Quotes about sound
page 14

Marsden Hartley photo
Thomas Jefferson photo

“The judiciary of the United States is the subtle corps of sappers and miners constantly working under ground to undermine the foundations of our confederated fabric. They are construing our constitution from a co-ordination of a general and special government to a general and supreme one alone. This will lay all things at their feet, and they are too well versed in English law to forget the maxim, boni judicis est ampliare juris-dictionem. We shall see if they are bold enough to take the daring stride their five lawyers have lately taken. If they do, then, with the editor of our book, in his address to the public, I will say, that "against this every man should raise his voice," and more, should uplift his arm. Who wrote this admirable address? Sound, luminous, strong, not a word too much, nor one which can be changed but for the worse. That pen should go on, lay bare these wounds of our constitution, expose the decisions seriatim, and arouse, as it is able, the attention of the nation to these bold speculators on its patience. Having found, from experience, that impeachment is an impracticable thing, a mere scare-crow, they consider themselves secure for life; they sculk from responsibility to public opinion, the only remaining hold on them, under a practice first introduced into England by Lord Mansfield. An opinion is huddled up in conclave, perhaps by a majority of one, delivered as if unanimous, and with the silent acquiescence of lazy or timid associates, by a crafty chief judge, who sophisticates the law to his mind, by the turn of his own reasoning”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter http://books.google.com/books?vid=0Fz_zz_wSWAiVg9LI1&id=vvVVhCadyK4C&pg=PA192&vq=%22impeachment+is+an+impracticable+thing%22&dq=%22jeffersons+works%22 to Thomas Ritchie (25 December 1820)
1820s

Karel Appel photo
George Wallace photo
Michael Foot photo
Brian W. Aldiss photo
Rush Limbaugh photo

“There are more American Indians alive today than there were when Columbus arrived or at any other time in history. Does this sound like a record of genocide?”

Rush Limbaugh (1951) U.S. radio talk show host, Commentator, author, and television personality

See, I Told You So
Atria
1993-11-01
chapter 6
68
978-0671871208
93086342
29250177
1447014M

David Lee Roth photo

“It's not about money right now. My ambition is to further create a signature sound, a signature spirit, that makes some kind of contribution to music in general.”

David Lee Roth (1954) Rock vocalist; lead singer with Van Halen

David Barton (July 3, 1994) "Jumping at the Chance - With His Newest Album, David Lee Roth Rocks, Rolls and Moves On", Sacramento Bee, p. EN3.

John Holt (Lord Chief Justice) photo

“It was the rule of Holt, Chief Justice, to make words actionable whenever they sound to the disreputation of the person of whom they were spoken; and this was also Hale's and Twieden's rule; and I think it a very good rule.”

John Holt (Lord Chief Justice) (1642–1710) English lawyer and Lord Chief Justice of England

Fortescue, J., Button v. Heyward (1722), 8 Mod. 24. This is in reference perhaps to Baker v. Pearce, 6 Mod. 23.
About

Bret Easton Ellis photo
Abraham Joshua Heschel photo
Miles Davis photo
Jim Butcher photo
Steve Reich photo

“…in serial music, the series itself is seldom audible… What I'm interested in is a compositional process and a sounding music that are one in the same thing.”

Steve Reich (1936) American composer

Source: Steve Reich, ‎Paul Hillier (2002) Writings on Music, 1965-2000, p. 35

Paul Simon photo

“Everybody loves the sound of a train in the distance
Everybody thinks its true.”

Paul Simon (1941) American musician, songwriter and producer

Train In The Distance
Song lyrics, Hearts and Bones (1983)

Margaret Fuller photo

“Whoever said "Wagner's music isn't as bad as it sounds" was as wrong as he was funny, but there is surely a case for saying that the story of Captain Ahab's contest with the great white whale is one of those books you can't get started with even after you have finished reading them.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Jorge Luis Borges', p. 65
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

Ralph Waldo Emerson photo

“To-day unbind the captive,
So only are ye unbound;
Lift up a people from the dust,
Trump of their rescue, sound!”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Boston Hymn, st. 17
1860s, May-Day and Other Pieces (1867)

William Wordsworth photo

“Three sleepless nights I passed in sounding on,
Through words and things, a dim and perilous way.”

William Wordsworth (1770–1850) English Romantic poet

The Borderers Act iv. Sc. 2.
Bartlett's Familiar Quotations, 10th ed. (1919)

Jean Paul Sartre photo
Tim Aker photo
Maddox photo
John Cage photo
Donald J. Trump photo
Edgar Rice Burroughs photo
Garth Nix photo
Colin Wilson photo
John Stuart Mill photo
Robert Pinsky photo

“It is the nature of poetry to emphasize that the physical sounds of words come from a particular body, one at a time, in a particular order.”

Robert Pinsky (1940) American poet, editor, literary critic, academic.

Poetry and the World, Ecco Press,1988

Ivo Pogorelić photo

“Many pianists are great, but Pogorelich is unique, like Rubinstein, their sound is instantly recognisable they both go beyond the notes.”

Ivo Pogorelić (1958) Croatian pianist

Gerald Moore, critique of Pogorelć's album Domenico Scarlatti - Sonaten

Colin Wilson photo
Stephen King photo
Maxwell D. Taylor photo
George W. Bush photo
George Eliot photo
Garth Nix photo
Ravi Shankar photo
Phil Hartman photo

“Lionel: Mrs. Simpson, don't you worry. I watched Matlock in a bar last night; the sound wasn't on, but I think I got the gist of it.”

Phil Hartman (1948–1998) Canadian American actor, comedian, screenwriter, and graphic artist

On the Simpsons, Lionel Hutz

“The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”

Milton Babbitt (1916–2011) American composer

From Milton Babbitt, "The Structure and Function of Musical Theory", College Music Symposium, Vol. 5 (Fall 1965), pp. 49-60; reprinted in Perspectives on Contemporary Music Theory, ed. Benjamin Boretz and Edward T. Cone (New York: Norton, 1972), pp. 10-21, ISBN 0393005488, and in Milton Babbitt, The Collected Essays of Milton Babbitt, ed. Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus (Princeton: Princeton University Press, 2003), pp. 191-201, ISBN 0691089663.

Ralph Ellison photo
Pierre Schaeffer photo

“Something new has been added, a new art of sound. Am I wrong in calling it music?”

Pierre Schaeffer (1910–1995) French musicologist

The Liberation of Sound: An Introduction to Electronic Music (Prentice-Hall edition, 1972)

Thomas Young (scientist) photo
H. G. Wells photo
Evelyn Baring, 1st Earl of Cromer photo
Kevin Spacey photo
Statius photo

“Sweet semblance of the children who have forsaken me, Archemorus, solace of my lost estate and country, pride of my servitude, what guilty gods took your life, my joy, whom but now in parting I left at play, crushing the grasses as you hastened in your forward crawl? Ah, where is your starry face? Where your words unfinished in constricted sounds, and laughs and gurgles that only I could understand? How often would I talk to you of Lemnos and the Argo and lull you to sleep with my long tale of woe!”
O mihi desertae natorum dulcis imago, Archemore, o rerum et patriae solamen ademptae seruitiique decus, qui te, mea gaudia, sontes extinxere dei, modo quem digressa reliqui lascivum et prono uexantem gramina cursu? heu ubi siderei vultus? ubi verba ligatis imperfecta sonis risusque et murmura soli intellecta mihi? quotiens tibi Lemnon et Argo sueta loqui et longa somnum suadere querela!

Source: Thebaid, Book V, Line 608

Juicy J photo
Jane Roberts photo
Sir Alexander Cockburn, 12th Baronet photo

“I think the old, sound, and honest maxim that "you shall not do evil that good may come," is applicable in law as well as in morals.”

Sir Alexander Cockburn, 12th Baronet (1802–1880) Lord Chief Justice

Reg. v. Hicklin and another (1868), 11 Cox, C. C. 27; S. C. 3 L. R. Q. B. 372; reported in Dictionary of Legal Quotations (1904) by James William Norton-Kyshe, p. 92.

John Cage photo
Ferdinand de Saussure photo
Pierre Schaeffer photo

“Nepotism. My brother’s son, André Fischer, was the drummer in the band Rufus, with Chaka Khan. Apparently, the arrangements I made for their early records were appreciated, so in the following years I was hired almost exclusively by black artists. I am surprised that my arrangements are now considered one of the prerequisites for a hit album. People feel that they make a song sound almost classical.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

On how a white American of German extraction became the orchestral 'sweetener' of choice for R&B artists, as quoted in "Clare Fischer: The Best Kept Secret in Jazz" http://www.artistinterviews.eu/?page_id=5&parent_id=22/

Thomas Babington Macaulay, 1st Baron Macaulay photo
Ann Richards photo

“I am delighted to be here with you this evening, because after listening to George Bush all these years, I figured you needed to know what a real Texas accent sounds like.”

Ann Richards (1933–2006) American politician

1988 Democratic National Convention keynote address
1988
Source: Transcript of the Keynote Address by Ann Richards, the Texas Treasurer, The New York Times, July 19, 1988, 2006-09-16 http://www.nytimes.com/1988/07/19/us/text-richards.html?pagewanted=print,

Henry Temple, 3rd Viscount Palmerston photo

“When Bonaparte was to be dethroned, the Sovereigns of Europe called up their people to their aid; they invoked them in the sacred names of Freedom and National Independence; the cry went forth throughout Europe: and those, whom Subsidies had no power to buy, and Conscriptions no force to compel, roused by the magic sound of Constitutional Rights, started spontaneously into arms. The long-suffering Nations of Europe rose up as one man, and by an effort tremendous and wide spreading, like a great convulsion of nature, they hurled the conqueror from his throne. But promises made in days of distress, were forgotten in the hour of triumph…The rulers of mankind…had set free a gigantic spirit from its iron prison, but when that spirit had done their bidding, they shrunk back with alarm, from the vastness of that power, which they themselves had set into action, and modestly requested, it would go down again into its former dungeon. Hence, that gloomy discontent, that restless disquiet, that murmuring sullenness, which pervaded Europe after the overthrow of Bonaparte; and which were so unlike that joyful gladness, which might have been looked for, among men, who had just been released from the galling yoke of a foreign and a military tyrant. In 1820 the long brooding fire burst out into open flame; in Germany it was still kept down and smothered, but in Italy, in Spain, and in Portugal, it overpowered every resistance.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Speech http://hansard.millbanksystems.com/commons/1830/mar/10/affairs-of-portugal in the House of Commons (10 March 1830).
1830s

Conor Oberst photo

“But where was it when I first heard that sweet sound of humility?
It came to my ears in the goddamn loveliest melody!
How grateful I was, then, to be part of the mystery,
To love, and to be loved!
Let’s just hope that is enough.”

Conor Oberst (1980) American musician

Let's Not Shit Ourselves (To Love and to Be Loved)
Lifted or The Story Is in the Soil, Keep Your Ear to the Ground (2002)

“Earlier fundamental work of Whitehead, Russell, Wittgenstein, Carnap, Whorf, etc., as well as my own attempt to use this earlier thinking as an epistemological base for psychiatric theory, led to a series of generalizations: That human verbal communication can operate and always does operate at many contrasting levels of abstraction. These range in two directions from the seemingly simple denotative level (“The cat is on the mat”). One range or set of these more abstract levels includes those explicit or implicit messages where the subject of discourse is the language. We will call these metalinguistic (for example, “The verbal sound ‘cat’ stands for any member of such and such class of objects”, or “The word, ‘cat’ has no fur and cannot scratch”). The other set of levels of abstraction we will call metacommunicative (e. g., “My telling you where to find the cat was friendly”, or “This is play”). In these, the subject of discourse is the relationship between the speakers. It will be noted that the vast majority of both metalinguistic and metacommunicative messages remain implicit; and also that, especially in the psychiatric interview, there occurs a further class of implicit messages about how metacommunicative messages of friendship and hostility are to be interpreted.”

Gregory Bateson (1904–1980) English anthropologist, social scientist, linguist, visual anthropologist, semiotician and cyberneticist

Gregory Bateson (1955) " A theory of play and fantasy http://sashabarab.com/syllabi/games_learning/bateson.pdf". In: Psychiatric research reports, 1955. pp. 177-178] as cited in: S.P. Arpaia (2011) " Paradoxes, circularity and learning processes http://www2.units.it/episteme/L&PS_Vol9No1/L&PS_Vol9No1_2011_18b_Arpaia.pdf". In: L&PS – Logic & Philosophy of Science, Vol. IX, No. 1, 2011, pp. 207-222

Alice A. Bailey photo
Joachim Kaiser photo

“The word "Silence" today sounds "bridegroom" or the "tragedy of love."”

Joachim Kaiser (1928–2017) German music critic

quoted in Dieter Schott, Bill Luckin, Geneviève Massard-Guilbaud, Resources of the City: Contributions to an Environmental History of Modern Europe (2005), p. 225

Aubrey Beardsley photo
Dana Gioia photo

“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

John Cage photo
Baldur von Schirach photo

“I read world literature and I read French romances in the originals. I had quite a profound knowledge - no, that sounds conceited, but I did have a profound interest in everything spiritual.”

Baldur von Schirach (1907–1974) German Nazi leader convicted of crimes against humanity in the Nuremberg trial

To Leon Goldensohn, March 10, 1946, from "The Nuremberg Interviews" by Leon Goldensohn, Robert Gellately - History - 2004

Wang Wei photo

“Empty hills, no one in sight,
only the sound of someone talking;
late sunlight enters the deep wood,
shining over the green moss again.”

Wang Wei (699–759) a Tang dynasty Chinese poet, musician, painter, and statesman

"Deer Fence" (鹿柴), trans. Burton Watson
Variant translations:
No one is seen in deserted hills,
Only the echoes of speech is heard.
Sunlight cast back comes deep in the woods,
And shines once again upon the green moss.
Translated by Stephen Owen
On the empty mountain, seeing no one,
Only hearing the echoes of someone's voice;
Returning light enters the deep forest,
Again shining upon the green moss.
Translated by Richard W. Bodman and Victor H. Mair

Anthony Burgess photo
James Branch Cabell photo
Lee Ritenour photo
Joseph McManners photo
Shawn Lane photo
Ernest King photo
Will Eisner photo

“The tenement – the name derives from a fifteenth-century legal term for a multiple dwelling – always seemed to me a “ship afloat in concrete.” After all didn’t the building carry passengers on a voyage through life? No. 55 sat at the corner of Dropsie avenue near the elevated train, or the elevated as we called it in those days. It was a treasure house of stories that illustrated tenement life as I remembered it, stories that needed to be told before they faded from memory. Within its “railroad flats,” with rooms strung together train-like lived low-paid city employees or laborers and their turbulent families. Most were recent immigrants, intent n their own survival. They kept busy raising children and dreaming of the better lie they knew existed “uptown.” Hallways were filled with a rich stew of cooking aromas, sounds of arguments and the tinny wail from Victrolas. What community spirit there was stemmed from the common hostility of tenants to the landlord or his surrogate superintendent. Typically, the buildings tenants came and went with regularity, depending on the vagaries of their fortunes But many remained for a lifetime, imprisoned by poverty or old age. There was no real privacy or anonymity. Everybody knew about everybody. Human dramas, both good and bad, instantly gathered witness like ants swarming around a piece of dropped food. From window to window or on the stoop below, the tenants analyzed, evaluated and critiqued each happening, following an obligatory admission that it was really none of their business.”

Will Eisner (1917–2005) American cartoonist

XV-XVI, December 2004
A Contract With God (2004)

Tim O'Brien photo
John Constable photo
Dorothy Wordsworth photo
Vachel Lindsay photo
Irene Dunne photo

“You'll be much better equipped for a long life in pictures if you have a sound theatrical background.”

Irene Dunne (1898–1990) American actress

If You Want Success (Screenland Interview) (1961)

Victor Villaseñor photo
Michael Chabon photo
Javier Marías photo

“Sometimes it's impossible to explain the really important things, those that have affected us most deeply, and keeping silent is all that saves us in difficult times, because explanations almost always sound so lame with respect to the pain we have inflicted or that others have inflicted on us.”

A veces resulta imposible explicar lo más decisivo, lo que más nos ha afectado, y guardar silencio es lo único que nos salva en lo malo, porque las explicaciones suenan casi siempre algo tontas respecto al daño que uno hace o le han hecho.
Source: Tu rostro mañana, 1. Fiebre y lanza [Your Face Tomorrow, Vol. 1: Fever and Spear] (2002), p. 94

William Wordsworth photo
Christine O'Donnell photo
Richard Bach photo
Morton Feldman photo