Quotes about composition

A collection of quotes on the topic of composite, composition, work, working.

Quotes about composition

Joseph Haydn photo

“Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition.”

Joseph Haydn (1732–1809) Austrian composer

Ich sage ihnen vor Gott, als ein ehrlicher Mann, ihr Sohn ist der größte Componist, den ich von Person und den Nahmen nach kenne: er hat geschmack, und über das die größte Compositionswissenschaft.
Quoted in a letter from Leopold Mozart to Maria Anna Mozart (1785-02-16)

Michael Jackson photo
Edward Weston photo
Alfred Freddy Krupa photo
Wolfgang Amadeus Mozart photo

“It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied.”

Wolfgang Amadeus Mozart (1756–1791) Austrian Romantic composer

Spoken in Prague, 1787, to conductor Kucharz, who led the rehearsals for Don Giovanni, from Mozart: The Man and the Artist, as Revealed in his own Words by Friedrich Kerst, trans. Henry Edward Krehbiel (1906).

Leonard Bernstein photo

“The Rhapsody is not a composition at all. It's a string of separate paragraphs stuck together — with a thin paste of flour and water… I don’t think there has been such an inspired melodist on this earth since Tchaikovsky… but if you want to speak of a composer, that's another matter.”

Leonard Bernstein (1918–1990) American composer, conductor, author, music lecturer, and pianist

Of George Gershwin's Rhapsody in Blue
"Why Don't You Run Upstairs and Write a Nice Gershwin Tune?", in The Atlantic Monthly, April 1955.

George Orwell photo
Yves Klein photo

“I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figuratives or abstract, seem to me like prison windows in which the lines, precisely are the bars.”

Yves Klein (1928–1962) French artist

Gilbert Perlein and Bruno Cora, Yves Klein: Long live the Immaterial, Delano Greenidge Edition, New York, 2001. p. 74
from posthumous publications

Ennio Morricone photo
Ludwig Wittgenstein photo
Leonardo Da Vinci photo
Marie von Ebner-Eschenbach photo

“There are a host of bad habits and inconsiderate acts which mean nothing in themselves but which are terrible as indicators of the true composition of a soul.”

Marie von Ebner-Eschenbach (1830–1916) Austrian writer

Es gibt eine Menge kleiner Rücksichtslosigkeiten und Unarten, die an und für sich nichts bedeuten, aber furchtbar sind als Kennzeichen der Beschaffenheit der Seele.
Source: Aphorisms (1880/1893), p. 38.

Socrates photo
H.P. Lovecraft photo

“There is no field other than the weird in which I have any aptitude or inclination for fictional composition. Life has never interested me so much as the escape from life.”

H.P. Lovecraft (1890–1937) American author

Letter to J. Vernon Shea (7 August 1931), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 579
Non-Fiction, Letters

Dmitri Shostakovich photo
William Wilberforce photo

“If then we would indeed be “filled with wisdom and spiritual understanding;” if we would “walk worthy of the Lord unto all well pleasing, being fruitful in every good work, and increasing in the knowledge of God;” here let us fix our eyes! “Laying aside every weight, and the sin that does so easily beset us; let us run with patience the race that is set before us, Looking unto Jesus, the Author and Finisher of our faith, who for the joy that was set before him endured the cross, despising the shame, and is set down at the right hand of the throne of God.
Here best we may learn the infinite importance of Christianity. How little it can deserve to be treated in that slight and superficial way, in which it is in these days regarded by the bulk of nominal Christians, who are apt to think it may be enough, and almost equally pleasing to God, to be religious in any way, and upon any system. What exquisite folly it must be to risk the soul on such a venture, in direct contradiction to the dictates of reason, and the express declaration of the word of God! “How shall we escape, if we neglect so great salvation?”
LOOKING UNTO JESUS!
Here we shall best learn the duty and reasonableness of an absolute and unconditional surrender of soul and body to the will and service of God.—“We are not our own; for we are bought with a price,” and must “therefore” make it our grand concern to “glorify God with our bodies and our spirits, which are God’s.” Should we be base enough, even if we could do it with safety, to make any reserves in our returns of service to that gracious Saviour, who “gave up himself for us?” If we have formerly talked of compounding by the performance of some commands for the breach of others; can we now bear the mention of a composition of duties, or of retaining to ourselves the right of practising little sins! The very suggestion of such an idea fills us with indignation and shame, if our hearts be not dead to every sense of gratitude.
LOOKING UNTO JESUS!
Here we find displayed, in the most lively colours, the guilt of sin, and how hateful it must be to the perfect holiness of that Being, “who is of purer eyes than to behold iniquity.” When we see that, rather than sin should go unpunished, “God spared not his own Son,” but “was pleased[99], to bruise him and put him to grief” for our sakes; how vainly must impenitent sinners flatter themselves with the hope of escaping the vengeance of Heaven, and buoy themselves up with I know not what desperate dreams of the Divine benignity!
Here too we may anticipate the dreadful sufferings of that state, “where shall be weeping and gnashing of teeth;” when rather than that we should undergo them, “the Son of God” himself, who “thought it no robbery to be equal with God,” consented to take upon him our degraded nature with all its weaknesses and infirmities; to be “a man of sorrows,” “to hide not his face from shame and spitting,” “to be wounded for our transgressions, and bruised for our iniquities,” and at length to endure the sharpness of death, “even the death of the Cross,” that he might “deliver us from the wrath to come,” and open the kingdom of Heaven to all believers.
LOOKING UNTO JESUS!
Here best we may learn to grow in the love of God! The certainty of his pity and love towards repenting sinners, thus irrefragably demonstrated, chases away the sense of tormenting fear, and best lays the ground in us of a reciprocal affection. And while we steadily contemplate this wonderful transaction, and consider in its several relations the amazing truth, that “God spared not his own Son, but delivered him up for us all;” if our minds be not utterly dead to every impulse of sensibility, the emotions of admiration, of preference, of hope, and trust, and joy, cannot but spring up within us, chastened with reverential fear, and softened and quickened by overflowing gratitude. Here we shall become animated by an abiding disposition to endeavour to please our great Benefactor; and by a humble persuasion, that the weakest endeavours of this nature will not be despised by a Being, who has already proved himself so kindly affected towards us. Here we cannot fail to imbibe an earnest desire of possessing his favour, and a conviction, founded on his own declarations thus unquestionably confirmed, that the desire shall not be disappointed. Whenever we are conscious that we have offended this gracious Being, a single thought of the great work of Redemption will be enough to fill us with compunction. We shall feel a deep concern, grief mingled with indignant shame, for having conducted ourselves so unworthily towards one who to us has been infinite in kindness: we shall not rest till we have reason to hope that he is reconciled to us; and we shall watch over our hearts and conduct in future with a renewed jealousy, [Pg 243] lest we should again offend him. To those who are ever so little acquainted with the nature of the human mind, it were superfluous to remark, that the affections and tempers which have been enumerated, are the infallible marks and the constituent properties of Love. Let him then who would abound and grow in this Christian principle, be much conversant with the great doctrines of the Gospel.
It is obvious, that the attentive and frequent consideration of these great doctrines, must have a still more direct tendency to produce and cherish in our minds the principle of the love of Christ.”

William Wilberforce (1759–1833) English politician

Source: Real Christianity (1797), p. 240-243.

Joseph Stella photo
Jordan Peterson photo

“Imagine that each of these layers of existence are like patterns. They're patterns within patterns within patterns within patterns, and there's a way of making all that harmonious. That's what music models. That's why music is so meaningful. You take a beautiful orchestral composition, and they're doing different things are different levels. But they all flow together harmoniously, and you're right in the middle of that as a listener. And it fills you almost with a sense of religious awe, even if you're a punk rock nihilist. The reason for that is because the music is modeling the manner of Being that's harmonious. It's the proper way to exist. Religious writings, in the deepest sense, are guidelines to that mode of Being. They're not true like scientific knowledge is true. They're hyper true, or meta-true. It's like this: if you take the most true things about your life, and then you take the most true things about ten other people's lives, and then we amalgamate them into a single figure. That would be like a literary hero. And then we take a thousands literary heroes and we extract out from them what makes the most heroic person - that's a religious deity. That's what Christ is. He's a meta-hero. And that sits at the bottom of Western Civilization. Christ's archetypal mode of Being is True Speech. That's the fundamental idea of Western Civilization, and it's right.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Concepts

Thomas Paine photo
Frank Zappa photo
Alexander the Great photo
Claude Monet photo
Caspar David Friedrich photo
H.P. Lovecraft photo
Thucydides photo
John C. Eccles photo

“The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity.”

He here refers to his proposal in "A unitary hypothesis of mind-brain interaction in the cerebral cortex" (1990); published in Proceedings of the Royal Society B 240, p. 433 - 451
How the Self Controls Its Brain (1994)
Context: The hypothesis has been proposed that all mental events and experiences, in fact the whole of the outer and inner sensory experiences, are a composite of elemental or unitary mental experiences at all levels of intensity. Each of these mental units is reciprocally linked in some unitary manner to a dendron … Appropriately we name these proposed mental units 'psychons.' Psychons are not perceptual paths to experiences. They are the experiences in all their diversity and uniqueness. There could be millions of psychons each linked uniquely to the millions of dendrons. It is hypothesized that it is the very nature of psychons to link together in providing a unified experience.

Isaac Newton photo
E.L. Doctorow photo
Edward Gibbon photo
Bashō Matsuo photo
Samuel Johnson photo

“Read over your compositions, and wherever you meet with a passage which you think is particularly fine, strike it out.”

Samuel Johnson (1709–1784) English writer

Recalling "what an old tutor of a college said to one of his pupils" April 30, 1773, p. 217
Life of Samuel Johnson (1791), Vol II
Source: The Life of Samuel Johnson LL.D. Vol 2

Frederick Douglass photo
Vyasa photo

“Various inscriptions refer to the Mbh (Mahabharata) as the composition of Vyasa, the Veda divider, the son of Parasara, and as containing 100,000 verses…”

Vyasa central and revered figure in most Hindu traditions

In p. 3.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

Piet Mondrian photo

“Composition allows the artist the greatest possible freedom, so that his subjectivity can express itself, to a certain degree, for as long as needed.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

Phillip Guston photo
Alfred de Zayas photo

“The unfair composition of the Security Council is largely acknowledged. The principal defects are the anachronistic privileges of the five permanent members of the Council and the Council’s insufficient representativeness.”

Alfred de Zayas (1947) American United Nations official

United Nations General Assembly - Promotion of a democratic and equitable international order http://www.ohchr.org/Documents/Issues/IntOrder/A-68-284_en.pdf.
2013

John Ruskin photo
Charles Mingus photo
Richard Whately photo
Frank Wilczek photo
Kurien Kunnumpuram photo
A. R. Rahman photo
Henry Moore photo
Jayachamarajendra Wadiyar photo
Charles Mingus photo
Piet Mondrian photo
Prasanta Chandra Mahalanobis photo
Prasanta Chandra Mahalanobis photo

“Because demography is concerned with human affairs and human populatlons it is possible, in principle, to consider demography as a sub-field of many other subjects. It provided the scope of any particular subject-field like anthropology, genetics, ecology, economics, sociology, etc., and is defined in a sufficiently comprehensive manner. While not denying the possibility of considering demography as a sub-field of one or another subject, at least for certain special purposes, it is suggested that demography should be logically viewed as the totality of convergent and inter-related factors and topics which (although these could be, spearately, the concern of many difl'erent subjects like genetics and anthropology, sociology, education, psychology. economics, social and political affairs etc.) jointly, together with their mutual inter-actions, form the determinants as well as the consequences of growth (or decline), changes in composition, territorial movements, and social mobility of population in different geographical regions or in the world as a whole, at any given period of time, or over difl'erent periods of time. Such a view would supply an aggregative, inter-related, and mutually interacting system of all those factors which have any influence over, or are influenced by, demographic or population changes over space and time.”

Prasanta Chandra Mahalanobis (1893–1972) Indian scientist

Quote, Professor P.C. Mahalanobis and the Development of Population Statistics in lndia

James Tod photo

“Those who expect from a people like the Hindus a species of composition of precisely the same character as the historical works of Greece and Rome commit the very gregarious error of overlooking the peculiarities which distinguish the natives of India from all other races, and which strongly discriminate their intellectual productions of every kind from those of the West. Their philosophy, their poetry, their architecture, are marked with traits of originality; and the same may be expected to pervade their history, which, like the arts enumerated, took a character from its intimate association with the religion of the people. It must be recollected, moreover,… that the chronicles of all the polished nations of Europe, were, at a much more recent date, as crude, as wild, and as barren, as those of the early Rajputs.” … “My own animadversions upon the defective condition of the annals of Rajwarra have more than once been checked by a very just remark: ‘When our princes were in exile, driven from hold to hold, and compelled to dwell in the clefts of the mountains, often doubtful whether they would not be forced to abandon the very meal preparing for them, was that a time to think of historical records?’ ”… “If we consider the political changes and convulsions which have happened in Hindustan since Mahmood’s invasion, and the intolerant bigotry of many of his successors, we shall be able to account for the paucity of its national works on history, without being driven to the improbable conclusion, that the Hindus were ignorant of an art which has been cultivated in other countries from almost the earliest ages. Is it to be imagined that a nation so highly civilized as the Hindus, amongst whom the exact sciences flourished in perfection, by whom the fine arts, architecture, sculpture, poetry, music, were not only cultivated, but taught and defined by the nicest and most elaborate rules, were totally unacquainted with the simple art of recording the events of their history, the character of their princes and the acts of their reigns?”

James Tod (1782–1835) 1782-1835, English officer of the British East India Company and an Oriental scholar

[The fact appears to be that] “After eight centuries of galling subjection to conquerors totally ignorant of the classical language of the Hindus; after every capital city had been repeatedly stormed and sacked by barbarous, bigoted, and exasperated foes; it is too much to expect that the literature of the country should not have sustained, in common with other interests, irretrievable losses.”
James Tod, Annals and Antiquities of Rajasthan, Routledge and Kegan Paul (London,l829,1957), 2 vols., I quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3

Thomas Eakins photo
Samuel Johnson photo
Vyasa photo
Robin Hartshorne photo
Anton Mauve photo

“I ordered Major [transport company] tomorrow afternoon 2 o'clock to pack the paintings, I am still completely in all the paintings - as nightmares they are flying around me, now you know as of old how that is, but tomorrow afternoon at 2 o'clock I am free. I believe there are nice things among them, the drawing has become a little too fat, but there is much good in it, and it is very well-finished. I send to Peacock. The forest with wood hackers, which was hanging above the door of my studio, then the sheep [small composition-sketch of a sheep herd with shepherd] and... I believe you know them all, 7 pieces together, afterwards I have to start working for Arnold & Tripp [art-sellers in Paris], I let those guys wait and that's not right to do..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) Morgen middag 2 uur heb ik Majoor [transportbedrijf] besteld om de schilderijen in te pakken ik ben nu nog geheel in alle die schilderijen als nacht merries zijn ze om me heen nu je weet wel van ouds, hoe of dat is maar morgen om 2 uur ben ik vrij. Ik geloof dat er aardige dingen bij zijn, de teekening is wel wat dik geworden, doch veel goeds er in, en erg af ik verzend aan Peacock Het bosch met hout hakkers, dat boven de deur van mijn atelier hing dan de schapen [klein compositieschetsje schaapskudde met herder] en [klein compositieschetsje schapen op bospad] en [klein compositieschetsje met schaapskudde] en [klein compositieschetsje koe?] en [klein compositieschetsje schaapskudde met vliegdennen] en de teekening (schapen uit het bosch komende) ik geloof dat je ze allen kent, 7 stuks te zamen, ik moet daarna ook voor Arnold & Tripp [kunsthandelaars in Parijs] aan de gang, die luitjes laat ik maar wachten en dat mag niet..
In a letter of Mauve from Laren, 27 June 1887 original text of the letter in RKD Archive https://rkd.nl/explore/excerpts/10, The Hague
1880's

Niccolo Machiavelli photo

“Product and service quality can be defined as the total composite product and service characteristics of marketing, engineering, manufacturing, and maintenance through which the product and service in use will meet the expectations of the customer.”

Armand V. Feigenbaum (1922–2014) American businessman

Variant: Product quality can then be defined as: The composite product characteristics of engineering and manufacturing that determine the degree to which the product, in use, will meet the expectations of the customer.
Source: Total Quality Control, 1983, p. 7

Fernand Léger photo
Yuvan Shankar Raja photo
Lupe Fiasco photo
Henri Matisse photo
Charles A. Beard photo

“The word science of administration has been used. There are many who object to the term. Now if by science is meant a conceptual scheme of things in which every particularity coveted may be assigned a mathematical value, then administration is not a science. In this sense only astro-physics may be called a science and it is well to remember that mechanical laws of the heavens tell us nothing about the color and composition of the stars and as yet cannot account for some of the disturbances and explosions which seem accidental. If, on the other hand, we may rightly use the term science in connection with a body of exact knowledge derived from experience and observation, and a body of rules or axioms which experience has demonstrated to be applicable in concrete practice, and to work out in practice approximately as forecast, then we may, if we please, appropriately and for convenience, speak of a science of administration. Once, when the great French mathematician, Poincaré, was asked whether Euclidean geometry is true, he replied that the question had no sense but that Euclidean geometry is and still remains the most convenient. The Oxford English Dictionary tells us that a science is, among other things, a particular branch of knowledge or study; a recognized department of learning.”

Charles A. Beard (1874–1948) American historian

Source: Philosophy, Science and Art of Public Administration (1939), p. 660-1

John McPhee photo
Piet Mondrian photo
Burkard Schliessmann photo

“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

John Constable photo
Guity Novin photo
William S. Burroughs photo
Paul Cézanne photo
Hans Arp photo
Eduardo Torroja photo
Fred W. Friendly photo

“A composite is a euphemism for a lie. It's disorderly. It's dishonest and it's not journalism.”

Fred W. Friendly (1915–1998) President of CBS News

Commenting on New Yorker staff writer Alastair Reid's use of composite characters.
p. 65, The interplay of influence: mass media and their publics in news, advertising, politics, Wadsworth series in mass communication, Kathleen Hall Jamieson, Karlyn Kohrs Campbell, Edition 2, Wadsworth, 1988.

John Constable photo

“Since I was a child, I’ve used my imagination to escape from life. At the same time, my imagination has plagued me with both reality-based anxieties as well as anxieties based entirely in the imagination, such as the fear of Hell I was taught to have by the Catholic Church. Paired with a talent for literary composition, a talent that it took me over ten years to refine, I became a writer of horror stories. To my mind, writing is the most important form of human expression, not only artistic writing but also philosophical writing, critical writing, etc. Art as such, especially programmatic music such as operas, seems trivial to me by comparison, however much pleasure we may get from it. Writing is the most effective way to express and confront the full range of the realities of life. I can honestly say that the primary stature I attach to writing is not self-serving. I’ve been captivated to some degree by all forms of creativity and expression—the visual arts, film, design of any sort, and especially music. In college I veered from literature to music for a few years, which is the main reason it took me six years to get an undergraduate degree in liberal arts. I’ve loved music for as long as I can remember. Since my instrument is the guitar, I know every form and style in its history and have written the classical, acoustic, and electric forms of this instrument. I think because I have had such a love and understanding of music do I realize, to my grief, its limitations. Writing is less limited in the consolations it offers to those who have lost a great deal in their lives. And it continues to console until practically everything in a person’s life has been lost. Words and what they express have the best chance of returning the baneful stare of life.”

Thomas Ligotti (1953) American horror author

Wonderbook Interview with Thomas Ligotti http://wonderbooknow.com/interviews/thomas-ligotti/

Jane Roberts photo
Edward Gibbon photo
Kazimir Malevich photo
Eugène Delacroix photo
Bernhard Riemann photo
Wassily Kandinsky photo

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

Wassily Kandinsky (1866–1944) Russian painter

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915

Calvin Coolidge photo
Frederick Douglass photo
R. G. Collingwood photo
Stella Vine photo

“I will look through 200 photographs of Kate Moss and there will be just one that I connect with for some reason, maybe because of the composition or something in the eye… Something touches me and I know I have to paint it, in the way a child knows it wants something.”

Stella Vine (1969) English artist

Eyre, Hermione. "Stars in her eyes" http://findarticles.com/p/articles/mi_qn4159/is_20070715/ai_n19372031, The Independent on Sunday (2007-07-15), retrieved from findarticles.com
On Kate Moss.

Marshall McLuhan photo

“Until more than two centuries after printing nobody discovered how to maintain a single tone or attitude throughout a prose composition.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, The Gutenberg Galaxy (1962), p. 154

George Steiner photo
Bruno Schulz photo