Part I. Introduction. 1. The Musical Language of the Late Eighteenth Century
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)
“The buffoonery of Haydn, Beethoven, and Mozart is only an exaggeration of an essential quality of the classical style. This style was, in its origins, basically a comic one.”
Part II. The Classical Style. 1. The Coherence of the Musical Language
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)
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Charles Rosen 69
American pianist and writer on music 1927–2012Related quotes
Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Page 46; from the Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Dijkstra (2001) Source: Denken als discipline https://www.youtube.com/watch?v=-Uae9_pgZzE#t=280, a program from Dutch public TV broadcaster VPRO from April 10th, 2001 about Dijkstra
2000s

Small Houses: Their Economic Design and Construction (1922)
In fact, getting the story became the story. His writing could be classified as metajournalism, journalism about the process of journalism.
Source: Outlaw Journalist (2008), Chapter 5, Observer, p. 73
The School of New York, exhibition catalogue, Perls Gallery, 1951; as quoted in the New York School – the painters & sculptors of the fifties, Irving Sandler, Harper & Row Publishers, 1978, p. 46
1950s

Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 108-109
Context: The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.