“We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.”

— Andrew Sega

Andrew Sega Shrine interview, 2011

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Andrew Sega 52

musician from America 1975

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“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]

“So, if you played a C major chord to pretty much any person on the planet, they'd say that it sounds "harmonious" (or pleasing, or happy, etc, etc). But now when you want to put chords and melodies in an ordering and make a larger piece called a "song", then that is a much more difficult process, and gets very subjective. At that point, it's not just the chords, it's the lyrics, rhythms, instrumentation, tempo, intensity, any number of other things that goes into a song… so many variables that it's almost impossible to predict how a song will affect a given person.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

“.. colors are my notes for fashioning sounds and chords with and against one another.”

Emil Nolde (1867–1956) German artist

as quoted in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 35
3 short quotes in which Nolde expresses the evocative power of color, which became with his garden and flower paintings from 1906-07 the chief medium of his art.
undated quotes

“In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f”

Jean-Philippe Rameau (1683–1764) French composer and music theorist of the Baroque era

a F major chord
ibid, p. 14.

“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.”

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

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