
Quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p. 34. Translated by Leo Black.
A collection of quotes on the topic of tonality, music, other, color.
Quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p. 34. Translated by Leo Black.
"The Folk Songs of Hungary" in Pro Musica VII (October 1928)
Context: Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Manet, recorded by Philippe Burty, as cited in Manet by Himself, ed. Juliet Wilson-Bareau, Little Brown 2000, London; p. 52
1850 - 1875
Source: after 2000, Doubt and belief in painting' (2003), p. 93, note 24
Quoted in: " Maryanne Amacher, Synaptic Island http://datagarden.org/5483/maryanne-amacher-synaptic-island/," on datagarden.org, 2015.
Quote (1911), Diary # 875; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.htmlparagraph
1911 - 1914
Si ces expériences sont rares, elles n’en donnent pas moins sa tonalité fondamentale au mode de vie plotinien, puisque celui-ci nous apparaît maintenant comme l’attente du surgissement imprévisible de ces moments privilégiés qui donnent tout leur sens à la vie.
Qu'est-ce que la philosophie antique? (1995)
Die Walkure, Act III
Page 96
The Listening Composer
Pages 42-43
The Listening Composer
As quoted by J. E. Müller, Le Fauvisme, Paris, Hazan, 1956, p. 92
Harold Powers, "Tonal Types", p.439.
1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.
oistrakh.ru Biography of David Oistrakh http://www.oistrakh.ru/en/david_oistrakh/biography/.
In a letter to August Macke (14 January 1911); as quoted in August Macke; Franz Marc: Briefwechsel, Cologne 1965; as quoted in Boston Modern - Figurative Expressionism as Alternative Modernism, Judith Bookbinder, University Press of New England, Hanover and England, 2005, p. 35
Franz Marc visited a concert with music of the composer Arnold Schönberg on 11 Jan. 1911 with Wassily Kandinsky, Alexej von Jawlensky, Gabriele Münter and others; they played there compositions of Schönberg he wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1911 - 1914
Joseph Fétis, (1844). Traité complet de la théorie et de la pratique de l'harmonie contenant la doctrine de la science et de l'art, 2d ed., p. 166. Brussels and Paris.
Burns, Edward M. (1999). "Intervals, Scales, and Tuning", 'The Psychology of Music second edition, p. 218. Deutsch, Diana, ed. San Diego: Academic Press. ISBN 0122135644
'Terms' p. 74
Search for the Real and Other Essays (1948)
Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412
Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language
Michael Halliday Notes on transitivity and theme in English: Part 2, 1967. p. 200 cited in: Klaus von Heusinger "Information Structure and the Partition of Sentence Meaning". In: Eva Hajičová (2002) Form, Meaning and Function. p. 287
1950s–1960s
'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)
“Music is the tonal analogue of emotive life.”
Feeling and Form, ch. 1, p. 27, Scribner (1953)
“I don't think that American audiences would accept the tonal character of my music.”
As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)
Part I. Introduction. 1. The Musical Language of the Late Eighteenth Century
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)
McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press. ISBN 0816618984.
Source: The Romantic Generation (1995), Ch. 4 : Formal Interlude
Interview with Anne Simpson - 'Words from Canadian poets in conversation', 2002
Other
Romantische Harmonik und ihre Krise in Wagners Tristan (1920), p. 273.
A lecture at the New England Conservatory in 1993, quoted on http://www.therestisnoise.com/2006/06/ligeti.html
Quote (1908), # 840, in The Diaries of Paul Klee; University of California Press, 1964; as quoted by Francesco Mazzaferro, in 'The Diaries of Paul Klee - Part Three' : Klee as a Secessionist and a Neo-Impressionist Artist http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev.html
1903 - 1910
'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)
Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 71
Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)