“In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass.”

— Charles Rosen

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

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Charles Rosen 69

American pianist and writer on music 1927–2012

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

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

“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

“Poverty is a soft pedal upon the branches of human activity, not excepting the spiritual.”

H.L. Mencken (1880–1956) American journalist and writer

Source: 1910s, A Book of Prefaces (1917), Ch. 4

“Notwithstanding the eminent difficulties of the mathematical theory of sonorous vibrations, we owe to it such progress as has yet been made in acoustics. The formation of the differential equations proper to the phenomena is, independent of their integration, a very important acquisition, on account of the approximations which mathematical analysis allows between questions, otherwise heterogeneous, which lead to similar equations. This fundamental property, whose value we have so often to recognize, applies remarkably in the present case; and especially since the creation of mathematical thermology, whose principal equations are strongly analogous to those of vibratory motion. This means of investigation is all the more valuable on account of the difficulties in the way of direct inquiry into the phenomena of sound. We may decide the necessity of the atmospheric medium for the transmission of sonorous vibrations; and we may conceive of the possibility of determining by experiment the duration of the propagation, in the air, and then through other media; but the general laws of the vibrations of sonorous bodies escape immediate observation. We should know almost nothing of the whole case if the mathematical theory did not come in to connect the different phenomena of sound, enabling us to substitute for direct observation an equivalent examination of more favorable cases subjected to the same law. For instance, when the analysis of the problem of vibrating chords has shown us that, other things being equal, the number of oscillations is hi inverse proportion to the length of the chord, we see that the most rapid vibrations of a very short chord may be counted, since the law enables us to direct our attention to very slow vibrations. The same substitution is at our command in many cases in which it is less direct.”

Auguste Comte (1798–1857) French philosopher

Bk. 3, chap. 4; as cited in: Moritz (1914, 240)
System of positive polity (1852)

“From this tribune, incessantly vibrating, gushed forth perpetually a sort of sonorous flood, a mighty oscillation of sentiments and ideas, which, from billow to billow, and from people to people, flowed to the utmost confines of the earth, to set in motion those intelligent waves which are called souls.”

Victor Hugo (1802–1885) French poet, novelist, and dramatist

Napoleon the Little (1852), Book V, V
Napoleon the Little (1852)

“My main orientation is harmonic. Bill, besides having the harmonic structures that he did, had a control of the dynamic level of the piano and pedaling, which is ridiculously fantastic. I never saw a man make so many gradations from pianissimo to piano in my life. I can't do that. On the other hand, I think that what I do harmonically is somewhere other than where he was.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Radio interview, circa 1985, by Ben Sidran, as quoted in Talking Jazz With Ben Sidran, Volume 1: The Rhythm Section https://books.google.com/books?id=O3hZDQAAQBAJ&pg=PT453 (1992, 2006, 2014)