Quotes about oboe

A collection of quotes on the topic of oboe, doing, making.

Quotes about oboe

“Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation…accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'”

George Perle (1915–2009) American composer

Page 42
The Listening Composer

Music

“What can I do with this memory?
Shake the bones out of it?
Defoliate the smile?
Stub out the chin with cigarettes?
Take the face of the man I love
and squeeze my foot into it,
when all the while my heart is making a museum?
I love you the way the oboe plays.
I love you the way skinny dipping makes my body feel.
I love you the way a ripe artichoke tastes.
Yet I fear you,
as one in the desert fears the sun.”

Anne Sexton (1928–1974) poet from the United States

"Waking Alone" from The Divorce Papers
45 Mercy Street (1976)

Love, Fear, Smile, Way

“I find it breathtaking […] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?”

Daniel Dennett book Consciousness Explained

Consciousness Explained (1991)

Music, Confidence, Imagination, Reading

“Pa was forced to be a hobo
Because he played the oboe
And the oboe it is clearly understood
Is an ill wind that nobody blows good”

Sylvia Fine (1913–1991) American lyricist and songwriter

Song Anatole of Paris

“Along with the steady diet sitar, sarod, and tabla, several new instruments and players came to my attention. The first of these was Ustad Bismillah Khan, master of the sonorous double-reed instrument known as shehnai. This beautiful wind instrument, with finger holes and a bell-shaped opening at the bottom, sounded to me like a hybrid of soprano saxophone and oboe, and Bismillah Khan’s tone very much influenced what Coltrane and Terry Riley would do with the soprano sax. Primarily used at weddings, the shehnai had been rejected as a classical instrument until Bismillah Khan elevated it to a higher status among listeners. His unique fingertips and sublime breath control produced the necessary range of sounds for raga making shehnai one of the more popular instruments in North India.”

Bismillah Khan (1916–2006) Indian musician

Peter Lavezzoli in his bo [Lavezzoli, Peter, The Dawn of Indian Music in the West, http://books.google.com/books?id=OSZKCXtx-wEC&pg=PA375, 24 April 2006, Continuum, 978-0-8264-1815-9, 32]

Beauty, Making love, Wedding