context: When time itself shall be no more,
And all things in confusion hurl'd,
Music shall then exert it's power,
And sound survive the ruins of the world:
Then saints and angels shall agree
In one eternal jubilee:
All Heaven shall echo with their hymns divine,
And God himself with pleasure see
The whole creation in a chorus join.

St. 5
The Mariner's Wife (1769)
Context: Sae true's his words, sae smooth's his speech,
His breath like caller air,
His very foot has music in't
As he comes up the stairs:
And will I see his face again!
And will I hear him speak!

As quoted in Debussy (1989) by Paul Holmes, p. 36
Context: Music would take over at the point at which words become powerless, with the one and only object of expressing that which nothing but music could express. For this, I need a text by a poet who, resorting to discreet suggestion rather than full statement, will enable me to graft my dream upon his dream — who will give me plain human beings in a setting belonging to no particular period or country. … Then I do not wish my music to drown the words, nor to delay the course of the action. I want no purely musical developments which are not called for inevitably by the text. In opera there is always too much singing. Music should be as swift and mobile as the words themselves.

Letter to his fiancée Lee, (31 July 1978), published in Gerald Durrell: An Authorized Biography by Douglas Botting (1999)
Context: I have seen a thousand sunsets and sunrises, on land where it floods forest and mountains with honey coloured light, at sea where it rises and sets like a blood orange in a multicoloured nest of cloud, slipping in and out of the vast ocean. I have seen a thousand moons: harvest moons like gold coins, winter moons as white as ice chips, new moons like baby swans’ feathers.
I have seen seas as smooth as if painted, coloured like shot silk or blue as a kingfisher or transparent as glass or black and crumpled with foam, moving ponderously and murderously. … I have known silence: the cold earthy silence at the bottom of a newly dug well; the implacable stony silence of a deep cave; the hot, drugged midday silence when everything is hypnotised and stilled into silence by the eye of the sun; the silence when great music ends.
I have heard summer cicadas cry so that the sound seems stitched into your bones. … I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top. I have seen flying fish, skittering like quicksilver across the blue waves, drawing silver lines on the surface with their tails. I have seen Spoonbills fling home to roost like a scarlet banner across the sky. I have seen Whales, black as tar, cushioned on a cornflower blue sea, creating a Versailles of fountain with their breath. I have watched butterflies emerge and sit, trembling, while the sun irons their winds smooth. I have watched Tigers, like flames, mating in the long grass. I have been dive-bombed by an angry Raven, black and glossy as the Devil’s hoof. I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins. I have met a thousand animals and seen a thousand wonderful things… but —
All this I did without you. This was my loss.
All this I want to do with you. This will be my gain.
All this I would gladly have forgone for the sake of one minute of your company, for your laugh, your voice, your eyes, hair, lips, body, and above all for your sweet, ever surprising mind which is an enchanting quarry in which it is my privilege to delve.

As quoted in "WHAT HENDRIX NEVER SAID : They Don't Want to Know What He Really Said and Demand a Slacker Fantasy Instead" (22 March 2010) by Michael Fairchild, at rockprophecy.com; the author does not provide any sourcing for this statement, beyond his assertion that his authority and expertise should be trusted because: "I was assigned to compile all known quotes of Jimi Hendrix and edit this text into the "autobiography" of Jimi, in his own words. That book has been censored/suppressed by all world publishers for two decades now, but it's where I became familiar with Jimi's unique syntax, vernacular, and habits of thought."
Disputed
Context: There's so many tight-lipped ideas and laws around, and people put themselves in uniforms so tightly, that it's almost impossible to break out of that. Subconsciously, what these people are doing, they're killin' off all these little flashes they have, cutting off the idea of wanting to understand. They forgot, didn't believe, or just snuffed the feelings or thoughts off to continue with their crazy soul. They don't have the patience to really check out what's happenin' through music, theater and science. It’s like a spaceship. If a spaceship came down and you know nothin’ about it, the first thing you’re going to think about is shooting it. In other words, you get negative in the first place, which is not really the natural way of thinking. It’s like shooting at a flying saucer as it tries to land without giving the occupants a chance to identify themselves.

The Beautiful in Music (1854)

This is Your Brain on Music (2006)
Context: The story of your brain on music is the story of an exquisite orchestration of brain regions, involving both the oldest and newest parts of the human brain, and regions as far apart as the cerebellum in the back of the head and the frontal lobes just behind your eyes. It involves a precision choreography... between logical prediction systems and emotional reward systems.... it reminds us of other music we have heard, and it activates memory traces of emotional times of our lives. Your brain on music is all about... connections.

K-Linesː A Theory of Memory (1980)
Context: Concrete concepts are not necessarily the simplest ones. A novice best remembers "being at" a concert. The amateur remembers more of what it "sounded like." Only the professional remembers the music itself, timbres, tones and textures.

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VII Further Observations on Homer <!-- p.225, 1965 paper -->
Context: Music was an art fostered by the mightiest of heroes. Achilles is represented as entertaining himself with his lyre. (Iliad 9: 185-6). We compare David, the warrior skilled in poetry, singing and musical instruments.

"An Interview with World Fantasy Award Finalist Brian Mcnaughton" by Jeff VanderMeer, in The Ministry of Whimsy (1998) http://www.epberglund.com/RGttCM/nightscapes/NS11/ns11nf1.htm
Context: I believe that we are soft creatures in a world with some very hard edges. It's remarkable that we survive at all, much less do high deeds or write great music. I think … tension … is a condition of our existence, and I do my best to depict it.

Source: Lullaby (2002), Chapter 3
Context: No one wants to admit we're addicted to music. That's just not possible. No one's addicted to music and television and radio. We just need more of it, more channels, a larger screen, more volume. We can't bear to be without it, but no, nobody's addicted. We could turn it off anytime we wanted. I fit a window frame into a brick wall. With a little brush, the size for fingernail polish, I glue it. The window is the size of a fingernail. The glue smells like hair spray. The smell tastes like oranges and gasoline

The Barrel Organ
Poems (1906)
Context: Yes; as the music changes,
Like a prismatic glass,
It takes the light and ranges
Through all the moods that pass;
Dissects the common carnival
Of passions and regrets,
And gives the world a glimpse of all
The colours it forgets.

Peter Quince at the Clavier (1915)
Context: Just as my fingers on these keys Make music, so the self-same sounds On my spirit make a music, too. Music is feeling, then, not sound;
And thus it is that what I feel,
Here in this room, desiring you,
Thinking of your blue-shadowed silk,
Is music.

Interviewed by James Creelman, New York Herald, May 21, 1893.
Context: In the negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or any [[purpose. There is nothing in the whole age of composition that cannot be supplied with themes from this source. ]]

"The Return of the Goddess" (1850), later published as the Preface to The Poet's Journal (1863); also in The Poetical Works of Bayard Taylor (1907), p. 103.
Context: If she but smile, the crystal calm shall break
In music, sweeter than it ever gave,
As when a breeze breathes o'er some sleeping lake,
And laughs in every wave.

In "The Way I Look at Race" https://sinatrafamily.com/forum/showthread.php/46953-Frank-Sinatra-on-Racism by Sinatra (as told to Allan Morrison), in Ebony (July 1958)
Context: In terms of my singing I have sometimes been asked how it all began, and it’s usually been a little hard for me to set the story down in any continuous narrative. From the days of my childhood I’ve been listening to sounds and singers, both colored and white, and absorbing a little bit here and a little bit there. Countless musicians of talent have helped. But it is Billie Holiday, whom I first heard in 52nd Street clubs in the early 1930s, who was and still remains the single greatest musical influence on me. It has been a warm and wonderful influence and I am very proud to acknowledge it. Lady Day is unquestionably the most important influence on American popular singing in the last 20 years. With a few exceptions, every major pop singer in the U. S., during her generation has been touched in some way by her genius.

Music and Moonlight (1874), Ode
Context: We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams; —
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

Interview by Dermot Stokes in Hot Press (March 1978)
Context: Music to me is spontaneous, writing is spontaneous and it's all based on not trying to do it. From beginning to end, whether it's writing a song, or playing guitar, or a particular chord sequence, or blowing a horn, it's based on improvisation and spontaneity.

"Unspeakable Things Unspoken: The Afro-American Presence in American Literature" in Michigan Quarterly Review 28, no. 1 (Winter 1989)
Context: Beginning Beloved with numerals rather than spelled out numbers, it was my intention to give the house an identity separate from the street or even the city... Numbers here constitute an address, a thrilling enough prospect for slaves who had owned nothing, least of all an address. And although the numbers, unlike words, can have no modifiers, I give these an adjective — spiteful… A few words have to be read before it is clear that 124 refers to a house … and a few more have to be read to discover why it is spiteful, or rather the source of the spite. By then it is clear, if not at once, that something is beyond control, but is not beyond understanding since it is not beyond accommodation by both the "women" and the "children." The fully realized presence of the haunting is both a major incumbent of the narrative and sleight of hand. One of its purposes is to keep the reader preoccupied with the nature of the incredible spirit world while being supplied a controlled diet of the incredible political world. … Here I wanted the compelling confusion of being there as they (the characters) are; suddenly, without comfort or succor from the "author," with only imagination, intelligence, and necessity available for the journey. …. No compound of houses, no neighborhood, no sculpture, no paint, no time, especially no time because memory, pre-historic memory, has no time. There is just a little music, each other and the urgency of what is at stake. Which is all they had. For that work, the work of language is to get out of the way.

Commencement Address for the Berklee College of Music, at Hynes Convention Center, Boston, Massachusetts (8 May 1999) https://www.berklee.edu/commencement/past
Context: Music has given me over 40 years of extraordinary experiences. I can't say that life's pains or more tragic episodes have been diminished because of it. But it's allowed me so many moments of companionship when I've been lonely and a sublime means of communication when I wanted to touch people. It's been both my doorway of perception and the house that I live in.
I only hope that it embraces you with the same lusty life force that it graciously offered me.

Source: Summerhill (1960), p. 12
Context: You cannot make children learn music or anything else without to some degree converting them into will-less adults. You fashion them into accepters of the status quo – a good thing for a society that needs obedient sitters at dreary desks, standers in shops, mechanical catchers of the 8:30 suburban train – a society, in short, that is carried on the shabby shoulders of the scared little man – the scared-to-death conformist.

Source: The Artful Universe (1995), Ch. 5, p.236

The Fantastic Imagination (1893)
Context: If there be music in my reader, I would gladly wake it. Let fairytale of mine go for a firefly that now flashes, now is dark, but may flash again. Caught in a hand which does not love its kind, it will turn to an insignificant, ugly thing, that can neither flash nor fly.
The best way with music, I imagine, is not to bring the forces of our intellect to bear upon it, but to be still and let it work on that part of us for whose it exists. We spoil countless precious things by intellectual greed. He who will be a man, and will not be a child, must — he cannot help himself — become a little man, that is, a dwarf. He will, however, need no consolation, for he is sure to think himself a very large creature indeed.
If any strain of my "broken music" make a child's eyes flash, or his mother's grow for a moment dim, my labour will not have been in vain.

Bewilderness (DVD, 2001)

Liner notes for Fratres; Biographical note http://www.musicianguide.com/biographies/1608003521/Arvo-P-auml-rt.html
Context: Tintinnabulation is an area I sometimes wander into when I am searching for answers--in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises--and everything that is unimportant falls away.

Petronius, Ch. 72
Quo Vadis (1895)
Context: No God has promised me immortality; hence no surprise meets me. At the same time thou art mistaken, Vinicius, in asserting that only thy God teaches man to die calmly. No. Our world knew, before thou wert born, that when the last cup was drained, it was time to go, — time to rest, — and it knows yet how to do that with calmness. Plato declares that virtue is music, that the life of a sage is harmony. If that be true, I shall die as I have lived, — virtuously.

Quoted in An Encyclopedia of Quotations About Music (1981) by Nat Shapiro, p. 268
Unsourced variant: There is no theory. You have only to listen. Fantasy is the law.
Context: There is no theory. You have only to listen. Pleasure is the law. I love music passionately. And because l love it, I try to free it from barren traditions that stifle it. It is a free art gushing forth — an open-air art, boundless as the elements, the wind, the sky, the sea. It must never be shut in and become an academic art.

To ———, after reading a Life and Letters, stanza 4, from Poems (1850)

Home, p. 8
Brother Ray : Ray Charles' Own Story (1978)
Context: I was born with music inside me. That's the only explanation I know of, since none of my relatives could sing or play an instrument. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me — like food or water.

Sarkis an old Greek Shepherd, called the madman: Jesus and Pan
Jesus, The Son of Man (1928)
Context: "And now let us play our reeds together."
And they played together.
And their music smote heaven and earth, and a terror struck all living things.
I heard the bellow of beasts and the hunger of the forest. And I heard the cry of lonely men, and the plaint of those who long for what they know not.
I heard the sighing of the maiden for her lover, and the panting of the luckless hunter for his prey.
And then there came peace into their music, and the heavens and the earth sang together.
All this I saw in my dream, and all this I heard.

Music For All Of Us (1943); also quoted as "...Music can be all things to all persons... "
Context: I believe that music can be an inspirational force in all our lives — that its eloquence and the depth of its meaning are all-important, and that all personal considerations concerning musicians and the public are relatively unimportant — that music come from the heart and returns to the heart — that music is spontaneous, impulsive expression — that its range is without limit — that music is forever growing — that music can be one element to help us build a new conception of life in which the madness and cruelty of wars will be replaced by a simple understanding of the brotherhood of man.
Music can be all things to all men. It is like a great dynamic sun in the center of a solar system which sends out its rays and inspiration in every direction. … It is as if the heavens open and a divine voice calls. Something in our souls responds and understands. We are speaking here of the most inspired music.

Harper of the Stones (1986).
Context: Again he struck the harp and began the jig. But this time it was such music as never came from a harp. It was the wildest, strangest music you ever heard, full of the sound of birds and the cries of animals and the wind and the rain, and the thunder and the lightning, and the dashing of huge waves against the shores of a great cold ocean that was formed from ice that had made its way slowly down from Ultima Thule. It was the sound of a world before mankind. It was the sound of the great merriment God must have known during the long days of Creation.

QRO Magazine interview (2007)
Context: I enjoyed, and I tried to soak up and learn everything as fast as I could from doing any kind of music. It's good to have a gig. If you're a musician, it's good to be working.
I love doing all of it, but Marry Me is my baby, St. Vincent is my child.

First Journal of Travel (1840)
Context: They [Sisters of Charity in Frederick] excel in music, which is an indispensable thing in this country, even for the poor. No piano, no pupils! Such is the spirit of this country -- Music and Steam!

Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.

Section 29
The Passionate State Of Mind, and Other Aphorisms (1955)
Context: A fateful process is set in motion when the individual is released "to the freedom of his own impotence" and left to justify his existence by his own efforts. The autonomous individual, striving to realize himself and prove his worth, has created all that is great in literature, art, music, science and technology. The autonomous individual, also, when he can neither realize himself nor justify his existence by his own efforts, is a breeding call of frustration, and the seed of the convulsions which shake our world to its foundations.
The individual on his own is stable only so long as he is possessed of self-esteem. The maintenance of self-esteem is a continuous task which taxes all of the individual's powers and inner resources. We have to prove our worth and justify our existence anew each day. When, for whatever reason, self-esteem is unattainable, the autonomous individual becomes a highly explosive entity. He turns away from an unpromising self and plunges into the pursuit of pride — the explosive substitute for self-esteem. All social disturbances and upheavals have their roots in crises of individual self-esteem, and the great endeavor in which the masses most readily unite is basically a search for pride.

This is Your Brain on Music (2006)
Context: It is only in the last five hundred years that music has become a spectator activity—the thought of a musical concert in which a class of "experts" performed for an appreciative audience was virtually unkown throughout our history as a species. And it has only been in the last hundred years or so that the ties between musical sound and human movement have been minimized.

Nicomachus of Gerasa: Introduction to Arithmetic (1926)
Context: And once more is this true in the case of music; not only because the absolute is prior to the relative, as 'great' to 'greater' and 'rich' to 'richer' and 'man' to 'father,' but also because the musical harmonies, diatessaron, diapente, and diapason, are named for numbers; similarly all of their harmonic ratios are arithmetical ones, for the diatessaron [], is the quadruple ratio [4 : 1].<!--Book I, Chapter V

The Elegant Universe : Superstrings, Hidden Dimensions, and the Quest for the Ultimate Theory (1999), p. 271
Context: Physicists are more like avant-garde composers, willing to bend traditional rules and brush the edge of acceptability in the search for solutions. Mathematicians are more like classical composers, typically working within a much tighter framework, reluctant to go to the next step until all previous ones have been established with due rigor. Each approach has its advantages as well as drawbacks; each provides a unique outlet for creative discovery. Like modern and classical music, it’s not that one approach is right and the other wrong – the methods one chooses to use are largely a matter of taste and training.

O May I Join the Choir Invisible (1867)

With Open Hands (1972)
Context: Only within this kind of life does a spoken prayer make sense. A prayer in church, at table or in school is only a witness to what we want to make of our entire lives. Such a prayer reminds us that praying is living and it invites us to make this an ever-greater reality. Thus, there are as many ways to pray as there are moments in life. Sometimes we seek out a quiet spot and want to be alone, sometimes we look for a friend and want to be together. Sometimes we like a book, sometimes we prefer music. Sometimes we want to sing out with hundreds, sometimes only whisper with a few. Sometimes we want to say it with words, sometimes with a deep silence.

I, This section is also known as "Bread and Music"
Discordants (1916)
Context: Music I heard with you was more than music,
And bread I broke with you was more than bread;
Now that I am without you, all is desolate;
All that was once so beautiful is dead.

This is Your Brain on Music (2006)
Context: Music may be the activity that prepared our pre-human ancestors for speech communication and for the very cognitive, representational flexibility necessary to become humans.

On Poesy or Art (1818)
Context: Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into everything which is the object of his contemplation.

Poems and Ballads (1866-89), The Triumph of Time
Context: p>The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder —
These things are over, and no more mine. These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.</p

Statement at the .
Context: Despite the fact that as an art, music cannot compromise its principles, and politics, on the other hand, is the art of compromise, when politics transcends the limits of the present existence and ascents to the higher sphere of the possible, it can be joined there by music. Music is the art of the imaginary par excellence, an art free of all limits imposed by words, an art that touches the depth of human existence, and art of sounds that crosses all borders. As such, music can take the feelings and imagination of Israelis and Palestinians to new unimaginable spheres.

An Open Letter To Miles Davis (1955)
Context: I think my own way. I don't think like you and my music isn't meant just for the patting of feet and going down backs. When and if I feel gay and carefree, I write or play that way. When I feel angry I write or play that way — or when I'm happy, or depressed, even.
Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever. Music is, or was, a language of the emotions. If someone has been escaping reality, I don't expect him to dig my music, and I would begin to worry about my writing if such a person began to really like it. My music is alive and it's about the living and the dead, about good and evil. It's angry, yet it's real because it knows it's angry.

Discourses, as quoted in "I Want to Know!" by Ivan Gogol Esipoff, The Etude, Vol. LXIII, No. 9 (September 1945), p. 496

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.

dig interview (2004)
Context: My sense of history in music is much greater than a lot of people's. I listen a lot further back in the whole history of music. It's not just pop music of the last 20, 30, 40, 50 years. I'm listening to stuff from hundreds of years ago as well, because you can learn from everything.

Song lyrics, American Pie (1971), American Pie
Context: A long long time ago
I can still remember how that music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while.
But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step
I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside
The Day the Music Died.

As quoted in Setting the Tempo : Fifty Years of Great Jazz Liner Notes (1996) by Tom Piazza. p. 339
Context: What do you think happens to a composer who is sincere and loves to write and has to wait thirty years to have someone play a piece of his music? Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn't have been as good because when people are born free — I can't imagine it, but I've got a feeling that if it's so easy for you — the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 90

Volume II, chapter VI, section 42.
The Stones of Venice (1853)
Context: We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts. Good colouring does not necessarily convey the image of anything but itself. It consists of certain proportions and arrangements of rays of light, but not in likeness to anything. A few touches of certain greys and purples laid by a master's hand on white paper will be good colouring; as more touches are added beside them, we may find out that they were intended to represent a dove's neck, and we may praise, as the drawing advances, the perfect imitation of the dove's neck. But the good colouring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.

Song lyrics, American Pie (1971), American Pie
Context: A long long time ago
I can still remember how that music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while.
But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step
I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside
The Day the Music Died.

As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 226
Context: I wish to write down my musical dreams in a spirit of utter self-detachment. I wish to sing of my interior visions with the naïve candour of a child. No doubt, this simple musical grammar will jar on some people. It is bound to offend the partisans of deceit and artifice. I foresee that and rejoice at it. I shall do nothing to create adversaries, but neither shall I do anything to turn enmities into friendships. I must endeavour to be a great artist so that I may dare to be myself and suffer for my faith. Those who feel as I do will only appreciate me more. The others will shun and hate me. I shall make no effort to appease them. On that distant day — I trust it is still very far off — when I shall no longer be a cause of strife, I shall feel bitter self-reproach. For that odious hypocrisy which enables one to please all mankind will inevitably have prevailed in those last works.

The Telegraph interview (2005)

dig interview (2004)
Context: I don't feel any form of music is beyond me in the sense of that I don't understand it or I don't have some love for some part of it. And if there's something in it that I can respond to, then there's something that I might be able to use as a composer. There are records of mine that have had smaller audiences and have provoked really drastic responses from people — particularly from critics — who maybe don't have quite enough time to live with the record or accept that a piece has its own integrity.

2014