Quotes about composer
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“I only composed and experimented for myself and not to please anyone else.”

Jesper Kyd (1972) musician

Amiga Music Preservation interview, 2006

“My memory…is of a department without direction, composed of a lot of busy people working hard and usefully but as a whole not functioning as a foreign office. It did not chart a course to be furthered by the success of our arms, or to aid or guide our arms. Rather it seems to have been adrift carried hither and yon by the currents of war or pushed about by collisions with more purposeful craft.”

Dean Acheson book Present at the Creation: My Years in the State Department

Present at the Creation: My Years in the State Department (1969), State Department Management, Leadership Perspectives

War, People, Business, Memory

“Just as every human being has an ancestry, unknown to him though it may be; so every idea, every incident, every movement has in the past its own long chain of causes, without which it could not have been. Formerly we were glad to let the dead bury their dead: nowadays we turn lovingly to the records, whether of persons or things; and we busy ourselves willingly among origins, even without conscious utilitarian end. We are no longer proud of having ancestors, since every one has them; but we are more than ever interested in our ancestors, now that we find in them the fragments which compose our very selves.”

Sidney Webb, 1st Baron Passfield (1859–1947) British Baron and politician

Fabian Essays in Socialism &ndash; The Basis of Socialism &ndash; Historic http://www.econlib.org/library/YPDBooks/Shaw/shwFS1.html#The%20Basis%20of%20Socialism,%20Historic,%20by%20Sidney%20Webb, The Development of the Democratic Ideal, I.1.1. Edited by George Bernard Shaw (1889)

Idea, Business, Past, Personality

“Normally man’s mind is composed only of a consciousness of his immediate needs, which is to say that this consciousness at any moment can be defined as ‘’his awareness of his own power to satisfy those needs.’’ He thinks in terms of what he intends to do in half an hour’s time, a day’s time, a month’s time an no more. He never asks himself: what are the ‘’limits’’ of my powers? In a sense, he is like a man who has a fortune is the bank, who never asks himself, How much money have I got, but only, Have I enough for a pound of cheese, a new tie, etc.”

Colin Wilson book The Outsider

Source: The Outsider (1956), Chapter Six, The Question of Identity

Money, Thinking, Sense, Time

“More and more of the flow was diverted from production into the political mechanism. Whatever elements in motion compose a stream of energy, enough must go through to complete the circuit and renew production. Water running in an aqueduct to turn a millwheel is a stream of energy; or electricity going through insulated wires; or goods in process from raw materials to finished product and conveyed by a system of transport. If the water channel is pierced with many small openings en route; or electricity taken off by more and more outlets; or the goods expropiated piecemeal at each stage of the process, finally not enough will go through for maintenance of the system. In the energy system comprised in an exchange of goods, the producers and processors have to get back enough to enable them to keep on producing and working up the raw materials and to provide transport…”

Isabel Paterson (1886–1961) author and editor

Source: The God of the Machine (1943), p. 39

Water

“Curious it is that every hour of our day is repeated from myriad chimes; and yet how rarely do we attend to the clock striking! Alas! how emblematic is this of the way in which we neglect the many signs of time! How terrible, when we think of what time may achieve, is the manner in which we waste it! At the end of every man's life, at least three-quarters of the mighty element of which that life was composed will be found void—lost—nay, utterly forgotten! And yet that time, laboured and husbanded, might have built palaces, gathered wealth, and, still greater, made an imperishable name.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Heath's book of Beauty, 1833 (1832)

Life, Way, Thinking, Time

“He died alone and forgotten and only in modern times has he come up as a genius composer and a brilliant visionary.”

Marion Bauer (1882–1955) American composer

Harry Shaw Simpson. (2014). Music Today, p.300. Geni Book Publishing Experts. ISBN 0452616764030.

Time

“The national passion for secular music admitted of little or no abatement by the disgrace and dispersion of the minstrels. Professional musicians, both vocal and instrumental, were afterwards retained at the court, and also in the mansions of the nobility. In the sixteenth century, a knowledge of music was considered as a genteel accomplishment for persons of high rank. Henry VIII not only sang well, but played upon several sorts of instruments; he also wrote songs, and composed the tunes for them; and his example was followed by several of the nobility, his favourites.”

Joseph Strutt (1749–1802) British engraver, artist, antiquary and writer

pg. 259
The Sports and Pastimes of the People of England (1801), Minstrels

Music, Knowledge, Passion, Personality

“I use the example of the rainbow and of the phenomena connected with it, of which sort are the circle around the sun and the stars, likewise the rod lying at the side of the sun or of a star which appears to the eye in a straight line… called the rod by Seneca, and the circle is called the corona, which often has the colors of the rainbow. But neither Aristotle nor Avicenna, in their Natural Histories, has given us knowledge of things of this sort, nor has Seneca, who composed a special book on them. But Experimental Science makes certain of them. [The experimenter] considers rowers and he finds the same colors in the falling drops dripping from the raised oars when the solar rays penetrate drops of this sort. It is the same with waters falling from the wheels of a mill; and when a man sees the drops of dew in summer of a morning lying on the grass in the meadow or the field, he will see the colors. And in the same way when it rains, if he stands in a shady place and if the rays beyond it pass through dripping moisture, then the colors will appear in the shadow nearby; and very frequently of a night colors appear around the wax candle. Moreover, if a man in summer, when he rises from sleep and while his eyes are yet only partly opened, looks suddenly toward an aperture through which a ray of the sun enters, he will see colors. And if, while seated beyond the sun, he extend his hat before his eyes, he will see colors; and in the same way if he closes his eye, the same thing happens under the shade of the eyebrow; and again, the same phenomenon occurs through a glass vessel filled with water, placed in the rays of the sun. Or similarly if any one holding water in his mouth sprinkles it vigorously into the rays and stands to the side of the rays; and if rays in the proper position pass through an oil lamp hanging in the air, so that the light falls on the surface of the oil, colors will be produced. And so in an infinite number of ways, as well natural as artificial, colors of this sort appear, as the careful experimenter is able to discover.”

Roger Bacon book Opus Majus

6th part Experimental Science, Ch.2 Tr. Richard McKeon, Selections from Medieval Philosophers Vol.2 Roger Bacon to William of Ockham
Opus Majus, c. 1267

Books, Color, Way, History

“We shall envision the mind (or brain) as composed of many partially autonomous "agents"—as a "Society" of smaller minds. …It is easiest to think about partial states that constrain only agents within a single Division. …(we suggest) the local mechanisms for resolving conflicts could be the precursors of what we know later as reasoning”

Marvin Minsky (1927–2016) American cognitive scientist

useful ways to combine different fragments of knowledge.
K-Linesː A Theory of Memory (1980)

Way, Knowledge, Thinking

“Though its fame is much restricted by its specialized nature, there is no doubt that Panini's grammar is one of the greatest intellectual achievements of any ancient civilization, and the most detailed and scientific grammar composed before the 19th century in any part of the world.”

Arthur Llewellyn Basham (1914–1986) British historian and Indologist

Professor A. L. Basham in: Daya Kishan Thussu Communicating India's Soft Power: Buddha to Bollywood https://books.google.co.in/books?id=Ab_QAQAAQBAJ&pg=PA47, Palgrave Macmillan, 24 October 2013, p. 47.

World, Nature, Parting

“The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again.”

William Beebe (1877–1962) American ornithologist, marine biologist, entomologist, and explorer

The Bird (1906)

Beauty, Art

“The bomb attack on the Grand Hotel early this morning was first and foremost an inhuman, undiscriminating attempt to massacre innocent unsuspecting men and women staying in Brighton for our Conservative Conference…But the bomb attack clearly signified more than this. It was an attempt not only to disrupt and terminate our Conference; It was an attempt to cripple Her Majesty's democratically-elected Government. That is the scale of the outrage in which we have all shared, and the fact that we are gathered here now—shocked, but composed and determined—is a sign not only that this attack has failed, but that all attempts to destroy democracy by terrorism will fail.”

Margaret Thatcher (1925–2013) British stateswoman and politician

Speech to Conservative Party Conference (12 October 1984) http://www.margaretthatcher.org/document/105763 Second term as Prime Minister

Women, Men, Democracy

“There is no necessary connection between the important events of a life and the records of it that have been preserved in memory, in documents, in memorials, or in living testimony. The biographer must compose his life of what he has, just as the archeologist must restore his temple or his statue with such fragments as thieving time and careless men have left him; but fate often ironically leaves him a well-preserved leg and a dismembered torso, while the head, which would supply the main clue to the body, is missing. Hence, in addition to the purposive selection exercised by the subject himself and by the biographer in making use of such materials as are left, there exists a purely external selection dominated by chance, which cuts across the evidence in an arbitrary fashion. To correct for such distortions the biographer must be an anatomist of character: he must be able to restore the missing nose in plaster, even if he does not find the original marble.”

Lewis Mumford (1895–1990) American historian, sociologist, philosopher of technology, and literary critic

Source: My Works and Days (1979), Ch. 14

Life, Men, Fate, Exercises

“Cultures and religions do not exist apart from the individual minds that constitute them and the environments that constrain them, any more than biological species and varieties exist independently of the individual organisms that compose them and the environments that conform them. They are not well-bounded systems or definite clusters of beliefs, practices, and artifacts, but more or less regular distributions of causally connected thoughts, behaviors, material products, and environmental objects. To naturalistically understand what "cultures" are is to describe and explain the material causes responsible for reliable differences in these distributions.”

Scott Atran (1952) Anthropologist

Introduction: an evolutionary riddle, p. 10
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

Religion, Behavior, Understanding

“The neurotic lies awake at night, composing letters to those he hates. He seldom thinks of dropping a line to those he loves.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Neurotics and neurosis

Love, Hate, Thinking, Night

“Therefore, why not plastic forms in motion?... one can compose motions.”

Alexander Calder (1898–1976) American artist

1930s - 1950s, Statement from Modern Painting and Sculpture', (1933)

“Babbitt looked up irritably from the comic strips in the Evening Advocate. They composed his favorite literature and art, these illustrated chronicles in which Mr. Mutt hit Mr. Jeff with a rotten egg, and Mother corrected Father's vulgarisms by means of a rolling-pin. With the solemn face of a devotee, breathing heavily through his open mouth, he plodded nightly through every picture, and during the rite he detested interruptions. Furthermore, he felt that on the subject of Shakespeare he wasn't really an authority. Neither the Advocate-Times, the Evening Advocate, nor the Bulletin of the Zenith Chamber of Commerce had ever had an editorial on the matter, and until one of them had spoken he found it hard to form an original opinion.”

Sinclair Lewis book Babbitt

Babbitt (1922), Ch. 6

Art, Literature, Time

“Several features or attributes of organizations can therefore be recognized
# Organizations are social institutions (entities) composed of sets of persons with established patterns of interaction.
# Organizations develop to achieve specific goals. Therefore, organizations are social creations that require order and cooperation.
# Organizations are social instruments possessing relatively identifiable boundaries and existing on a relatively permanent basis. While this final point is perhaps less clear than were those that precede it, the identification of fixed boundaries (for instance, the distinction between members and nonmembers) and continuity (that is, existence and identity over time) provide a conceptual framework for the study of organizational activity.”

Arthur G. Bedeian (1946) American business theorist

Source: Organizations: Theory and Analysis, 1984, p. 3-4 (1984: 2-3)

Study, Time, Personality

“Which was first, Matter or Force? If we think on this question, we shall find that we are unable to conceive of matter without force, or force without matter. When God created the elements of which the earth is composed, He created certain wondrous forces, which are set free and become evident when matter acts on matter.”

William Crookes (1832–1919) British chemist and physicist

In the Preface of Michael Faraday's On the various forces of nature and their relations to each other https://archive.org/stream/courseofsixlectu00fararich#page/n5/mode/2up (1894)

God, Question, Thinking

“(Las Vegas) composes a night-time image of Babylon in the desert. But it is Everyman's cut-rate Babylon. Not far away there is, or was, a roadside lunch counter and over it a sign proclaiming in three words that a Roman emperor's orgy is now a democratic institution. It says: 'Topless Pizza Lunch.”

Alistair Cooke (1908–2004) British journalist and broadcaster

Source: Alistair Cooke's America (1973), p. 280

Time, Night

“And you mother still close to me,
you know that it is not enough to live an ordered and honest life.
You have been faithful for years to bring order into our house.
As soon as the dawn appeared in the night sky,
you rose towards the tasks awaiting you –
in the silence of a mental prayer.
Perhaps it is not enough even the overwhelming love,
to which you gave the sober expression of concrete acts.
The sacred wool, the steaming milk and the bed
composed with inimitable care by your hands.
Going back in time you recounted to your children their births,
and the birthdays have slowly vanished.
The beginning is now found from a thousand beginnings,
with the ancient, with the unknown, with Christ.
A present act includes them all,
opening after the events have passed.
And there is a severe duty for struggle,
something in our own life could be wrenched away by it.
The guards will soon appear,
and they will take me to my cell with the high window.
You will still be with me,
as mother and inexhaustible human presence.
Giving freely of your love, you still knew that your son is freedom.
You were a nearness, that always found something to do.
I have watched you unflinching under hardness and spite,
always moving, and acting,
holding back your inner rebellion you had pity on rage.
Now we are together to work and open all around.
In the loving gift to the world which ever crucifies us
is our fulfilment.
Seeing its limitations, still to treasure everything
is the gesture of infinite miracle,
and you were right: order comes from this principle,
the earthly goods, as our brothers the prophets tell us,
will be given unto us.”

Aldo Capitini (1899–1968) Italian philosopher and political activist

Love, Life, Children, World

“V. We complain that the Union cause has suffered, and is now suffering immensely, from mistaken deference to Rebel Slavery. Had you, Sir, in your Inaugural Address, unmistakably given notice that, in case the Rebellion already commenced were persisted in, and your efforts to preserve the Union and enforce the laws should be resisted by armed force, you would recognize no loyal person as rightfully held in Slavery by a traitor, we believe the Rebellion would therein have received a staggering if not fatal blow. At that moment, according to the returns of the most recent elections, the Unionists were a large majority of the voters of the Slave States. But they were composed in good part of the aged, the feeble, the wealthy, the timid--the young, the reckless, the aspiring, the adventurous, had already been largely lured by the gamblers and negro-traders, the politicians by trade and the conspirators by instinct, into the toils of Treason. Had you then proclaimed that Rebellion would strike the shackles from the slaves of every traitor, the wealthy and the cautious would have been supplied with a powerful inducement to remain loyal. As it was, every coward in the South soon became a traitor from fear; for Loyalty was perilous, while Treason seemed comparatively safe. Hence the boasted unanimity of the South--a unanimity based on Rebel terrorism and the fact that immunity and safety were found on that side, danger and probable death on ours. The Rebels from the first have been eager to confiscate, imprison, scourge and kill: we have fought wolves with the devices of sheep. The result is just what might have been expected. Tens of thousands are fighting in the Rebel ranks to-day whose, original bias and natural leanings would have led them into ours.”

Horace Greeley (1811–1872) American politician and publisher

1860s, The Prayer of the Twenty Millions (1862)

Death, Age, Fear, Law

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Love, Beauty, Music, Color

“What takes place within the structure of the leaf, then, with the aid of the wonderful green workmen, is this: A certain number of molecules of water, brought to the leaf from root and stem, are taken in hand and compounded with a certain number of molecules of carbon extracted from the air that has been brought into the leaf laboratory through its mouths or stomata from the outside atmosphere.
When the compound has been effected, we still have the atoms of hydrogen and oxygen that composed the water molecules and the atoms of carbon, but they are so marvelously put together that they no longer constitute the liquid water or the gas in which the carbon was imported. They now constitute an altogether new substance which is termed sugar.
Thus only three elements are dealt with and these very familiar ones. It would seem as if almost any chemist should be able to manage a simple combination like that. But… no human chemist knows how to manage it. There are forces to be invoked in effecting that combination of which no chemist has any knowledge.
Only the chlorophyll grains in the plant leaf have learned the secret, and up to the present they have kept their secret well.”

Luther Burbank (1849–1926) American botanist, horticulturist and pioneer in agricultural science

How Plants are Trained to Work for Man (1921) Vol. 5 Gardening

Secret, Knowledge, Learning, Water

“It is probable that what we call thought is not an actual being, but no more than the relation between certain parts of that infinitely varied mass, of which the rest of the universe is composed, and which ceases to exist as soon as those parts change their position with regard to each other.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

On a Future State (1815; publ. 1840)

Universe, Change, Parting

“THE OCTOBER COUNTRY …that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain…”

Ray Bradbury book The October Country

Epigraph
The October Country (1955)

People, Autumn, Thinking, Sun

“It is surely unnecessary to dwell on the interest and importance of a study which instructs us that every pebble we tread upon bears the impress of the Almighty's hand, and affords evidence of Creative wisdom; that every grain of sand, every particle of dust scattered by the wind, may be composed of the aggregated skeletons of beings, so minute as to elude our unassisted vision, but which possessed an organization as marvellous as our own;—a science discoveries have realized the wildest imaginings of the poet,—whose realities far surpass in grandeur and sublimity the most imposing fictions of romance;—a science whose empire is the earth, the ocean, the atmosphere, the heavens;—whose speculations embrace all elements, all space, all time;—objects the most minute, objects the most colossal;—carrying its researches into the smallest atom which the microscope can render accessible to our visual organs,—and comprehending all the phenomena in the boundless Universe, which the powers of the telescope can reveal.”

Gideon Mantell (1790–1852) British scientist and obstetrician

The Medals of Creation or First Lessons in Geology (1854)

Wisdom, Imagination, Reality, Study

“First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.”

Ivo Pogorelić (1958) Croatian pianist

Ivo Pogorelić about the most important things Aliza Kezeradze taught him, Die Zeit, Ich möchte gern mein Publikum sein, Hans Josef, Herbort, May 15, 1981, June 30, 2015 http://www.zeit.de/1981/21/ich-moechte-gern-mein-publikum-sein, (in German language)

Color, Nature, Learning, Perfection

“Our union is now complete; our constitution composed, established, and approved. You are now the guardians of your own liberties. We may justly address you, as the decemviri did the Romans, and say,”

Samuel Adams (1722–1803) American statesman, Massachusetts governor, and political philosopher

Speech about Declaration of Independence (1776)

“We have only started on our development of our country — we have not as yet, with all our talk of wonderful progress, done more than scratch the surface. The progress has been wonderful enough — but when we compare what we have done with what there is to do, then our past accomplishments are as nothing. When we consider that more power is used merely in ploughing the soil than is used in all the industrial establishments of the country put together, an inkling comes of how much opportunity there b ahead. And now, with so many countries of the world in ferment and with so much unrest everywhere, is an excellent time to suggest something of the things that may be done — in the light of what has been done.
When one speaks of increasing power, machinery, and industry there comes up a picture of a cold, metallic sort of world in which great factories will drive away the trees, the flowers, the birds, and the green fields. And that then we shall have a world composed of metal machines and human machines. With all of that I do not agree. I think that unless we know more about machines and their use, unless we better understand the mechanical portion of life, we cannot have the time to enjoy the trees, and the birds, and the flowers, and the green fields.”

Henry Ford book My Life and Work

Source: My Life and Work (1922), p. 1; as cited in: William A. Levinson, Henry Ford, Samuel Crowther. The Expanded and Annotated My Life and Work: Henry Ford's Universal Code for World-Class Success. CRC Press, 2013. p. xxvii

Life, World, Flowers, Understanding

“Why did Mozart compose music?”

Jonas Salk (1914–1995) Inventor of polio vaccine

Response when asked why he chose to do medical research rather than be a practicing physician, as quoted in The Polio Man : The Story of Dr. Jonas Salk (1961) by John Rowland, p. 23

Music

“What [Tullio Serafin] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears — and I say soul and ears because the mind must work, but not too much also — you will find every gesture there. And it is all true, you know.”

Maria Callas (1923–1977) American-born Greek operatic soprano

On advice from Tullio Serafin, in "Harewood Conversations - 1968", an interview in Paris with Lord Harewood for the BBC (April 1968) on Maria Callas : The Callas Conversations (2004) EMI Classics DVD

Music, Soul

“The New Testament was not produced as a single work issued by an authoritative Church for the instruction of its members. The four Gospels were composed in different times and places over perhaps a third of a century, and for a time circulated separately among a number of other narratives of our Lord's life (of which the newly discovered fragment of an unknown gospel may have been one).”

Frederic G. Kenyon (1863–1952) British palaeographer and biblical and classical scholar

Source: The Story Of The Bible, Chapter X, The Position Today, p. 133

Life, Time

“Simply translating the act of the scientist is the first job of any science writer. Then, in my more grandiose moments, the other big job of a science writer is to see connections, to see the forest composed by all these trees. The act of being a scientist, by definition, the act of being a modern scientist requires you to really focus. You have to drill down. You have to spend years studying one brick, one synaptic protein, one kind of thing that turns on the amygdala, one very particular question.”

Jonah Lehrer (1981) American science writer

Chimeras of Experience: A Conversation with Jonah Lehrer (2009)

Question, Tree, Study, Science

“The external embodiment of an act is composed of many parts, and may be regarded as capable of being divided into an infinite number of particulars. An act may be looked on as in the first instance coming into contact with only one of these particulars. But the truth of the particular is the universal. A definite act is not confined in its content to one isolated point of the varied external world, but is universal, including these varied relations within itself. The purpose, which is the product of thought and embraces not the particular only but also the universal side, is intention.”

Georg Wilhelm Friedrich Hegel book Elements of the Philosophy of Right

Georg Wilhelm Friedrich Hegel, Philosophy of Right translated by SW Dyde Queen’s University Canada 1896 p. 114-115
Elements of the Philosophy of Right (1820/1821)

Truth, World, Universe, Parting

“Difference unites us. While each of these experiences can isolate those who are affected, together they compose an aggregate of millions whose struggles connect them profoundly. The exceptional is ubiquitous; to be entirely typical is the rare and lonely state.”

Andrew Solomon (1963) American journalist

Source: Far from the Tree, Ch. 1 Son, p 4.

“At Queen Philippa's court his fastidious eyes were spared the sight, which was moving Langland to realism, of the disbanded soldiery begging their bread along the countryside. Most of his busy days were spent with princes and potentates, and it is idle to ask how far this experience suits the impartial muse of history…He possessed, too, a prodigious memory; and his keen eye for detail and the wealth and colour of his narrative produced such a record of the fourteenth century as Langland could never have composed. Posterity can but return thanks that the picture has been drawn from both aspects.”

Jean Froissart (1337–1405) French writer

Laurie Magnus A General Sketch of European Literature in the Centuries of Romance (1918) p. 89.
Criticism

History, Business, Memory, Wealth

“The second proposition admits and encourages the very practice we censure so justly, for which the saint [ Augustine of Hippo ] was so famous, and by which he contributed so much to promote contentions in his own days, and to perpetuate them to ours. The practice of deducing doctrines from the scriptures that are not evidently contained in them… Who does not see that the direct tendency of this practice is exactly the same as the event has proved it to be? It composes and propagates a religion, seemingly under the authority of God, but really under that of man. The principles of revelation are lost in theology, or disfigured by it: and whilst some men are impudent enough to pretend, others are silly enough to believe, that they adhere to the gospel, and maintain the cause of God against infidels and heretics, when they do nothing better, nor more, than espouse the conceits of men, whom enthusiasm, or the ambition of forming sects, or of making a great figure in them, has inspired. If you ask now what the practice of the christian fathers, and of other divines, should have been, in order to preserve the purity of faith, and to promote peace and charity, the answer is obvious… They should have adhered to the word of God: they should have paid no regard to heathen philosophy, jewish cabala, the sallies of enthusiasm, or the refinements of human ingenuity: they should have embraced, and held fast the articles of faith and doctrine, that were delivered in plain terms, or in unequivocal figures: they should not have been dogmatical where the sense was doubtful, nor have presumed even to guess where the Holy Ghost left the veil of mystery undrawn.”

Henry St John, 1st Viscount Bolingbroke (1678–1751) English politician and Viscount

Lord Bolingbroke's Philosophical Works http://books.google.com/books?id=E6ATAAAAQAAJ (1754) Vol.III, Essay IV, Sect XVI

Men, God, Peace, Faith

“The public want actresses, because they think all actresses bad. They don't want music or poetry because they know that both are good. So actors and actresses thrive and poets and composers starve.”

George Bernard Shaw (1856–1950) Irish playwright

1900s, Love Among the Artists (1900)

Music, Thinking

“Objectivity does not simply involve passivity and detachment; it is a particular structure composed of distance and nearness, indifference and involvement.”

Georg Simmel book The Stranger

Source: The Stranger (1908), p. 403

Indifference

“Music has its existence on the borderline between meaning and nonsense. That is why most attempts to attribute a specific meaning to a piece of music seem to be beside the point—even when the attribution is authoritative, even when it is made by the composer himself.”

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

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 3 : Explaining the Obvious

Music

“The worldview of the classical sciences conceptualized nature as a giant machine composed of intricate but replaceable machine-like parts. The new systems sciences look at nature as an organism endowed with irreplaceable elements and an innate but non-deterministic purpose for choice, for flow, for spontaneity.”

Ervin László (1932) Hungarian musician and philosopher

Source: The systems view of the world (1996), p. 10-11.

Nature, Science, Parting

“Industrial age companies created sharp distinctions between two groups of employees. The intellectual elite—managers and engineers—used their analytical skills to design products and processes, select and manage customers, and supervise day-to-day operations. The second group was composed of the people who actually produced the products and delivered the services. This direct labor work force was a principal factor of production for industrial age companies, but used only their physical capabilities, not their minds. They performed tasks and processes under direct supervision of white-collar engineers and managers. At the end of the twentieth century, automation and productivity have reduced the percentage of people in the organization who perform traditional work functions, while competitive demands have increased the number of people performing analytic functions: engineering, marketing, management, and administration. Even individuals still involved in direct production and service delivery are valued for their suggestions on how to improve quality, reduce costs, and decrease cycle times…
Now all employees must contribute value by what they know and by the information they can provide. Investing in, managing, and exploiting the knowledge of every employee have become critical to the success of information age companies”

David P. Norton (1941) American business theorist, business executive and management consultant

Source: The Balanced Scorecard, 1996, p. 5-6

People, Age, Knowledge, Time

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 Articles and Interviews

Men, Children, People, World

“We now have single corporate enterprises employing hundreds of thousands of workers, having hundreds of thousands of stockholders, using billions of dollars' worth of the instruments of production, serving millions of customers, and controlled by a single management group. These are great collectives of enterprise, and a system composed of them might well be called "collective capitalism."”

Gardiner C. Means (1896–1988) American economist

Source: The Corporate Revolution in America, 1957, p. 288

“Beautifully written… the webs of imagery that Harris has so carefully woven… contains writing of which our best writers would be proud… there is not a singly ugly or dead sentence…' - or so sang the critics. Hannibal is a genre novel, and all genre novels contain dead sentences - unless you feel the throb of life in such periods as 'Tommaso put the lid back on the cooler' or 'Eric Pickford answered' or 'Pazzi worked like a man possessed' or 'Margot laughed in spite of herself' or 'Bob Sneed broke the silence.' What these commentators must be thinking of, I suppose, are the bits when Harris goes all blubbery and portentous (every other phrase a spare tyre), or when, with a fugitive poeticism, he swoons us to a dying fall: 'Starling looked for a moment through the wall, past the wall, out to forever and composed herself…' 'It seemed forever ago…' 'He looked deep, deep into her eyes…' 'His dark eyes held her whole…' Needless to say, Harris has become a serial murderer of English sentences, and Hannibal is a necropolis of prose.”

Martin Amis (1949) Welsh novelist

Review of Hannibal by Thomas Harris, p. 240
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

Life, Feeling, Thinking, Silence

“The Mahābhāshya was commented on in the seventh century by Bhartṛihari in his Vākyapadīya which is concerned with the philosophy of grammar, and by Kaiyaṭa (probably thirteenth century). About 650 A. D. was composed the first complete commentary on Pāṇini, the Kāçikā Vṛitti or "Benares Commentary," by Jayāditya and Vāmana.”

Pāṇini ancient Sanskrit grammarian

Appendix A History of Sanskrit Literature

“Words penetrated the tank from the outer room. They were tantalizing, like those ghosts of meaning in a great symphony—hinting that the composer had caught a glimpse of something notes could only vaguely convey and words could never even approach.”

David Brin book Startide Rising

Source: Startide Rising (1983), Chapter 49 (p. 261)

“.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542 1920s and later

Men, Art, Way, Painting

“The earliest stratified rocks contain no matters which are not to be found in the primitive granite. They are the same in material, but only changed into new forms and combinations; hence they have been called by Mr. Lyell, metamorphic rocks. But how comes it that some of them are composed almost exclusively of one of the materials of granite; the mica schists, for example, of mica—the quartz rocks, of quartz, &c.? For this there are both chemical and mechanical causes. Suppose that a river has a certain quantity of material to carry down, it is evident that it will soonest drop the larger particles, and carry the lightest farthest on. To such a cause is it owing that some of the materials of the worn-down granite have settled in one place and some in another. Again, some of these materials must be presumed to have been in a state of chemical solution in the primeval seas. It would be, of course, in conformity with chemical laws, that certain of these materials would be precipitated singly, or in modified combinations, to the bottom, so as to form rocks by themselves.”

Robert Chambers (publisher, born 1802) book Vestiges of the Natural History of Creation

Source: Vestiges of the Natural History of Creation (1844), p. 51-52

Law, Change, Sea

“To keep it short and simple.... you take the subject, that is for example the wood, and the colour, the paint. You compose the subject, the realistic subject, you make a fantastic shape. For example, here, this is some wood, this is a table with a top and wooden flowers, you know, therefore I paint a [flowery] table, for example..”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

explaining his way of imagination
Karel Appel defines his painting', interview 1968

Flowers, Painting

“There are two types of composers. Like Stravinsky, some always are aware of the instrument that will be playing a given melody. However, other composers do work out the orchestration only after they have finished composing. I'm like Stravinsky. I always write music with specific instruments in mind.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music

“If we do not learn to regard a war, and the separate campaigns of which it is composed, as a chain of linked engagements each leading to the next, but instead succumb to the idea that the capture of certain geographical points or the seizure of undefended provinces are of value in themselves, we are liable to regard them as windfall profits. In so doing, and in ignoring the fact that they are links in a continuous chain of events, we also ignore the possibility that their possession may later lead to definite disadvantages.”

Carl von Clausewitz book On War

On War (1832), Book 3

War, Idea, Learning

“It is neither possible nor desirable to make all men think alike. Variety is the very basis of harmony; and, in the sphere of ecclesiastical experience, oneness of feeling is vastly preferable to unanimity of belief. The voice of God, however, as uttered in the events and experiences of the past hundred years, enjoins upon the private membership of the church the culture of that "unity of the Spirit " which is begotten of the Holy Ghost, and which derives from its Divine Author the life in which it resides, the elements of which it is composed, and the impulses under which it acts.”

John McClellan Holmes (1834–1911) US Christian minister and author

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 188.

Life, Men, God, Feeling

“I do not have the courage to force myself to search out beautiful prayers in books. There are so many of them it really gives me a headache! and each prayer is more beautiful than the others. I cannot recite them all and not knowing which to choose, I do like children who do not know how to read, I say very simply to God what I wish to say, without composing beautiful sentences, and He always understands me. For me, prayer is an aspiration of the heart, it is a simple glance directed to heaven, it is a cry of gratitude and love in the midst of trial as well as joy; finally, it is something great, supernatural, which expands my soul and unites me to Jesus.”

Thérèse of Lisieux (1873–1897) French Discalced Carmelite nun

The words in italics were underlined by Thérèse. Source: Story of a Soul (1897), Ch. XI: Those Whom You Have Given Me, 1896–1897 As translated by Fr. John Clarke http://www.ewtn.com/therese/readings/readng6.htm (1976), p. 242.

Love, God, Children, Books

“Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2”

George Perle (1915–2009) American composer

November 1987
Page 101, note 2
The Listening Composer

Music, Time

“The formalists neglected the content altogether and made mathematics meaningless, the logicians neglected the form and made mathematics consist of any true generalizations; only by taking account of both sides and regarding it as composed of tautologous generalizations can we obtain an adequate theory.”

Frank P. Ramsey (1903–1930) British mathematician, philosopher

The Foundations of Mathematics (1925)

Mathematics

“There are no moral or intellectual merits. Homer composed the Odyssey; if we postulate an infinite period of time, with infinite circumstances and changes, the impossible thing is not to compose the Odyssey, at least once.”

Jorge Luis Borges book The Immortal

"The Immortal" (1949)

Change, Time

“The language of the game is interesting. You can think of the pauses as caesuras, breaks between the lines. As a poem the game is composed of a number of short lines representing the pitches. The number of lines per batter form a stanza. Then there is a space. Sometimes the stanzas become breathless, rushing full paragraphs that build rapidly on each other until the poem-inning explodes. The poem lives for this sudden blossoming out of prosodic regularity. Should someone make a computer analysis of baseball prosody, I believe that they would come up with something close to the prosody of some great American lyrical epic, Whitman’s Leaves of Grass, let’s say, or Doc Williams’s Patterson…. The game is definitely an epic … formed of many lyrical moments dependent on silences for their effectiveness. An unfolding story punctuated by brief emotional swellings.”

Andrei Codrescu (1946) American writer

“A Kind of Love,” The Muse Is Always Half-Dressed (1993).

Game, Thinking, Silence, Grass

“Nothing was ever in tune. People just blindly grabbed at whatever there was: communism, health foods, zen, surfing, ballet, hypnotism, group encounters, orgies, biking, herbs, Catholicism, weight-lifting, travel, withdrawal, vegetarianism, India, painting, writing, sculpting, composing, conducting, backpacking, yoga, copulating, gambling, drinking, hanging around, frozen yogurt, Beethoven, Bach, Buddha, Christ, TM, H, carrot juice, suicide, handmade suits, jet travel, New York City, and then it all evaporated and fell apart. People had to find things to do while waiting to die. I guess it was nice to have a choice.”

Charles Bukowski book Women

Women (1978)

People, Health, Food, Travel

“Every bit of theorizing I’ve ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.”

George Perle (1915–2009) American composer

Kozinn, Allan (January 24, 2009). "George Perle, a Composer and Theorist, Dies at 93" http://www.nytimes.com/2009/01/24/arts/music/24perle.html, New York Times. See: Alban Berg The Listening Composer

“A singer who is able to sing even sixteen measures of good music in a natural and engaging way, effortlessly and in tune, without distending the phrase, without exaggerating accents to the point of caricature, without platitude, affectation, or coyness, without making grammatical mistakes, without illicit slurs, without hiatus or hiccup, without making insolent changes in the text, without barks or bleats, without sour notes, without crippling the rhythm, without absurd ornaments and nauseating appoggiaturas – in short, a singer able to sing these measures simply and exactly as the composer wrote them – is a rare, very rare, exceedingly rare bird.”

Hector Berlioz book À travers chants

Un chanteur ou une cantatrice capable de chanter seize mesures seulement de bonne musique avec une voix naturelle, bien posée, sympathique, et de les chanter sans efforts, sans écarteler la phrase, sans exagérer jusqu'à la charge les accents, sans platitude, sans afféterie, sans mièvreries, sans fautes de français, sans liaisons dangereuses, sans hiatus, sans insolentes modifications du texte, sans transposition, sans hoquets, sans aboiements, sans chevrotements, sans intonations fausses, sans faire boiter le rhythme, sans ridicules ornements, sans nauséabondes appogiatures, de manière enfin que la période écrite par le compositeur devienne compréhensible, et reste tout simplement ce qu'il l'a faite, est un oiseau rare, très-rare, excessivement rare. À travers chants, ch. 8 http://www.hberlioz.com/Writings/ATC08.htm; Elizabeth Csicsery-Rónay (trans.) The Art of Music and Other Essays (Bloomington: Indiana University Press, 1994) p. 69.

Music, Way, Nature, Bird

“Being Gentlemen and very far from the litigious humour of loving to wrangle about words or terms or notions as empty; they had before his coming in, readily agreed promiscuously to use when they pleased Elements and Principles as terms equivalent: and to understand both by the one and the other, those primitive and simple bodies of which the mixt ones are said to be composed, and into which they are ultimately resolved.”

Robert Boyle book The Sceptical Chymist

Physiological Considerations Part of the First Dialogue (16)
The Sceptical Chymist (1661)

Love, Understanding

“I saw us as coming from a source self, free of space and time, into this reality. The focus personality (or the self we know) focuses in this life, but is also composed of of other Aspects or parts of the source self that are latent within the psyche, though "alive" in other realities. These form the basic structure of the psyche from which the focus personality emerges. I call these "prime Aspects." A harmonious working relationship between these prime Aspects results in a well-balanced focus personality -- one that is reasonably happy, healthy, and creative.”

Jane Roberts (1929–1984) American Writer

Source: Psychic Politics: An Aspect Psychology Book (1976), p. 197

Life, Happiness, Reality, Time

“Sage Vyasa also composed the 18 Puranas, which contain the purport of the Vedas and asked Suta, a sage revered for his knowledge and devotion, to teach them to the world.”

Vyasa central and revered figure in most Hindu traditions

Kamakoti Organization, in "Vyasa and Vedic Religion".
Sources

World, Knowledge

“Immediately and definitively [after starting a painting] I determine the effect of sunlight, day and shadow, without being concerned with any detail. This enable me to see in the started painting the whole of it, which my mind already saw before I begun to work - I see it appearing on the panel or canvas rather soon and can consider in this way the harmony of the composed objects and colors.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik bepaal dadelijk en voor vast [nadat ik een schilderij begin] het effect van zonlicht, dag en schaduw, zonder mij met eenige uitvoerigheid op te houden. Hierdoor ben ik in staat gesteld, om in mijne aangelegde schilderij een geheel, dat mijn geest reeds vóór dat ik begon te arbeiden zag, binnen korten tijd op het paneel of doek te zien, en over de harmonie de zamengestelde voorwerpen en kleuren te kunnen oordelen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 99:

Color, Way, Appearance, Painting

“There is little doubt that the planetary patina—including ourselves—is autopoietic. Life at the surface of the Earth seems to regulate itself in the face of external perturbation, and does so without regard for the individuals and species that compose it. More than 99.99 percent of the species that have ever existed have become extinct, but the planetary patina, with its army of cells, have continued for more than three billion years. …trillions of communicating, evolving microbes. The visible world is a late-arriving, overgrown portion of the microcosm, and it functions only because of its well-developed connection with the microcosm's activities.”

Lynn Margulis (1938–2011) American evolutionary biologist

Microcosmos: Four Billion Years of Evolution from Our Microbial Ancestors (1986)

Life, World, Communication

“There seems to be a general consensus of opinion among modern scholars that the Bhagavadgītā, as it now appears in the Epic, is not an original poem composed by a single hand, but an ancient work, rewritten and enlarged. But all are not agreed as to the history of the poem's composition.”

W. Douglas P. Hill (1884–1962) British Indologist

Source: The Bhagavadgītā (1973), p. 18. (12. The composition of the Bhagavadgītā)

History, Appearance

“I ain’t scared of Beethoven or nobody when it comes to composing.”

Joe Zawinul (1932–2007) austrian composer and pianist

As quoted on Silvert, Conrad, “Joe Zawinul: Wayfaring Genius–Part II,” Down Beat, Jun. 15, 1978, pp. 20-22

“The smaller the society, the fewer probably will be the distinct parties and interests composing it; the fewer the distinct parties and interests, the more frequently will a majority be found of the same party; and the smaller the number of individuals composing a majority, and the smaller the compass within which they are placed, the more easily will they concert and execute their plans of oppression. Extend the sphere, and you take in a greater variety of parties and interests; you make it less probable that a majority of the whole will have a common motive to invade the rights of other citizens; or if such a common motive exists, it will be more difficult for all who feel it to discover their own strength, and to act in unison with each other.”

James Madison (1751–1836) 4th president of the United States (1809 to 1817)

Federalist No. 10
1780s, Federalist Papers (1787–1788)

Feeling, Motivation

“The reason why lime makes a solid structure on being combined with water and sand seems to be this: that rocks, like all other bodies, are composed of the four elements. Those which contain a larger proportion of air, are soft; of water, are tough from the moisture; of earth, hard; and of fire, more brittle. Therefore, if limestone, without being burned, is merely pounded up small and then mixed with sand and so put into the work, the mass does not solidify nor can it hold together. But if the stone is first thrown into the kiln, it loses its former property of solidity by exposure to the great heat of the fire, and so with its strength burnt out and exhausted it is left with its pores open and empty. Hence, the moisture and air in the body of the stone being burned out and set free, and only a residuum of heat being left lying in it, if the stone is then immersed in water, the moisture, before the water can feel the influence of the fire, makes its way into the open pores; then the stone begins to get hot, and finally, after it cools off, the heat is rejected from the body of the lime.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter V, Sec. 2

Way, Feeling, Lying, Water

“The number of saints, a synod without desire,
From God the divine prophesy.
In every tongue they compose,
About the earth they were,
And so many wisely prophesied
Christ, and before he was, they were.”

Taliesin (534–599) Welsh bard

Book of Taliesin (c. 1275?), The Elegy of the Thousand Sons

God, Christ

“I have absolutely no difficulty in coming out and saying Bach and Beethoven are great composers. You must school young people into great classical music, but you must also allow them to hear other music as well. At one point classical music colonised the high ground. Now we're reaping the backlash for that.”

Joanna MacGregor (1959) British musician

The Times, 21/04/2006
On Classical Music

People, School, Music

“It is not, however, the unfamiliarity or strangeness of a work or of a composer's manner that is a bar to understanding, but rather the disappearance of the familiar, the ongoing disappointment of the expectations and hopes fostered by the musical tradition in which we have grown up.”

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

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

Hope, Music, Disappointment, Understanding

“The producer orders a certain title.
The musical director orders a certain rhythm.
The dance director orders a certain number of bars.
And the composer orders a certain number… of aspirin.”

Frank Loesser (1910–1969) American songwriter

on working in Hollywood
Reported by musician Michael Feinstein, transcript of * Fresh Air Celebrates Frank Loesser's 100th Birthday
http://www.npr.org/2010/06/29/128169934/fresh-air-celebrates-frank-loesser-s-100th-birthday
Fresh Air
http://www.npr.org/programs/fresh-air/
Host: Terry Gross, Guest: Michael Feinstein
NPR
WHYY
Philadelphia
2009-06-29
2:34
http://www.npr.org/templates/transcript/transcript.php?storyId=128169934

Music, Dance

“Yet even here all these peoples have remained rooted in their sacred homelands for centuries. Though oppressed and colonized by outsiders, they have never been expelled en masse, and so the theme of restoration to the homeland has played little part in the conceptions of these peoples. There are, however, two peoples, apart from the Jews, for whom restoration of the homeland and commonwealth have been central: the Greeks and the Armenians, and together with the Jews, they constitute the archetypal Diaspora peoples, or what John Armstrong has called ‘mobilized diasporas° Unlike diasporas composed of recent mi migrant workers—Indians, Chinese and others in Southeast Asia, East Africa and the Caribbean— mobilized diasporas are of considerable antiquity, are generally polyglot and multi-skilled trading communities and have ancient, portable religious traditions. Greeks, Jews, and Armenians claimed an ancient homeland and kingdom, looked back nostalgically to a golden age or ages of great kings, saints, sages and poets, yearned to return to ancient capitals with sacred sites and buildings, took with them wherever they went their ancient scriptures, sacred scripts and separate liturgies, founded in every city congregations with churches, clergy and religious schools, traded across the Middle East and Europe using the networks of enclaves of their co-religionists to compete with other ethnic trading networks, and used their wealth, education and economic skills to offset their political powerlessness)”

Anthony D. Smith (1939–2016) British academic

Source: Myths and Memories of the Nation (1999), Chapter: Greeks, Armenians and Jews.

People, Age, Education, School

“One shining morning, at the head of the Pacheco Pass, a landscape was displayed that after all my wanderings still appears as the most divinely beautiful and sublime I have ever beheld. There at my feet lay the great central plain of California, level as a lake thirty or forty miles wide, four hundred long, one rich furred bed of golden Compositae. And along the eastern shore of this lake of gold rose the mighty Sierra, miles in height, in massive, tranquil grandeur, so gloriously colored and so radiant that it seemed not clothed with light, but wholly composed of it, like the wall of some celestial city. Along the top, and extending a good way down, was a rich pearl-gray belt of snow; then a belt of blue and dark purple, marking the extension of the forests; and stretching along the base of the range a broad belt of rose-purple, where lay the miners' gold and the open foothill gardens — all the colors smoothly blending, making a wall of light clear as crystal and ineffably fine, yet firm as adamant. Then it seemed to me the Sierra should be called, not the Nevada or Snowy Range, but the Range of Light. And after ten years in the midst of it, rejoicing and wondering, seeing the glorious floods of light that fill it, — the sunbursts of morning among the mountain-peaks, the broad noonday radiance on the crystal rocks, the flush of the alpenglow, and the thousand dashing waterfalls with their marvelous abundance of irised spray, — it still seems to me a range of light.”

John Muir (1838–1914) Scottish-born American naturalist and author

" The Treasures of the Yosemite http://books.google.com/books?id=ZzWgAAAAMAAJ&pg=PA483", The Century Magazine, volume XL, number 4 (August 1890) pages 483-500 (at page 483) 1890s

Beauty, Color, Way, Mountain

“(When asked to reflect on his career) Music is the emotion of the experience. Regarding whether someone knows composers by name, it comes down to how much the music had touched someone that they then care enough to find out who composed it. Myself as an example, I get a dozen or so fan emails every single day, from all over the globe. Most of the time it's new people that are just now figuring out who I am after all their years of playing games I've done, and that I composed some of their favorite game music or just their favorite game in particular. And it never gets old even though I've been reading them and answering them ever since I launched my website www. frankklepacki. com about seven years ago. You can't beat knowing you've had that kind of impact on people on a regular basis. I am always very grateful for it. Some of my fans cared enough to spread the word about my career that they made a full feature article on Wikipedia. That blew me away!”

Frank Klepacki (1974) American musician, video game music composer and sound director

Gameplay magazine

People, Music, Game, Time

“Music has no differences. We played alongside each other; it was not in fusion but in unison. I have enjoyed playing with all the artists. I have collaborated with musicians from the west and fellow Indians, including Ravi Shankar, Allah Rakha (father of Zakir Hussain), George Harrison, Jean Pierre Ramphal, Jethro Tull, John McLaughlin, Jan Gabarek, Yehudi Menuhin and others. I composed for Bollywood. It made me affluent. It was Pandit Shiv Kumar Sharma who asked me one day if playing in Bollywood films was all I was going to do in my life. I was not growing as an artist. I needed more. What did I have to show in terms of personal creativity, or growth? He was right.”

Hariprasad Chaurasia (1938) Indian bansuri player

On Western Culture and the so-called Revolution.
Melodies of Brindavan: Pandit Hariprasad Chourasia

Life, Music, Personality

“Every chemical combination is wholly and solely dependent on two opposing forces, positive and negative electricity, and every chemical compound must be composed of two parts combined by the agency of their electrochemical reaction, since there is no third force. Hence it follows that every compound body, whatever the number of its constituents, can be divided into two parts, one of which is positively and the other negatively electrical.”

Jöns Jacob Berzelius (1779–1848) Swedish chemist

Jöns Jacob Berzelius Essai sur la théorie des proportions chemiques (1819), 98. Quoted by Henry M. Leicester in article on Bessel in Charles Coulston Gillespie (editor), Dictionary of Scientific Biography (1981), Vol. 2, 94.

Parting, Dependency

“Whereas most other modern composers are engaged in manufacturing cocktails of every hue and description, I offer the public cold spring water.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

Cecil Gray Sibelius: The Symphonies (London: Oxford University Press, 1935) p. 56.
Of his Symphony No. 6 (1923).

Spring, Water

“Composing a score is like getting in one of those mini-submarines that take you to the bottom of the ocean. You crawl into this little bubble, seal yourself away from the outside world and dive deep into uncharted territory. Sometimes the places you explore are dark, sometimes they’re light. If you have the right tools and knowledge you can explore wherever you like and have a great experience. It’s a crude analogy to genre hopping, but it’s accurate. I was lucky as a kid to be exposed to so much different material. I watched cartoons and read all kinds of comics as much as I buried my head in scary stuff. It makes going from talking animals one day to shape-shifters the next pretty easy. Truth is, most composers are pinballs. They can bounce around from style to style and adapt really well.”

Michael Wandmacher (1967) composer

Michael Wandmacher (‘The Last Exorcism II’) On Composing Horror http://bloody-disgusting.com/news/3233495/interview-michael-wandmacher-the-last-exorcism-ii-on-composing-horror/ (May 17, 2013)

Truth, World, Knowledge, Light

“Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work.”

Jon Appleton (1939) American composer

"The Decline of Academic Freedom at Dartmouth College", 20 October 2005.
Letter published in "Appleton Leaves Dartmouth", 2005

Music, Idea

“It needs a lot of courage to pick up someone from another country and support him. When I first heard from Andrew Lloyd Webber in 1999, he praised my work. But I must say that choosing me over others to compose for Bombay Dreams was a brave decision.”

A. R. Rahman (1966) Indian singer and composer

A R Rahman: In tune with life

Dreams, Courage, Support, Decision

“Science Fiction Gods; Do they take much of an interest in us? I doubt it. How much entertainment does an ant's nest provide you with?
'Adepticus Sir, that bunch of Ornithoids on Artoc 4 that you asked me to observe, well they've just trashed their planet.'
'Oh that is a pity Initiatus Jones. What was it this time, ecological screw up or nuclear winter?'
'Worse than that sir, i looks lke they were mucking around with vacuum energy without having first invented the Mobius sphere.'
'Ah yes, the old classic mistake, we loose a few like that.'
'Could we not have tipped them off about it Sir?'
'I'm afraid not Jones, stupidity must remain its own reward, it's regrettable but there you are. Did you salvage anything?'
'They composed some fairly good poetry a couple of centuries ago, and some rather fine cloud sculptures fairly recently, I've logged some records in the archives.'
'Splendid Jones, I'll peruse them this evening. What about those Apes on Sol 3, how are they getting on?'
'Quit a bit of warfare as usual Sir, mostly based on chemical explosives these days, but with the occasional use of plutonium. Many of them have developed a belief in a big bang theory, and they reckon that they have the maths to prove it.'
'Really? Smith in anthropology will probably find that hilarious, I'm sure she would appreciate the data. It was one of her old Stomping grounds you know?'
'No I didnt know that Sir'
'It was a long time ago Jones, and a bit of a fiasco actually, she gave them a piece of her mind about some of their barbaric behavior which then abruptly became worse. Ever since then they have been obsessed with the number plate on her craft, it read 'JHVH'. The department gave her a desk job after that.”

Peter J. Carroll (1953) British occultist

Source: The Apophenion (2008), p. 107-108

God, Stupidity, Behavior, Science

“Behold over and over again I would briefly set out the words of my confession. I testify in truthfulness and gladness of heart before God and his holy angels that I never had any reason, except the Gospel and his promises, ever to have returned to that nation from which I had previously escaped with difficulty.
But I entreat those who believe in and fear God, whoever deigns to examine or receive this document composed by the obviously unlearned sinner Patrick in Ireland, that nobody shall ever ascribe to my ignorance any trivial thing that I achieved or may have expounded that was pleasing to God, but accept and truly believe that it would have been the gift of God. And this is my confession before I die.”

Saint Patrick (385–461) 5th-century Romano-British Christian missionary and bishop in Ireland

The Confession (c. 452?)

God, Truth, Fear, Angels

“Two hundred years ago there were two distinct and separate streams of human life running through this country. They stood at opposite extremes of ethnological classification: all black on the one side, all white on the other. Now, between these two extremes, an intermediate race has arisen, which is neither white nor black, neither Caucasian nor Ethiopian, and this intermediate race is constantly increasing. I know it is said that marital alliance between these races is unnatural, abhorrent and impossible; but exclamations of this kind only shake the air. They prove nothing against a stubborn fact like that which confronts us daily and which is open to the observation of all. If this blending of the two races were impossible we should not have at least one-fourth of our colored population composed of persons of mixed blood, ranging all the way from a dark-brown color to the point where there is no visible admixture. Besides, it is obvious to common sense that there is no need of the passage of laws, or the adoption of other devices, to prevent what is in itself impossible.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1880s, The Future of the Colored Race (1886)

Life, Law, Color, Way

“It is no longer true in the sense in which it was true when these dicta were uttered, that " Christianity is part of the law of the land." Nonconformists and Jews were then under penal laws, and were hardly allowed civil rights. But now, so far as I know the law, a Jew might be Lord Chancellor. Certainly he might be Master of the Rolls, and the great Judge whose loss we have all had to deplore2 might have had to try such a case, and if the view of the law supposed be correct, he would have had to tell the jury, perhaps partly composed of Jews, that it was blasphemy to deny that Jesus Christ was the Messiah, which he himself did deny, and which Parliament has allowed him to deny, and which it was part of " the law of the land " that he might, deny.”

John Coleridge, 1st Baron Coleridge (1820–1894) British lawyer, judge and Liberal politician

Reg. v. Ramsay and Foote (1883), 15 Cox, C. C. 235.

Law, Sense, Loss, Christ

“It is a recognised fact that the greatest composers were likewise the greatest virtuosos; but did they play like the pianists of the present day, who run up and down the keyboard with passages studied beforehand? Pooh! pooh! pooh! Don't tell me! A real virtuoso, when extemporising, plays pieces which hold together and possess a form. Were the ideas in them fixed instantly on paper, they would be taken for pieces written at leisure. That is what I call playing the piano; everything else is a bad joke.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

24th November, 1814
Source: Johann Wenzel Tomaschek, "A Talk with Beethoven", The Musical Times and Singing Class Circular, Vol. 33, Beethoven Supplement (Dec. 15, 1892)

Idea, Study