Quotes about tonality

A collection of quotes on the topic of tonality, music, other, color.

Quotes about tonality

“I think the origin of all this clamour for tonality is not so much the need to sense a relationship to the tonic, as a need for familiar chords: let us be frank and say "for the triad"; and I believe I have good reason to say that just so long as a certain kind of music contains enough such triads, it causes no offence, even if in other ways it most violently clashes with the sacred laws of tonality.”

Alban Berg (1885–1935) Austrian composer

Quoted in Reich, Willi (1971). Schoenberg: A Critical Biography, p. 34. Translated by Leo Black.

Law, Music, Way, Thinking

“The number of elements that have to go into a hit would break a computer down…. the right season for that play, the right historical moment, the right tonality.”

Arthur Miller (1915–2005) playwright from the United States

The New York Times (9 May 1984)

Season

“Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal.”

Béla Bartók (1881–1945) Hungarian composer and pianist

"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.

Music, Nature, Sense

“Get it down quickly, don't worry about the background. Just go for the tonal values. You see? When you look at it, and above all when you see how to render it as you see it, thats is, in such a way that its make the same impression on the viewer as it does on you, you don't look for, you don't see the lines on the paper over there, do you? And then, when you look at the whole thing you don't try to count the scales on the salmon, of course you don't. You see them as little silver pearls against grey and pink – isn't thats right? – look at the pink of the salmon, with the bone appearing white in the centre and then grays, like the shades of mother of pearl. And the grapes, now do you count each? No, of course not. What strikes you is their clear, amber colour and the bloom which models the form by softening it. What you have to decide with the cloth is where the highlights come and then the planes which are not in the direct light. Halftones are for the magasin pittoresque engravers. The folds will come by themselves if you put them in the proper place. Ah! M. Ingres, there's the man! We're all just children. There's the one who knew how to paint materials! Ask Bracquemond [Paris' artist and print-maker]. Above all, keep your colours fresh. [instructing his new protegee, the Spanish young woman-painter Eva Gonzales, circa 1869]”

Edouard Manet (1832–1883) French painter

Manet, recorded by Philippe Burty, as cited in Manet by Himself, ed. Juliet Wilson-Bareau, Little Brown 2000, London; p. 52
1850 - 1875

Children, Way, Light, Appearance

“All that interests me is the grey areas, the passages and the tonal sequences, the pictorial spaces, overlaps and interlockings. If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 93, note 24

Way, Painting

“[My audiences] discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones ‘dance’ in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes … Do not be alarmed! Your ears are not behaving strange or being damaged! … these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception… I want to release this music which is produced by the listener…”

Maryanne Amacher (1938–2009) Composer and installation artist

Quoted in: " Maryanne Amacher, Synaptic Island http://datagarden.org/5483/maryanne-amacher-synaptic-island/," on datagarden.org, 2015.

Music, Nature, Dance

“Yet in a relatively short creative life of twenty years or so, Chopin redrew the boundaries of Romantic music, and his self-imposed restriction to the 88 keys of the piano keyboard sublimated nothing less than the aesthetic essence of piano music. It was his total identification with the instrument which, in its radical regeneration of the lyric and the dramatic, fantasy and passion and their unique fusion, shaped a tonal language which united an aristocratic sense of style and formal Classical training and intuition with an ascetic rigor. Chopin’s precisely marshaled trains of thought permitted no experiments, and so he did not ‘wander about’ within his stylistic points of reference as Scriabin was to do. Chopin’s works may seem light and improvisatory, but they are planned in meticulous details, exactly and well calculated.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Life, Music, Sense, Light

“Already at the age of 21 I played the complete organ works of Bach - and this by memory. As a child and youngster I had been taught by one of the last master-students of the legendary Helmut Walcha, and I completely had been affected by this style of insight into Bach and the internal structures. This method of regarding the independent coherence of all the voices gave me a special comprehension of Bach and his philosophy. Lastly one can say that I have been growing up with Bach, even to this day. If you understand the free organ works (preludes, toccatas, fugues), the chorales, and especially the trio sonatas, you have an insight into Bach that others don’t have. Especially the soloistic and independent leadings of the three voices of the trio sonatas is artistically the major aim of an organist; and already the Orgelbüchlein, the part 5 of the Peters Edition, shows Bach in all his structural and emotional effects. Albert Schweitzer described the Orgelbüchlein as something where the tonal speech of Bach is unbeatable. The comprehension of the organ-Bach is an understanding of the counterpoint and the polyphonic structures, and the coherence of Bach himself.”

Burkard Schliessmann classical pianist

Talkings on Bach

Age, Understanding, Memory, Parting

“[I] launched a new offensive against the fortress of painting. First, white thinned out in linseed oil as a general base. Second, color the entire surface lightly by applying very large areas of different colors that swim into one other and that must remain free of any effect of chiaroscuro. Third, a drawing, independent of and substituting for the unformulated tonal values. Then, at the end, some bass notes to ward off flabbiness, not too dark, but colored bass notes. This is the style that connects drawing and the realm of color, a saving transfer of my fundamental graphic talent into the domain of painting”

Paul Klee (1879–1940) German Swiss painter

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 <br class="br">1911 - 1914

Color, Drawing, Painting

““If these experiences [of union with the Absolute] are rare, nonetheless they lend their fundamental tonality to the Plotinian way of life, for that way of life appears to us now as a waiting for the unforseeable surging-forth of these privileged moments which give their full sense to life”

Pierre Hadot (1922–2010) French historian and philosopher

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)

Life, Way, Sense, Appearance

“The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is…from Wagner”

George Perle (1915–2009) American composer

Die Walkure, Act III
Page 96
The Listening Composer

Music, Question, Change

“The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable significance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known.”

George Perle (1915–2009) American composer

Pages 42-43
The Listening Composer

Art, Music, Thinking, Universe

“I think there are some objective [musical] qualities… how complex something is, how melodic, how diverse the tonality is, et cetera. But I could also make a piece of music that contains all of those and yet isn't "good" from a subjective viewpoint. For example, take Beethoven's "Moonlight Sonata", Beatles "Yesterday", and Underworld's "Born Slippy", and play them all on top of each other at the same time. Great music in their own right, but terrible sounding together.”

Andrew Sega (1975) musician from America

Andrew Sega Shrine interview, 2011

Music, Thinking, Time

“It has happened that I have begun a canvas in a brilliant tonality, going on to finish it in a grey notation. (1898)”

Albert Marquet (1875–1947) French artist

As quoted by J. E. Müller, Le Fauvisme, Paris, Hazan, 1956, p. 92

“A tonal type is minimally identifiable by its three markers and thus objectively observable completely apart from its musical or cultural context; it is 'scientific,' it is 'etic.' 'Mode' conversely is all bound up in sixteenth-century musical culture, not as a living doctrine of the music of the church and a heritage fomr the Middle Ages but also as a musical construct being expirimented with by members of the culture, from both humanistic and traditional points of view; it is thoroughly 'emic' and requires study on its own terms….”

Harold Powers (1928–2007) American academic

Harold Powers, "Tonal Types", p.439.

Age, Music, Study

“Consistent poetry is made of letters. Letters have no idea. Letters as such have no sound, they offer only tonal possibilities, to be valuated by the performer. The consistent poem weighs the value of both letters and groups.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter.

Idea

“When I think of myself in those years, it seems to me that I was playing quite freely and fluently, tonally pure. But there is still have many years of hard work over the sound, rhythm and dynamics. Of course, most importantly, a deep comprehension of the inner content.”

David Oistrakh (1908–1974) Soviet violinist

oistrakh.ru Biography of David Oistrakh http://www.oistrakh.ru/en/david_oistrakh/biography/.

Thinking

“Mr. Martin Tanner, a baritone, of Dayton, Ohio made his Town Hall debut last night. He came well prepared, but unfortunately his presentation was not up to contemporary professional standards. His voice lacks the range of tonal color necessary to make it consistently interesting.
Full time consideration of another endeavor might be in order.”

Harry Chapin (1942–1981) American musician

Mr. Tanner
Song lyrics, Short Stories (1974)

Color, Time, Night

“A musical event in Münich has brought me a great dolt.... an evening of chamber-music by Arnold Schoenberg (Vienna).... the audience behaved loutishly, like school brats, sneezing and clearing their throats, when not tittering and scraping their chairs, so it was hard to follow the music. Can you imagine a music in which tonality (that is, the adherence to any key) is completely suspended? I was constantly reminded of Kandinsky's large composition which also permits no trace of tonality.... and also of Kandinsky's 'jumping spots' in hearing this music [of Schoenberg], which allows each tone sounded to stand on its own (a kind of white canvas between the spots of color). Schönberg proceeds from the principle that the concepts of consonance and dissonance do not exist at all. A so-called dissonance is only a mere remote consonance – an idea which now occupies me constantly while painting..”

Franz Marc (1880–1916) German painter

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

School, Music, Color, Imagination

“In the passage quoted here from Monteverdi's madrigal [Cruda amarilli, mm.9-19 and 24-30], one sees a tonality determined by the characteristic of the accord parfait on the tonic, by the sixth chord assigned to the third and seventh degrees, by the optional choice of the accord parfait or the sixth chord on the sixth degree, and finally, by the accord parfait, and above all, by the unprepared seventh chord (with major third) on the dominant.”

François-Joseph Fétis (1784–1871) Belgian composer

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.

Quotes

“The most likely reason for the adoption of a relatively small number of discrete intervals as the tonal material for music is that discretization or categorization is a typical, if not universal, strategy used by animals in order to reduce information overload and facilitate processing when subjected to the high-information-conetent signals and/or high information rates from a highly developed sensory system (e. g., Estes, 1972; Terhardt, 1991). An obvious example is the processing of speech information by humans, wherein each language selects a relatively small portion of the available timbral-differences that can be produced by the vocal tract as information-carrying units (phonemes) in the language. A related reason for discrete scales, and another obvious analogy with speech perception, lies in the social aspect of music. Music first developed as, and still largely remains, a social phenomenon associated with religious or other rituals that, like language, necessitated an easily remembered common framework.”

Edward Burns (1968) American actor and director

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

Music, Universe, Animals

“Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light.”

Hans Hofmann (1880–1966) American artist

'Terms' p. 74
Search for the Real and Other Essays (1948)

Color, Light

“To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

Color, Autumn, Tree, Winter

“Prokofiev’s music is usually based on a firm sense of tonality. Whatever tonal uncertainty and ambiguity one experiences, mainly in developmental passages, they are mostly short-lived.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

Music, Sense

“Any text in spoken English is organized into what may be called 'information units'. (…) this is not determined (…) by constituent structure. Rather could it be said that the distribution of information specifies a distinct structure on a different plan. (…) Information structure is realized phonologically by 'tonality', the distribution of the text into tone groups.”

Michael Halliday (1925–2018) Australian linguist

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

“Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull. Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Color, Sense, Light

“Music is the tonal analogue of emotive life.”

Susanne K. Langer (1895–1985) American philosopher

Feeling and Form, ch. 1, p. 27, Scribner (1953)

Life, Music

“I don't think that American audiences would accept the tonal character of my music.”

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, Thinking

“The musical language which made the classical style possible is that of tonality, which was not a massive, immobile system but a living, gradually changing language from its beginning. It had reached a new and important turning point just before the style of Haydn and Mozart took shape.”

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

Part I. Introduction. 1. The Musical Language of the Late Eighteenth Century
Classical Style: Haydn, Mozart, Beethoven (Expanded edition, 1997)

Music, Change

“When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control.
As one who has suffered from the malady in extremis yet returned to tell the tale, I would lobby for a truly arresting designation. “Brainstorm,” for instance, has unfortunately been preempted to describe, somewhat jocularly, intellectual inspiration. But something along these lines is needed. Told that someone’s mood disorder has evolved into a storm — a veritable howling tempest in the brain, which is indeed what a clinical depression resembles like nothing else — even the uninformed layman might display sympathy rather than the standard reaction that “depression” evokes, something akin to “So what?” or “You’ll pull out of it” or “We all have bad days.””

William Styron book Darkness Visible

The phrase “nervous breakdown” seems to be on its way out, certainly deservedly so, owing to its insinuation of a vague spinelessness, but we still seem destined to be saddled with “depression” until a better, sturdier name is created.
Source: Darkness Visible (1990), IV

People, Disease, School, Way

“Tonality itself - with its process of instilling expectations and subsequently withholding promised fulfillment until climax - is the principal musical means during the period from 1600 to 1900 for arousing and channeling desire.”

Susan McClary (1946) American musicologist

McClary, Susan (1991). Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press. ISBN 0816618984.

Music

“The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century.”

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

Source: The Romantic Generation (1995), Ch. 4 : Formal Interlude

“A poem might begin for me from a rhythmical phrase without words but with an an emotional / tonal pitch or colour which will announce itself. Other times I' ll just become obsessed by something.. hoping that eventually it will speak to me in English.”

Jan Zwicky (1955) Canadian philosopher

Interview with Anne Simpson - 'Words from Canadian poets in conversation', 2002
Other

Hope, Time

“The concept of 'tonality' signifies the unified relationship of chords to a central tonic and hence comprises two different assumptions: first, the existence of unifying factors, and second, the existence of, or at least the hypothetical ability to reconstruct, a tonal center.”

Ernst Kurth

Romantische Harmonik und ihre Krise in Wagners Tristan (1920), p. 273.

“Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, it’s not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I want to escape.”

György Ligeti

A lecture at the New England Conservatory in 1993, quoted on http://www.therestisnoise.com/2006/06/ligeti.html

Way, Past

“Beyond the constructive elements of the picture, I studied the tonalities of nature by adding layer upon layer of diluted black watercolour paint. Each layer must dry well. In this way a mathematically correct scale of light and dark values is the result. Squinting facilitates our perception of this phenomenon in nature.”

Paul Klee (1879–1940) German Swiss painter

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 <br class="br">1903 - 1910

Way, Mathematics, Nature, Study

“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Color, Nature, Reality, Sense

“What is true about heat and pain is also true about colour. The rock is no more red than it is hot or painful. It can only have a colour -- red, blue, yellow -- in the invisible life where the colour is felt, on the basis of 'feeling oneself' (se sentir soi-même). Life's feeling of itself and its feeling of colour is a pathos. Colour is not linked to a tonality through an external and contingent association that would vary with individuals. In the phenomenological substance of its flesh and being, colour is a sensation and subjectivity; it is this affective tonality and inner tone.”

Michel Henry (1922–2002) French writer

Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 71
Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)

Pain, Life, Feeling