
In, P.245.
Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures
A collection of quotes on the topic of chord, music, play, likeness.
In, P.245.
Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures
On his personal stylistic breakthrough, quoted in Hear Me Talkin' to Ya (1955) edited by Nat Hentoff and Nat Shapiro, . p 354
“You just pick a chord, go twang, and you've got music.”
Reported in Jon Savage, England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond (2001), p. 220.
Bk. 3, chap. 4; as cited in: Moritz (1914, 240)
System of positive polity (1852)
Quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p. 34. Translated by Leo Black.
Philosophy of Modern Music (1973) as translated by Anne G. Mitchell and Wesley V. Blomster
“Three chords and the truth — that’s what a country song is.”
Nelson clarified in his autobiography, It's A Long Story: My Life that it was an original phrase from songwriter Harlan Howard. An example of Nelson quoting the phrase: [A lot of country music is sad. I think most art comes out of poverty and hard times. It applies to music. Three chords and the truth — that’s what a country song is. There is a lot of heartache in the world., http://theboot.com/willie-nelson-parade-interview/?trackback=tsmclip, Willie Nelson Opens Up About Music, Marriages and Marijuana, Horne, Marianne, June 28, 2010, The Boot, Taste of Country, January 21, 2014]
Attributed
Das Zentrum der geistigen Selbstdisziplin als solcher ist in Zersetzung begriffen. Die Tabus, die den geistigen Rang eines Menschen ausmachen, oftmals sedimentierte Erfahrungen und unartikulierte Erkenntnisse, richten sich stets gegen eigene Regungen, die er verdammen lernte, die aber so stark sind, daß nur eine fraglose und unbefragte Instanz ihnen Einhalt gebieten kann. Was fürs Triebleben gilt, gilt fürs geistige nicht minder: der Maler und Komponist, der diese und jene Farbenzusammenstellung oder Akkordverbindung als kitschig sich untersagt, der Schriftsteller, dem sprachliche Konfigurationen als banal oder pedantisch auf die Nerven gehen, reagiert so heftig gegen sie, weil in ihm selber Schichten sind, die es dorthin lockt. Die Absage ans herrschende Unwesen der Kultur setzt voraus, daß man an diesem selber genug teilhat, um es gleichsam in den eigenen Fingern zucken zu fühlen, daß man aber zugleich aus dieser Teilhabe Kräfte zog, sie zu kündigen. Diese Kräfte, die als solche des individuellen Widerstands in Erscheinung treten, sind darum doch keineswegs selber bloß individueller Art. Das intellektuelle Gewissen, in dem sie sich zusammenfassen, hat ein gesellschaftliches Moment so gut wie das moralische Überich. Es bildet sich an einer Vorstellung von der richtigen Gesellschaft und deren Bürgern. Läßt einmal diese Vorstellung nach—und wer könnte noch blind vertrauend ihr sich überlassen—, so verliert der intellektuelle Drang nach unten seine Hemmung, und aller Unrat, den die barbarische Kultur im Individuum zurückgelassen hat, Halbbildung, sich Gehenlassen, plumpe Vertraulichkeit, Ungeschliffenheit, kommt zum Vorschein. Meist rationalisiert es sich auch noch als Humanität, als den Willen, anderen Menschen sich verständlich zu machen, als welterfahrene Verantwortlichkeit. Aber das Opfer der intellektuellen Selbstdisziplin fällt dem, der es auf sich nimmt, viel zu leicht, als daß man ihm glauben dürfte, daß es eines ist.
E. Jephcott, trans. (1974), § 8
Minima Moralia (1951)
Isaac D'Israeli, Curiosities of Literature, "Quotation".
Misattributed, Isaac D'Israeli
"Hallelujah" - 1984 performance http://www.dailymotion.com/video/x3rwo0_leonard-cohen-hallelujah_music · Montreal Jazz Festival 2008 performance http://www.youtube.com/watch?v=2FpwjQLZTTs
Various Positions (1984)
Context: Now I've heard there was a secret chord
That David played, and it pleased the Lord
But you don't really care for music, do you?
It goes like this the fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah
1860s, First Inaugural Address (1861)
“Anyone who uses more than two chords is just showing off.”
Source: Anam Cara: A Book of Celtic Wisdom
On how he learnt Guitar, Guitar School magazine, "Rock n' Roll high school" February 1996.
Interviews
Written in 1997, from the liner notes for Jazz Corps (1998)
Description of Washington's death in Life of Washington (1800); this fanciful account bears no relation to the report of Washington's last words by his personal secretary Tobias Lear, who wrote in his journal (14 December 1799) http://gwpapers.virginia.edu/project/exhibit/mourning/lear.html: About ten o'clk he made several attempts to speak to me before he could effect it, at length he said, — "I am just going. Have me decently buried; and do not let my body be put into the Vault in less than three days after I am dead." I bowed assent, for I could not speak. He then looked at me again and said, "Do you understand me? I replied "Yes." "Tis well" said he.
"Pro Skater Mike Vallely On Being Vegan" https://www.punkglobe.com/mikevallelyinterview0816.php, interview with Punk Globe (August 2016).
Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind
1870 - 1903, his lecture 'Ten O'Clock' (1885)
Source: James McNeill Whistler (1834–1903), Weinberg, H. Barbara, 'Heilbrunn Timeline of Art History'. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/whis/hd_whis.htm (April 2010)
Meditation
Heath's book of Beauty, 1833 (1832)
Page 42
The Listening Composer
Longing for the Harmonies: Themes and Variations from Modern Physics (1987)
Source: Piano Notes: The World of the Pianist (2002), Ch. 2 Listening to the Sound of the Piano
“There's not a string attuned to mirth
But has its chord in melancholy.”
Ode to Melancholy, st. 8.
1820s
“As when in harp and song adept, a bard
Unlab'ring strains the chord to a new lyre.”
XXI. 406–407 (tr. William Cowper).
Odyssey (c. 725 BC)
The Birth of New India: A Collection of Writings and Speeches on Indian Affairs http://books.google.co.in/books?id=n7ZMF8Mjh2oC, p. 85
Part Nine “Into the Gyre”, Chapter v “A Fragile Peace”, Section 3 (p. 440)
Weaveworld (1987), BOOK TWO: THE FUGUE
Source: Dictionary of Burning Words of Brilliant Writers, P. 6.
A History of the Lyre
The Venetian Bracelet (1829)
“In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f”
a F major chord
ibid, p. 14.
Die Walkure, Act III
Page 96
The Listening Composer
Source: Knowing Our Place in the Animal World, p. 73
Only a Northern Song (1967)
Lyrics
Life Without and Life Within (1859), Sistrum
‘Once again, I feel I have something to say’ Interview, Page 2 http://www.indianexpress.com/news/once-again-i-feel-i-have-something-to-say/471304/2 Indian Express, Jun 07, 2009.
Preface
A Course of Lectures on Natural Philosophy and the Mechanical Arts (1807)
Sect. 4, Lemma 26, Insigniores orbitae cometarum proprietates (1761) [Notable properties of comets' orbits] translated by Florian Cajori, A History of Mathematics https://books.google.com/books?id=kqQPAAAAYAAJ (1906) p. 259, from the German of Michel Chasles, Geschichte der Geometrie, haupsächlich mit Bezug auf die neuern Methoden https://books.google.com/books?id=NgYHAAAAcAAJ (1839) p. 183.
[Denyer, Ralph, The Guitar Handbook, 2002, 114, 0-679-74275-1]
[Denyer, Ralph, The Guitar Handbook, 2002, 115, 0-679-74275-1]
As quoted in "Voicing With a Heart" by Ernie Rideout, in Keyboard (August 2000)
Review http://www.reelviews.net/php_review_template.php?identifier=1611 of Coyote Ugly (2000).
One-star reviews
Life Without and Life Within (1859), Sistrum
Reflecting on the new generation's take on jazz music
Prasad interview (1997)
Source: Trent's Own Case (1936), Chapter XV: "Eunice Makes a Clean Breast of It"
13 February 1945.
Disputed, The Testament of Adolf Hitler (1945)
Source: 1960s, Understanding Media (1964), p. 302
“Well anyone can make a 'weird' [chord] progression by randomly picking triads.”
Static Line interview, 1998
in a letter to artist de:Hans Thuar, 1913, from Lake Thun in Switzerland; as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 145
[Denyer, Ralph, The Guitar Handbook, 2002, Alfred A. Knopf, 88, 0-679-74275-1]
Blood of Eden
Song lyrics, Us (1992)
Reviewing DeFranco's arrangement of Billy Strayhorn's "Chelsea Bridge", from the album Glenn Miller Orchestra Under the Direction of Buddy DeFranco; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu by Leonard Feather, in Downbeat (October 19, 1967), p. 38
Thank you, Mr. President. I yield the floor.
Speech in the U.S. Senate (2017)
On the Los Lobos boxed set El Cancionero, from Songbook, published in England as 31 Songs (2003)
Quote from Exhibition catalogue Fernand Léger, Paris 1972, p. 91
Quotes of Fernand Leger, 1970's
Source: The Romantic Generation (1995), Ch. 1 : Music and Sound
Aaron Copland: the Life and Work of an Uncommon Man, ISBN 0805049096.
Joseph Fétis, (1844). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p. 166. Brussels and Paris.
(9th August 1823) Poetical Catalogue of Pictures. Stothard’s Erato
23rd August 1823) Change see The Improvisatrice (1824
30th August, 6th and 13th September 1823) The Bayadere see The Improvisatrice (1824
The London Literary Gazette, 1823
Source: Themes and Conclusions (1982), p. 27: Dialogues.
"A Lost Chord".
Legends and Lyrics: Second Series (1861)
[Denyer, Ralph, The Guitar Handbook, 2002, 140, 0-679-74275-1]
on her breakout graphic novel http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/book_reviews/article6914181.ece?token=null&offset=108&page=10
Other
Gunther Schuller, quoted in [All American Music: Composition in the Late Twentieth Century, 1983, Rockwell, John, New York, Alfred A. Knopf, ISBN 0394511638].
About
Source: Introduction to Logical Theory (1952), p. 2.
1850s, The Present Aspect of the Slavery Question (1859)
(20th March 1824) Metrical Tales. Tale IV.— The Troubadour
The London Literary Gazette, 1824
'Udnie – I see Again in Memory my Dear Udnie' is the title of a painting, he made in 1913; a memory of the dances performed by Stasia Napierkowska on the ship to New York, to visit the w:Armory Show, where Picabia was presented in 1913 as a 'leading Cubist painter'
1910's
Source: 'Ecrits: vol. 1', 1913 - 1920, Picabia, Belfond, Paris, p. 26
Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Other elements produce other chords.
Longing for the Harmonies: Themes and Variations from Modern Physics (1987)
"Obama's Speech; McCain's Palinomy," http://www.counterpunch.org/cockburn08302008.html CounterPunch (August 30 -31, 2008).
(1826-2) The Wish
The Monthly Magazine