Quotes about music

page 6

"jam"
The Last Night of the Earth Poems (1992)

Twitter, July 20, 2013

2015, Young African Leaders Initiative Presidential Summit Town Hall speech (August 2015)

Letter to the Master of University College, Oxford; published in J. R. Tanner (ed.) Private Correspondence and Miscellaneous Papers of Samuel Pepys, 1679-1703 (1926) p. 109. (1700)

"Correspondence of Ideas with the Motion of Organs"
Elements of Physiology (1875)

21 June 1880
Cosima Wagner's Diaries (1978)
Context: Music has taken a bad turn; these young people have no idea how to write a melody, they just give us shavings, which they dress up to look like a lion's mane and shake at us... It's as if they avoid melodies, for fear of having perhaps stolen them from someone else.

This is Your Brain on Music (2006)

Quoted in French Music : From the Death of Berlioz to the Death of Fauré (1951) by Martin Cooper, p. 136, and in Debussy and Wagner (1979) by Robin Holloway, p. 207
Context: Music should humbly seek to please; within these limits great beauty may perhaps be found. Extreme complication is contrary to art. Beauty must appeal to the senses, must provide us with immediate enjoyment, must impress us or insinuate itself into us without any effort on our part.

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Song for St. Cecilia's Day (1692), st. 3.

The world goes crazy for Lady Gaga (2009)
Context: I don't want to see Bowie in a tracksuit. He never let anyone see him that way. The outlet for my work is not just the music and the videos, it's every breathing moment of my life. I'm always saying something about art and music and fame. That's why you don't ever catch me in sweatpants.

The Glass Bead Game (1943)
Context: Under the shifting hegemony of now this, now that science or art, the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical and mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game's symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.

&quot;Hallelujah&quot; - 1984 performance http://www.dailymotion.com/video/x3rwo0_leonard-cohen-hallelujah_music · Montreal Jazz Festival 2008 performance http://www.youtube.com/watch?v=2FpwjQLZTTs <br class="br">Various Positions (1984) <br class="br">Context: Now I&#x27;ve heard there was a secret chord<br>That David played, and it pleased the Lord<br>But you don&#x27;t really care for music, do you?<br>It goes like this the fourth, the fifth<br>The minor fall, the major lift<br>The baffled king composing Hallelujah

Letter to Paul Dukas (1901)
Context: I confess that I am no longer thinking in musical terms, or at least not much, even though I believe with all my heart that Music remains for all time the finest means of expression we have. It’s just that I find the actual pieces — whether they’re old or modern, which is in any case merely a matter of dates — so totally poverty-stricken, manifesting an inability to see beyond the work-table. They smell of the lamp, not of the sun. And then, overshadowing everything, there’s the desire to amaze one’s colleagues with arresting harmonies, quite unnecessary for the most part. In short, these days especially, music is devoid of emotional impact. I feel that, without descending to the level of the gossip column or the novel, it should be possible to solve the problem somehow. There’s no need either for music to make people think! … It would be enough if music could make people listen, despite themselves and despite their petty mundane troubles, and never mind if they’re incapable of expressing anything resembling an opinion. It would be enough if they could no longer recognize their own grey, dull faces, if they felt that for a moment they had been dreaming of an imaginary country, that’s to say, one that can’t be found on the map.

Context: The fact that so many books still name the Beatles "the greatest or most significant or most influential" rock band ever only tells you how far rock music still is from becoming a serious art. Jazz critics have long recognized that the greatest jazz musicians of all times are Duke Ellington and John Coltrane, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Beethoven over classical musicians who were highly popular in courts around Europe. Rock critics are still blinded by commercial success: the Beatles sold more than anyone else (not true, by the way), therefore they must have been the greatest. Jazz critics grow up listening to a lot of jazz music of the past, classical critics grow up listening to a lot of classical music of the past. Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers. No wonder they will think that the Beatles did anything worth of being saved.

Spiritual Canticle of The Soul and The Bridegroom

Little Bit of Soul p. 307
Brother Ray : Ray Charles' Own Story (1978)

Song for St. Cecilia's Day (1692), st. 4.
Context: Music religious heat inspires,
It wakes the soul, and lifts it high,
And wings it with sublime desires,
And fits it to bespeak the Deity.

Source: A Room with a View (1908), Ch. 3
Context: The kingdom of music is not the kingdom of this world; it will accept those whom breeding and intellect and culture have alike rejected. The commonplace person begins to play, and shoots into the empyrean without effort, whilst we look up, marvelling how he has escaped us, and thinking how we could worship him and love him, would he but transalate his visions into human words, and his experiences into human actions.

After all, it’s more useful to know how to drive a car than it is to know what makes it go. Of course it’s important to know certain things about a machine, but I don’t need to be able to build my own synthesizer. It strikes me that the people who do build them don’t know how to play them, so l’d rather find out more about playing".
1984

105
Golden Sayings of Epictetus

"The Folk Songs of Hungary" in Pro Musica VII (October 1928)
Context: Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.

Kubla Khan (1797 or 1798)
Context: A damsel with a dulcimer
In a vision once I saw:
It was an Abyssinian maid,
And on her dulcimer she played,
Singing of Mount Abora.
Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.

Awakening : Conversations with the Masters (2003), p. 24
Context: The genius of a composer is found in the notes of his music; but analyzing the notes will not reveal his genius. The poet's greatness is contained in his words; yet the study of his words will not disclose his inspiration. God reveals himself in creation; but scrutinize creation as minutely as you wish, you will not find God, any more than you will find the soul through careful examination of your body.

Oui interview (1979)
Context: Everything on this planet has something to do with music. Music functions in the realm of sculptured air. Polluted as our atmosphere might be, air is the thing that makes music work. Since all other things that occur in the sound domain are transmitted to the ear through that swirling mass, depending on how wide you want to make your definition, you could perceive quite a bit of human experience in terms of music.

Under Fire (1916), Ch. 24 - The Dawn
Context: There are all those things against you. Against you and your great common interests which as you dimly saw are the same thing in effect as justice, there are not only the sword-wavers, the profiteers, and the intriguers.
There is not only the prodigious opposition of interested parties — financiers, speculators great and small, armorplated in their banks and houses, who live on war and live in peace during war, with their brows stubbornly set upon a secret doctrine and their faces shut up like safes.
There are those who admire the exchange of flashing blows, who hail like women the bright colors of uniforms; those whom military music and the martial ballads poured upon the public intoxicate as with brandy; the dizzy-brained, the feeble-minded, the superstitious, the savages.
There are those who bury themselves in the past, on whose lips are the sayings only of bygone days, the traditionalists for whom an injustice has legal force because it is perpetuated, who aspire to be guided by the dead, who strive to subordinate progress and the future and all their palpitating passion to the realm of ghosts and nursery-tales.
With them are all the parsons, who seek to excite you and to lull you to sleep with the morphine of their Paradise, so that nothing may change. There are the lawyers, the economists, the historians — and how many more? — who befog you with the rigmarole of theory, who declare the inter-antagonism of nationalities at a time when the only unity possessed by each nation of to-day is in the arbitrary map-made lines of her frontiers, while she is inhabited by an artificial amalgam of races; there are the worm-eaten genealogists, who forge for the ambitious of conquest and plunder false certificates of philosophy and imaginary titles of nobility. The infirmity of human intelligence is short sight. In too many cases, the wiseacres are dunces of a sort, who lose sight of the simplicity of things, and stifle and obscure it with formulae and trivialities. It is the small things that one learns from books, not the great ones.
And even while they are saying that they do not wish for war they are doing all they can to perpetuate it. They nourish national vanity and the love of supremacy by force. "We alone," they say, each behind his shelter, "we alone are the guardians of courage and loyalty, of ability and good taste!" Out of the greatness and richness of a country they make something like a consuming disease. Out of patriotism — which can be respected as long as it remains in the domain of sentiment and art on exactly the same footing as the sense of family and local pride, all equally sacred — out of patriotism they make a Utopian and impracticable idea, unbalancing the world, a sort of cancer which drains all the living force, spreads everywhere and crushes life, a contagious cancer which culminates either in the crash of war or in the exhaustion and suffocation of armed peace.
They pervert the most admirable of moral principles. How many are the crimes of which they have made virtues merely by dowering them with the word "national"? They distort even truth itself. For the truth which is eternally the same they substitute each their national truth. So many nations, so many truths; and thus they falsify and twist the truth.
Those are your enemies. All those people whose childish and odiously ridiculous disputes you hear snarling above you — "It wasn't me that began, it was you!" — "No, it wasn't me, it was you!" — "Hit me then!" — "No, you hit me!" — those puerilities that perpetuate the world's huge wound, for the disputants are not the people truly concerned, but quite the contrary, nor do they desire to have done with it; all those people who cannot or will not make peace on earth; all those who for one reason or another cling to the ancient state of things and find or invent excuses for it — they are your enemies!
They are your enemies as much as those German soldiers are to-day who are prostrate here between you in the mud, who are only poor dupes hatefully deceived and brutalized, domestic beasts. They are your enemies, wherever they were born, however they pronounce their names, whatever the language in which they lie. Look at them, in the heaven and on the earth. Look at them, everywhere! Identify them once for all, and be mindful for ever!

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 95

Source: Motivation and Personality (1954), p. 93.
Context: A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself. What a man can be, he must be. This need we may call self-actualization. This term, first coined by Kurt Goldstein, is being used in this paper in a much more specific and limited fashion. It refers to the desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming.

Entering the Castle : An Inner Path to God and Your Soul (2007), p. 57
Context: The Soul is a fact, but it is not physical. … Survivors of near-death experiences attest that some part of them apparently detaches from their physical bodies following the death of the body, but while that is proof of the soul for them, it does not prove it to us. The Soul is like divine music that only God can hear; it is the force of endless resurrection; the soul is like a fire that never goes out.

Tony Thomas, Film Score: The Art & Craft of Movie Music (1991), pp. 285–295<!-- check citation -->
Context: It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. lf they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

The Real Frank Zappa Book (1989)
Context: The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.

2012
Context: On film music: "There are cases in which a film can stand on its own without music, but if music is used, it's better for it to touch the soul and create emotions that the rest of the film cannot do. Music should continue emotions where words finish. Unfortunately most films are flooded with music, due to mediocre scripts and to producers' and directors' lack of talent".

The R. Crumb Handbook by Robert Crumb and Peter Poplaski (2005), p. 180
Context: Before industrial civilization, local and regional communities made their own music, their own entertainment. The esthetics were based on traditions that went far back in time—i. e. folklore. But part of the con of mass culture is to make you forget history, disconnect you from tradition and the past. Sometimes that can be a good thing. Sometimes it can even be revolutionary. But tradition can also keep culture on an authentic human level, the homespun as opposed to the mass produced. Industrial civilization figured out how to manufacture popular culture and sell it back to the people. You have to marvel at the ingenuity of it! The problem is that the longer this buying and selling goes on, the more hollow and bankrupt the culture becomes. It loses its fertility, like worn out, ravaged farmland. Eventually, the yokels who bought the hype, the pitch, they want in on the game. When there are no more naive hicks left, you have a culture where everybody is conning each other all the time. There are no more earnest "squares" left—everybody's "hip", everybody is cynical.

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.

Source: supanet.com/find/famous-quotes-by/axel-munthe/a-man-can-stand-a-lot-as-fqb50991/

Source: supanet.com/find/famous-quotes-by/axel-munthe/a-man-can-stand-a-lot-as-fqb50991/

Yeah, but I don’t think that’s just a feminine thing. All men are soft and vulnerable, as well. (...) I think we boys, we men, are actually much weaker and softer than we like to think. source http://www.rollingstone.com/music/music-news/chris-martin-the-rolling-stone-interview-190116

Oui interview (1979)

1900s, "The Study of Mathematics" (November 1907)

On being on Beverly Hills, 90210 when he was 17 in his band Kara's Flowers
Voss, Brandon (2007-05-22), "Adam Levine". Advocate. (986):25.

Hebe Camargo

The Immortal Profession: The Joys of Teaching and Learning (1976)

Source: Tropic of Cancer (1934), Chapter Four, Pappin

I couldn't see that at the time--because towards the end of my time with Sabbath 20 years ago I thought what we were doing was boring and stupid, because we were boring and stupid, totally sick of what we were doing and totally out of our brains with drink or drugs when we were playing it.
Launch.com, November 2, 2000

Dua Lipa Believes the Future of Music Is Female, Glamour, 2017-07-17 https://www.glamour.com/story/dua-lipa-believes-the-future-of-music-is-female,

On being a folk musician in “Lila Downs Explores Mexican Heritage Through the Pepper in New LP, ‘Al Chile’” https://www.rollingstone.com/music/music-latin/lila-downs-new-lp-al-chile-interview-841209/ in Rolling Stone (29 May 2019) <br class="br">Music and culture

Original: (it) La mia vita è un insieme di combinazioni tra musica ed emozioni.
Source: prevale.net

New York Daily News interview (1979)

Source: The Power of Now (1997)

Source: Gervaso, Roberto. La mosca al naso, Rizzoli Editore (1980)

H. E. Butler's translation:
Indeed nature itself seems to have given music as a boon to men to lighten the strain of labour: even the rower in the galleys is cheered to effort by song. Nor is this function of music confined to cases where the efforts of a number are given union by the sound of some sweet voice that sets the tune, but even solitary workers find solace at their toil in artless song.
Book I, Chapter X, 16
De Institutione Oratoria (c. 95 AD)
Original: (la) Atque eam natura ipsa videtur ad tolerandos facilius labores velut muneri nobis dedisse, si quidem et remigem cantus hortatur; nec solum in iis operibus in quibus plurium conatus praeeunte aliqua iucunda voce conspirat, sed etiam singulorum fatigatio quamlibet se rudi modulatione solatur.

Source: You Don't Know Me

Source: Birdsong

Source: The Wise Man's Fear

Source: Flowers for Algernon

Source: Middlemarch

Source: Lover Mine

Source: The Wilderness World of John Muir

Source: The Search

Source: Classical Composer, From: 4'33"

Source: All I Really Need to Know I Learned in Kindergarten

Source: Love Is a Mix Tape

Source: Emma

Source: Deals with the Devil, and Other Reasons to Riot

Source: The Eight

Variant: The final aim and reason of all music is nothing other than the glorification of God and the refreshment of the spirit.

Source: Matilda

Source: The World As I See It

Source: High Five

Quoted in Ludwig Prautzsch Bibel und Symbol in den Werken Bachs, p. 7 http://books.google.co.uk/books?id=xaG9peANY9kC&amp;pg=PA7&amp;dq=teuflisches+%22Finis+und+Endursache+anders+nicht,+als+nur+zu+Gottes+Ehre+%22;translation from Albert Schweitzer (trans. Ernest Newman) J. S. Bach (New York: Dover, 1966), vol. 1, p. 167 <br class="br">Variant: Like all music, the figured bass should have no other end and aim than the glory of God and the recreation of the soul; where this is not kept in mind there is no true music, but only an infernal clamour and ranting.

Source: Blood Promise

Source: Lives of a Cell, The

Source: Backlash: The Undeclared War Against Women

Source: An Equal Music

Source: The Darkest Surrender

Source: All That Is

Sane Man (1989)
Context: Rick Astley? Have you seen this banal incubus at work? Boy, if this guy isn't heralding Satan's imminent approach to Earth, huh. "Don't ever wanna make you cry, never wanna make you sigh &hellip; never gonna break your heart" &hellip; oh, I wouldn't worry about that without a dick, buddy. You got a corn nut! You got a clit! You're not even a guy! You're an AIDS germ that got off a slide! They're puttin' music to AIDS germs, they're puttin' a drum machine behind them in a metronome beat and Ted Turner's colorizing 'em, God damn it! These aren't even people man! It's a CIA plot to make you think malls are good!! Don't ya see? (Imitates stereotypical American in a robotic manner) "But Bill, malls are good! Malls allow us to shop 365 days of the year at a 72 degree heat. That must be good."

Source: Night World, No. 1

Source: Sense and Sensibility

Source: A Countess Below Stairs