"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.
“Music is the tonal analogue of emotive life.”
Feeling and Form, ch. 1, p. 27, Scribner (1953)
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Susanne K. Langer 16
American philosopher 1895–1985Related quotes
Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language
“I don't think that American audiences would accept the tonal character of my music.”
As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)
“My life is a combination of combinations of music and emotions.”
Original: (it) La mia vita è un insieme di combinazioni tra musica ed emozioni.
Source: prevale.net
Australian Broadcasting Corporation http://www.abc.net.au/radionational/programs/allinthemind/5009818 (October 11, 2013)
Source: Zen and the Art of Motorcycle Maintenance (1974), Ch. 28
Context: Religion isn't invented by man. Men are invented by religion. Men invent responses to Quality, and among these responses is an understanding of what they themselves are. You know something and then the Quality stimulus hits and then you try to define the Quality stimulus, but to define it all you've got to work with is what you know. So your definition is made up of what you know. It's an analogue to what you already know. It has to be. It can't be anything else. And the mythos grows this way. By analogies to what is known before. The mythos is a building of analogues upon analogues upon analogues. These fill the collective consciousness of all communicating mankind. Every last bit of it. The Quality is the track that directs the train. What is outside the train, to either side—that is the terra incognita of the insane. He knew that to understand Quality he would have to leave the mythos. That's why he felt that slippage. He knew something was about to happen.
Original: (it) La musica domina le emozioni.
Source: prevale.net
McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press. ISBN 0816618984.