Quotes about tone
page 4

“I am not a nationalist, I am a Wolfe Tone Republican. In pursuit of that ideal I have been forced to continually shift positions, much like a man in a cinema who keeps changing his seat, but only so he can get a clean view of the same film. And the title of the film, of which I never tire, is The Future Irish Republic.”

Eoghan Harris (1943) Irish journalist

Contrary to opinion, I am politically consistent, Eoghan Harris, Irish Independent http://www.independent.ie/opinion/analysis/contrary-to-opinion-i-am-politically-consistent-1056982.html,

Wolf, Change, Future

“[W]e would probably claim Kafka as an Irish writer. His tone of voice is certainly quite Irish: that sense of melancholy, that sense of strangeness and of being a stranger in the world. I think that we empathise with that very much indeed.”

John Banville (1945) Irish writer

John Banville: claiming Kafka as an Irish writer (2011)

World, Thinking, Sense

“Once, along with The Transfigured Night, he played a class Rachmaninoff’s Isle of the Dead. Most of the class had not seen the painting, so he went to the library and returned with a reproduction of it. Then he pointed, with a sober smile, to a painting which hung on the wall of the classroom (A Representation of Several Areas, Some of Them Grey, one might have called it; yet this would have been unjust to it—it was non-representational) and played for the class, on the piano, a composition which he said was an interpretation of the painting: he played very slowly and very calmly, with his elbows, so that it sounded like blocks falling downstairs, but in slow motion. But half his class took this as seriously as they took everything else, and asked him for weeks afterward about prepared pianos, tone-clusters, and the compositions of John Cage and Henry Cowell; one girl finally brought him a lovely silk-screen reproduction of a painting by Jackson Pollock, and was just opening her mouth to—
He interrupted, bewilderingly, by asking the Lord what land He had brought him into. The girl stared at him open-mouthed, and he at once said apologetically that he was only quoting Mahler, who had also diedt from America; then he gave her such a winning smile that she said to her roommate that night, forgivingly: “He really is a nice old guy. You never would know he’s famous.””

Randall Jarrell book Pictures from an Institution

“Is he really famous?” her roommate asked. “I never heard of him before I got here. ...”
Source: Pictures from an Institution (1954) [novel], Chapter 4, pp. 138–139

Love, Smile, Guy, Quotes

“The frame [is no longer as in the beginning version] is in a harmony opposed to those of the tones, tints, and lines of the [motif of the] picture.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“I write in what we call Hiberno-English, and it would be disastrous to lose my literary accent, as both Joyce and Beckett began to do in exile. In their case the unique tone of voice they each unwittingly adopted only made for a deeper poetic intensity; I suspect if I were to undergo a similar loss the result would not be so productive.”

John Banville (1945) Irish writer

How I Write: John Banville on ‘Ancient Light,’ Nabokov, and Dublin (2012)

Loss

“I wasn’t really a fan of kaiju, (giant Japanese monsters) only Godzilla himself. He was my hero as a boy, and even now his roar has been my only ring tone any of the cell phones I have ever had.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Patheos, Weighing in on Godzilla http://www.patheos.com/blogs/reasonadvocates/2014/06/08/weighing-in-on-godzilla/ (June 8, 2014)

Boy

“.. in an review of the exhibition in Arti, [in Amsterdam] you say that most of my submissions are not meant as a study. I don't know what you mean by study. I understand a study as a work I am painting directly after nature, with the aim hold on the casual tone, color and line. All of mine that is presented there, is immediately felt in nature and not one of the sketches is done by heart after received impressions for any paintings. I thought I had to tell you this, because then you might get a different view of it - whether you think they are more worthy or not because of this, I don't want to judge.... yours GH Breitner”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

Mejufvrouw In een stukje over de Tent. in Arti zegt u dat het meerendeel van mijn inzending niet als studie bedoeld zijn. Ik weet niet wat u onder studie verstaat. Ik versta daar onder wat men direct naar de natuur schilderd om de toevallige toon kleur en lijn vast te houden. Na alles wat er van mij is. is dadelijk naar de natuur ervaren en zijn geen van allen [1:2] schetsen uit het hoofd gedaan na ontvangen indrukken voor eventuelen schilderijen. Ik meende u dat te moeten zeggen omdat u er dan misschien een anderen kijk op krijgt of u vind dat ze daarom verdienstelijker zijn of niet wil ik niet beoordeelen.. ..Hoogachtend uw GH Breitner quote of Breitner in a letter to art-critic Grada Hermina Marius, 22 Feb. 1908; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/951 1900 - 1923

Color, Understanding, Nature, Thinking

“And it's certain that unexpected new ideas are beginning to emerge. That paintings are once again beginning to be painted in very different tone from a few years ago.
The last thing I made is a rather large study of an avenue of poplars with the yellow autumn leaves, where the sun makes glittering patches here and there on the fallen leaves on the ground, which are interspersed with the long shadows cast by the trunks. At the end of the road a peasant cottage, and the blue sky above it between the autumn leaves.
I think that in a year's time — having spent that year once again painting a great deal and constantly — I'll change my manner of painting and my colour a great deal, and that I'm likely to become slightly more sombre rather than lighter.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote from Vincent's letter to Theo van Gogh, from Nuenen, The Netherlands, on or about Saturday, 25 October 1884; from original text of letter 467 - vangoghletters online http://vangoghletters.org/vg/letters/let467/letter.html 1880s, 1884

Idea, Autumn, Thinking, Study

“Beginning a book is unpleasant. I’m entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that’s finally everything. I type out beginnings and they’re awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it—that’s what I look for during the first months of writing something new. I often have to write a hundred pages or more before there’s a paragraph that’s alive. Okay, I say to myself, that’s your beginning, start there; that’s the first paragraph of the book. I’ll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I’ll type all these out on one page. Usually it doesn’t come to more than one page, but if I’m lucky, that’s the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book.”

Philip Roth (1933–2018) American novelist

Paris Review Interview (1986)

Life, Hate, Books, Drawing

“The educated classes were apt to speak in a patronizing tone of the "masses of the people", and to talk of political education as if it were only needed by those masses, but the fact was that the middle classes needed education, especially on this Irish question, quite as much as the masses. The whole trouble and difficulty of our dealings with Ireland had arisen from our ignorance. … He confidently believed that the country would arrive at but one conclusion, and that that would be in favour of Home Rule. The work would not be a long one, because two or three years would undoubtedly see the solution of this question in the sense which they desired to see it concluded—a consummation which was so much to be desired not only in the interests of Ireland but also of England, Scotland, and Wales.”

James Bryce, 1st Viscount Bryce (1838–1922) British academic, jurist, historian and Liberal politician

Speech to the Home Rule Union at the National Liberal Club, London (24 February 1887), quoted in The Times (25 February 1887), p. 4
1880s

People, Education, Home, Confidence

“How much we give to other hearts our tone,
And judge of others' feelings by our own!”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Title poem, section IV.
The Venetian Bracelet (1829)

Feeling, Heart

“If you tell certain people that you like Kerouac, they assume that’s all you read, like you don’t know anything else about literature. I recognize all the things that people dislike about the way he writes — his tone and the sentimentality of it all. But those books were there for me at a very important point in my life.”

Ben Gibbard (1976) American singer, songwriter and guitarist

Source: The Meaning Of Life, I

Life, People, Books, Way

“If…[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.”

George Perle (1915–2009) American composer

Page 98
See: Common practice period, Twelve-tone technique
The Listening Composer

Music

“Fric had been assigned the dumbest of the standard tones, which the phone manufacturer described as "a cheerful, child-pleasing sound suitable for the nursery or the bedrooms of younger children." Why infants in nurseries or toddlers in cribs ought to have their own telephones remained a mystery to Fric. Were they going to call Babies R Us and order lobster-flavored teething rings?”

Dean Koontz book The Face

Source: The Face (2003), Chapter 13; describing the estate's elaborate phone system

Children, Baby

“Treatises may be didactic in tone, but essentially they lack the conclusiveness of an instruction which could be asserted, like doctrine, by virtue of its own authority. … Tirelessly the process of thinking makes new beginnings, returning in a roundabout way to its original object. This continual pausing for breath is the mode most proper to the process of contemplation. For by pursuing different levels of meaning in its examination of one single object it receives both the incentive to begin again and the justification for its irregular rhythm.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Source: Ursprung des deutschen Trauerspiels [Origin of the German Mourning Play] (1925), p. 28

Way, Thinking

“[S]ent this piece the other day to a few friends, I have decided to make it public in response to questions that journalists have been emailing me. Not that they will pay attention. Getting asked how Kim Jong Un is now going to sell denuclearization to the North Korean public — and asked in the tone of someone who expects it to happen — reminds me how futile it is to talk to a guild with no interest in ideological matters.”

Brian Reynolds Myers (1963) American professor of international studies

2010s, Portrait of the Ally as an Intermediary (March 2018)

Question

“1,024 Colours in 4 Permutations'
In order to represent all extant colour shades in one painting, I worked out a system which – starting from the three primaries, plus grey – made possible a continual subdivision (differentiation) through equal gradations. 4 x 4 = 16 x 4 = 64 x 4 = 256 x 4 = 1,024. The multiplier 4 was necessary because I wanted to keep the image size, the square size and the number of squares in a constant proportion to each other. To use more than 1,024 tones (4,096, for instance) seemed pointless, since the difference between one shade and the next would no longer have been detectable.
The arrangement of the colours on the squares was done by a random process, to obtain a diffuse, undifferentiated overall effect, combined with stimulating detail. The rigid grid precludes the generation of figurations, although with an effort these can be detected. This aspect of artificial naturalism fascinates me – as does the fact that, if I had painted all the possible permutations, light would have taken more than 400 billion years to travel from the first painting to the last. I wanted to paint four large, colourful pictures.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's quote from the catalog of a group exhibition in 'Palais des Beaux-Arts', Brussels, 1974
1970's

Travel, Nature, Effort, Light

“We as leaders, ought to model integrity every day. It starts with how we handle the dilemmas that may seem small. Your decisions and actions set the tone for the culture and reinforce the expectation of others.”

Don Soderquist (1934–2016)

Don Soderquist “ Live Learn Lead to Make a Difference https://books.google.com/books?id=s0q7mZf9oDkC&lpg=pg=PP1&dq=Don%20Soderquist&pg=PP1#v=onepage&q&f=false, Thomas Nelson, April 2006 p. 147. On Acting with Integrity

Decision

“Attack of the Clones displays some similarities to The Empire Strikes Back, but, overall, it is not as effective a piece of cinema (although the 2002 era special effects make it far more pleasing to the eye). Both films contain romantic subplots and are darker in tone than their predecessors. Both develop a number of unresolved plot elements. And both end on a note that incorporates hope with ambiguity. There is, however, one major difference. The Empire Strikes Back includes a shocking revelation. Nothing of that sort is present in Attack of the Clones. In terms of its plotting, this film is relatively straightforward. There's nothing wrong with that — in fact, it works. In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfills the promise of its name and adds another title to a storied legacy.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/s/sw2002.html of Star Wars Episode II: Attack of the Clones (2002). Three-and-a-half star reviews

Hope, Disappointment, Time

“The geometrical spirit is not so tied to geometry that it cannot be detached from it and transported to other branches of knowledge. A work of morals or politics or criticism, perhaps even of eloquence, would be better (other things being equal) if it were done in the style of a geometer. The order, clarity, precision and exactitude which have been apparent in good books for some time might well have their source in this geometric spirit. …Sometimes one great man gives the tone to a whole century; [Descartes], to whom one might legitimately be accorded the glory of having established a new art of reasoning, was an excellent geometer.”

Bernard Le Bovier de Fontenelle (1657–1757) French writer, satirist and philosopher of enlightenment

"The Utility of Mathematics," i.e. "Préface sur l'utitlité des mathématiques et de la physique et sur les travaux de le Académie des Sciences," Œuvres de Monsieur de Fontenelle (1753) Vol. 6, pp.37-50, as quoted by Herbert Butterfield, The Origins of Modern Science 1300-1800 (1949).

Books, Art, Knowledge, Time

“Tears, that could be the tone, if they weren't so easy, the true tone and tenor at last.”

Samuel Beckett book Texts for Nothing

Texts for Nothing (1955)

Tear

“My initially happy interest in the game Warcraft 3 had an ominous tone to it. This was the beginning of a long relationship with the Warcraft franchise. In less than a year from that point, they would release their ultimate game, World of Warcraft, a game that I would find sanctuary in for most of my teenage years.”

Elliot Rodger (1991–2014) American spree killer

My Twisted World (2014), Pastimes

Happiness, World, Game

“My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience. I.... merely try to find a color that will fit my sensation. There is an impelling proportion of tones that can induce me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of the composition I strive towards it and keep on working. Then a moment comes when every part has found its definite relationship, and from then on it would be impossible for me to add a stroke to my picture without having to paint it all over again.”

Henri Matisse (1869–1954) French artist

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 412

Color, Feeling, Nature, Change

“I don't intend for this to take on a political tone. I'm just here for the drugs.”

Nancy Reagan (1921–2016) actress and first lady of the United States

At an anti-drug rally, as quoted in 1001 Dumbest Things Ever Said (2004) by Steven D. Price, p. 19

“Dear Mr. Rosenberg [art-dealer in Paris, then], - Many thanks for your good letters which are a great encouragement to me. I assure you that you are the man who has encouraged me the most so far. Please excuse the tone of declaration. I will also show my gratitude when I am in Paris by doing a good life-size portrait of you, or of a member of your family if you prefer, and I would like you to accept it as a gift. I intend to be in Paris around 15 November. My mother and my brother send their best wishes.”

Giorgio de Chirico (1888–1978) Italian artist

Mr. Rosenberg, please accept my devotion, esteem and gratitude. Quote from De Chirico's letter to Mr. Rosenberg, Rome, 13 Oct. 1925; from LETTERS BY GIORGIO DE CHIRICO TO LÉONCE ROSENBERG, 1925-1939 http://www.fondazionedechirico.org/wp-content/uploads/309-338-Rosenberg_Metaphysical_Art_ENG.pdf, p. 317 1920s and later

Life, Family, Art, Gratitude

“Come, then, with what voice Thou wilt come, Thou power- clad Messenger of my Redeemer! Come with thunder on Thy tongue, or with a sweet "harp of ten strings;" come to us simple as a little child, or wise as a scribe instructed of God; but, O! let us only feel that fire in Thy message which lies not in sentences nor in tones, but in a heart itself inflamed from above, and pouring fire into our hearts.”

William Arthur (minister) (1819–1901) Wesleyan Methodist minister and author

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 323.

God, Feeling, Heart

“We have other things to get over besides the occupation and discrimination. We are fighters and don't give in. If you don't open the door for me, I will come in through the window, and if it is closed, down the chimney. We were too polite, but we learned Israeli chutzpah. It's easy to humiliate an Arab who kowtows, but when that person says 'Listen, pal, tone it down, don't talk to me like that,' you arrive at a dialogue.”

Lucy Aharish (1981) Arab-Israeli journalist

Source: [Halutz, Doron, A generation of Israeli Arabs nurtured on Jewish chutzpah, http://www.haaretz.com/a-generation-of-israeli-arabs-nurtured-on-jewish-chutzpah-1.279267, 5 April 2011, Haaretz, 3 July 2009, That strategy seems to be working. Aharish is a reporter on Good Evening, a program about the entertainment industry hosted by the veteran Guy Pines; the anchor of the children's news program on Channel 1 (state television); and twice a week she also anchors the morning show of the Tel Aviv-based Radio 99, alongside Emanuel Rosen and Maya Bengal.]

Learning, Personality

“We have come to the holiest place in Ireland; holier to us even than the place where Patrick sleeps in Down. Patrick brought us life, but this man died for us. And though many before him and some since have died in testimony of the truth of Ireland’s claim to nationhood, Wolfe Tone was the greatest of all that have made that testimony, the greatest of all that have died for Ireland whether in old times or in new. He was the greatest of Irish Nationalists; I believe he was the greatest of Irish men. And if I am right in this I am right in saying that we stand in the holiest place in Ireland, for it must be that the holiest sod of a nation’s soil is the sod where the greatest of her dead lies buried.”

Patrick Pearse (1879–1916) Irish revolutionary, shot by the British Army in 1916

Address delivered at the Grave of Wolfe Tone in Bodenstown Churchyard, Co. Kildare, 22 June 1913

Life, Men, Truth, Sleep

“The reader will understand that I despise these "yellows"; they are utterly without honor, they are vulgar and cruel; and yet, in spite of all their vices, I count them less dangerous to society than the so-called "respectable" papers, which pretend to all the virtues, and set the smug and pious tone for good society — papers like the "New York Tribune" and the "Boston Evening Transcript" and the "Baltimore Sun," which are read by rich old gentlemen and maiden aunts, and can hardly ever be forced to admit to their columns any new or vital event or opinion. These are "kept" papers, in the strictest sense of the term, and do not have to hustle on the street for money. They serve the pocketbooks of the whole propertied class — which is the meaning of the term "respectability" in the bourgeois world. On the other hand the "yellow" journals, serving their own pocketbooks exclusively, will often print attacks on vested wealth, provided the attacks are startling and sensational, and provided the vested wealth in question is not a heavy advertiser.”

Upton Sinclair book The Brass Check

The Brass Check (1919)

Money, World, Understanding, Question

“As for “Grass Mud Horse”, I applaud the one who invented such a pun. Its underlining tone is: I know you do not allow me to say certain things. See, I am completely cooperative, right? Of course I think it inappropriate to utter these obscene words. I need not to demean myself below some level because of you. Even if you force me to say those words, I won’t comply. I want to keep my decency and dignity. Even if you retreat to a barbarian level, I am going to keep my identity as a civilized person. You gonna tell me I can’t do that? So, I say “Grass Mud Horse”, not fxxx your mom. What is “Grass Mud Horse”? It always works hard in harsh conditions. See, it is from the vast grassland. I like it. I love it. This whole thing is too far away from you, out of your jurisdiction. Oh well, why are you always staring at me? Am I not perfectly fine? I am innocent. I have not been snatched away by some crooked folks. I have not been put under their control. And I am not vulgar. Why do you have to worry so much about me?
I am singing a cute children’s song – I AM A GRASS MUD HORSE! Even though it is heard by the entire world, you can’t say I’ve broken the law.”

Cui Weiping (1956) Chinese film critic

"Cui Weiping (崔卫平): I Am a Grass-Mud Horse" in China Digital Times (1 March 2009) http://chinadigitaltimes.net/2009/03/cui-weiping-%E5%B4%94%E5%8D%AB%E5%B9%B3-i-am-a-grass-mud-horse/

Love, Children, World, Law

“He would declare and could himself believe
That the birds there in all the garden round
From having heard the daylong voice of Eve
Had added to their own an oversound,
Her tone of meaning but without the words.”

Robert Frost (1874–1963) American poet

"Never Again Would Birds’ Song Be the Same
1940s

Bird

“A man who from the beginning has long been soaked in the languid atmosphere of a woman, the scent of her hands, her bosom, her knees, her hair, her lithe and flowing clothes,Sweet bath, suavely
Scented with ointments,has acquired a delicacy of skin, a refinement of tone, a kind of androgyny without which the toughest and most virile of geniuses remains, when it comes to artistic perfection, an incomplete being.”

Charles Baudelaire book Les Paradis artificiels

L’homme qui, dès le commencement, a été longtemps baigné dans la molle atmosphère de la femme, dans l’odeur de ses mains, de son sein, de ses genoux, de sa chevelure, de ses vêtements souples et flottants,Dulce balneum suavibus Unguentatum odoribus,y a contracté une délicatesse d’épiderme et une distinction d’accent, une espèce d’androgynéité, sans lesquelles le génie le plus âpre et le plus viril reste, relativement à la perfection dans l’art, un être incomplet. "Un mangeur d'opium," VII: Chagrins d'enfance http://fr.wikisource.org/wiki/Les_Paradis_artificiels_-_II#VII_CHAGRINS_D.E2.80.99ENFANCE Les paradis artificiels (1860)

Perfection, Clothes

“He loved hitherto-unthought-of, thereafter-unthinkable combinations of instruments. When some extraordinary array of players filed half-proudly, half-sheepishly on to the stage, looking like the Bremen Town Musicians—if those were, as I think they were, a rooster, a cat, a dog, and a donkey—you could guess beforehand that it was to be one of Gottfried’s compositions. His Joyous Celebration of the Memory of the Master Johann Sebastian Bach had a tone-row composed of the notes B, A, C, and H (in the German notation), of these inverted, and of these transposed; and there were four movements, the first played on instruments beginning with the letter b, the second on instruments beginning with the letter a, and so on. After the magnificent group that ushered in the piece (bugle, bass-viol, bassoon, basset-horn, bombardon, bass-drum, baritone, and a violinist with only his bow) it was sad to see an Alp horn and an accordion come in to play the second movement. Gottfriend himself said about the first group: “Vot a bunch!””

Randall Jarrell book Pictures from an Institution

When I asked him how he had thought of it he said placidly: “De devil soldt me his soul.”
Source: Pictures from an Institution (1954) [novel], Chapter 4: “Constance and the Rosenbaums”, p. 136

Love, Sadness, Dogs, Soul

“It's amazing what success will do. I've just started a new book after taking a break of a year and a half since finishing 'The Book of Evidence,' and I'm fascinated to see if I can detect in myself a voice saying, 'Tone that bit down; make that bit easier; give them a few laughs,' which would be absolutely fatal. I don't think it's happening, but you can't tell what's happening beneath the surface.”

John Banville (1945) Irish writer

Once More Admired Than Bought, A Writer Finally Basks in Success (1990)

Books, Thinking, Success

“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

“Her respectful tone sounded almost sincere.”

Ann Leckie book Ancillary Justice

Source: Ancillary Justice (2013), Chapter 8 (p. 117)

Sincerity

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

Joseph Conrad book The Mirror of the Sea

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Men, War, Bird, Water

“I started to sing like myself — as opposed to imitating Nat Cole, which I had done for a while — when I started singing like Ray Charles, it had this spiritual and churchy, this religious or gospel sound. It had this holiness and preachy tone to it. It was very controversial. I got a lot of criticism for it.”

Ray Charles (1930–2004) American musician

San Jose Mercury News (1994)

Singing

“A man of intellect is like an artist who gives a concert without any help from anyone else, playing on a single instrument — a piano, say, which is a little orchestra in itself. Such a man is a little world in himself; and the effect produced by various instruments together, he produces single-handed, in the unity of his own consciousness. Like the piano, he has no place in a symphony; he is a soloist and performs by himself — in solitude, it may be; or if in the company with other instruments, only as principal; or for setting the tone, as in singing.”

Arthur Schopenhauer book Parerga and Paralipomena

Parerga and Paralipomena (1851), Counsels and Maxims

World, Solitude, Singing, Help

“A wonderful range of writing is offered in these and other forms. Stylistically, there are unspoken limits. The delphic or serpentine are not part of the repertoire. No fear could be more foreign to the journal than of ‘the mischief of premature clarification’, against which Fredric Jameson – whose arrival in its pages is a welcome departure from consistency – once warned. The too vehement is likewise at some discount, suspect of ‘rant’. Perhaps the best way of conveying the overall climate would be to say that the paper resists any trace of l’esprit du sérieux, in the Sartrean sense: that is, of the portentous, high-minded, hypocritical. Against all these, its playfulness finds expression on the largest as well as smallest of topics. Emblematic in this collection are the saturnine tones of Edward Luttwak, as a ‘heavy-weight’ contributor. 12 It is enough to think of the contributions of President Havel to the New York Review to understand their antithesis.”

Perry Anderson (1938) British historian

Debts 1. "The London Review of Books" (1996; 2005)
Ref: en.wikiquote.org - Perry Anderson / Quotes / Spectrum: From Right to Left in the World of Ideas (2005)
Spectrum: From Right to Left in the World of Ideas (2005), Debts 1. "The London Review of Books" (1996; 2005)

Fear, Way, Departure, Understanding

“Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother — a younger brother, to judge from the picture — on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again.”

J.M. Coetzee (1940) South African writer

Youth (2002)

Music, Dance

“Tone of voice is more crucial than words.”

Warren Farrell (1943) author, spokesperson, expert witness, political candidate

Source: Women Can't Hear What Men Don't Say (2000), p. 25.

“Grip eloquence by the throat and squeeze
It to death. And while you're about it
You might corral that runaway, Rhyme,
Or you'll get Rhyme Without End, Amen.
Who will denounce that criminal, Rhyme?
Tone-deaf children or crazed foreigners
No doubt fashioned its paste jewellery,
Tinplate on top, hollow underneath.”

Paul Verlaine (1844–1896) French poet

Prends l'éloquence et tords-lui son cou!
Tu feras bien, en train d'énergie,
Du rendre un peu la Rime assagie.
Si l'on n’y veille, elle ira jusqu’où?
Ô qui dira les torts de la Rime!
Quel enfant sourd ou quel nègre fou
Nous a forgé ce bijou d'un sou
Qui sonne creux et faux sous la lime?
Source: "Art poétique", from Jadis et naguère (1884), Line 21; Sorrell p. 125

Death, Children, Fashion, Past

“Charismatic Lithuanian baritone Vytautas Juozapaitis was a spirited, energetic Don Giovanni who held the audience's rapt attention whenever he was on stage. He had an authoritative sound that could be romantically enticing in an attempt to seduce a lady, but could change instantly into a commanding tone when anyone attempted to thwart his will.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Maria Nokin, "Mozart's 'Don Giovanni'". Ensemble (November 26, 2006) http://www.mvdaily.com/articles/2006/11/don-giovanni3.htm

Change

“The first 'Colour charts' were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions... Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.”

Gerhard Richter (1932) German visual artist, born 1932

Quote on Richter's 'Colour Charts', in an interview with Irmeline Lebeer, 1973; as cited on collected quotes on the website of Gerhard Richter: on 'Colour-charts' https://www.gerhard-richter.com/en/quotes/subjects-2/colour-charts-8 1970's

Art, Chance, Time

“Practise silence, for the voice of God can be heard in the region of your heart only when the tongue and the inner storm are stilled, and the waves (of the mind) are calmed. There will be no temptation for others to shout when you talk to them in whispers. Set the level of the tone yourself: as low as possible, as high as necessary to reach the outermost boundary of the circle you are addressing. Conserve sound, since it is the treasure of the element ether (Akasa), an emanation from God Himself. Reason can prevail only when the arguments are advanced without the whipping up of sound. Silence is the speech of the spiritual seeker. Soft speech is the expression of genuine love. Hate screeches; fear squeals; conceit trumpets; but love sings lullabies, it soothes, it applies balm. Practise the vocabulary of love; unlearn the language of hate and contempt.”

Sathya Sai Baba (1926–2011) Indian guru

"Divine Discourse" (19 February 1970)

Love, God, Hate, Fear

“In essence, religion was love; in no case was it logic. Reason can reach nothing except through the senses; God, by essence, cannot be reached through the senses; if he is to be known at all, he must be known by contact of spirit with spirit, essence with essence; directly; by emotion; by ecstasy; by absorption of our existence with his; by substitution of his spirit for ours. The world had no need to wait five hundred years longer in order to hear this same result reaffirmed by Pascal. Saint Francis of Assisi had affirmed it loudly enough, even if the voice of Saint Bernard had been less powerful than it was. The Virgin had asserted it in tones more gentle, but anyone can still see how convincing, who stops a moment to feel the emotion that lifted her wonderful Chartres spire up to God.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love, God, World, Religion

“On a Clear Day: Art work that is completely abstract - free from any expression of the environment is like music and can be responded to in the same way. Our response to line and tone and color is the same as our response to sounds... It holds meaning for us that is beyond expression in words.
These prints [title, 'On a Clear Day'] express innocence of mind. If you can go with them and hold your mind as empty and tranquil as they are and recognize your feelings at the same time you will realize your full response to this work.”

Agnes Martin (1912–2004) American artist

a passage Martin wrote in 1975 'On a Clear Day', 15 Oct. 1975. Printed in Agnes Martin, eds. Morris and Bell, p. 124
1970's

Art, Music, Color, Way

“The louder a sound is, the more we recognize it as being near, so the louder the "tone" of objects that is, the blacker or whiter the nearer they seem; and so if in our picture we wish to give a sense of distance, we must see that the darkest shadows and highest lights are in the foreground : and because we may not be able to materially alter things as the undiscriminating process gives them to us, we must seek for and select those scenes, those subjects, in which this arrangement of highest and deepest tones do come in the foreground, and then take care that our process renders them with fidelity, so that we may not lose the sense of their nearness or the feeling of greater distance of other planes which it is intended they shall give.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 44-45

Feeling, Sense, Light

“The artists and donors and priests forgot nothing which, in their judgment could set off the authority, elegance and refinement of the Queen of Heaven; even the young ladies-in-waiting are there, figured by the twelve Virtues and the fourteen Beatitudes; and indeed, though men are plenty and some of them are handsome, women give the tone, the charm, and mostly the intelligence. The court of Mary is feminine, and its charms are Grace and Love; perhaps even more grace than love, in a social sense, if you look at Beauty and Friendship among Beatitudes.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love, Women, Men, Friendship

“Whenever I came to him (Fritz Sauter) with a pure physics idea, he would invariably say, with slight sarcasm: "But Mr. Kroemer, you ought to be able to formulate this mathematically! " If I came to him with a math formulation, I would get, in a similar tone: "But Mr. Kroemer, that is just math, what is the physics?" After a few encounters of this kind, you got the idea: You had to be able to go back and forth with ease. Yet, in the last analysis, concepts took priority over formalism, the latter was simply an (indispensable) means to an end.”

Herbert Kroemer (1928) Nobel laureate in physics

in his Autobiography http://nobelprize.org/nobel_prizes/physics/laureates/2000/kroemer-autobio.html, Herbert Kroemer, The Nobel Prize in Physics 2000

Mathematics, Idea

“I caught glimpses of white-clad figures striding purposefully to and fro, heard men's voices calling each other in tones of authority and urgency, as if life had suddenly become more serious, as if battle were in prospect.”

L. P. Hartley book The Go-Between

The Go-Between (1953)

Life, Men

“Knowing Corot's ideas on tone [copy of a private letter, October 28, 1875].. and Couture's precepts on the subtlety of tints (at the time of his exhibition), having been struck by the intuition of Monet and Pissarro... Rood having been brought to my attention in an article by w:Philippe Gille, Figaro 1881, 3.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

Idea, Time

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

Death, Truth, World, Music

“The past is the poet's,—that world is his own;
Thence hath his music its truth and its tone.
He calls up the shadows of ages long fled,
And light, as life lovely, illumines the dead.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Vow of the Peacock (1835)

Love, Life, Truth, Age

“I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career. So for me, it's not necessarily having that kind of notoriety. I'm interested in great work and working with people that have a singular vision, and I think the work dictates that.”

Sarah Gadon (1987) Canadian actress

SARAH GADON IS NEW CLASS' 'MOST LIKELY TO WEAR A CORSET https://www.mtv.com/news/1671809/sarah-gadon-dream-house/ (September 30, 2011)

People, Thinking, Strong

“I can sum up all the arguments used against Joseph Smith and "Mormonism” in a very few words, the merits of which will be found in "OLD JOE SMITH. IMPOSTOR, MONEY DIGGER. OLD JOE SMITH. SPIRITUAL WIFE DOCTRINE. IMPOSTURE. THE DOCTRINE IS FALSE. MONEY DIGGER. FALSE PROPHET. DELUSION. SPIRITUAL WIFE DOCTRINE. Oh, my dear brethren and sisters, keep away from them, for the sake of your never dying souls. FALSE PROPHETS THAT SHOULD COME IN THE LAST DAYS. OLD JOE SMITH. ANTI-CHRIST. MONEY DIGGER, MONEY DIGGER, MONEY DIGGER. And the whole is wound up with an appeal, not to the good sense of the people, but to their unnatural feelings, in a canting, hypocritical tone, and there it ends.”

Brigham Young (1801–1877) Latter Day Saint movement leader

Journal of Discourses (1854), ed. G. D. Watt, Vol. 1, pp. 109–110 ( scanned image http://contentdm.lib.byu.edu/cgi-bin/docviewer.exe?CISOROOT=/JournalOfDiscourses3&CISOPTR=9599) Young’s comments regarding criticism of Joseph Smith, Jr. and Mormonism. 1850s

Money, People, Feeling, Soul

“I am afraid, dear Edwin and Angelina, you expect too much from love. You think there is enough of your little hearts to feed this fierce, devouring passion for all your long lives. Ah, young folk! don't rely too much upon that unsteady flicker. It will dwindle and dwindle as the months roll on, and there is no replenishing the fuel. You will watch it die out in anger and disappointment. To each it will seem that it is the other who is growing colder. Edwin sees with bitterness that Angelina no longer runs to the gate to meet him, all smiles and blushes; and when he has a cough now she doesn't begin to cry and, putting her arms round his neck, say that she cannot live without him. The most she will probably do is to suggest a lozenge, and even that in a tone implying that it is the noise more than anything else she is anxious to get rid of.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Love, Smile, Disappointment, Thinking

“What magic is this” asked one young German thickly.
”Not magic. Science. Preferable to magic.”
“Oh really?” said Sagitta in a freezing tone, and William blushed.
“You yourself have said there are very few people with the talent of magic. Science is open to all.”
“When knowledge ends, only faith remains,” said Armand.
“So we should abandon the pursuit of knowledge lest we diminish faith? That’s stupid,” said William belligerently.
“The simple folk of village and cottage are happier if they’re not confused with things beyond their understanding,” declared Sagitta.
“Sagitta, how do we know it’s beyond their understanding?”

Melinda M. Snodgrass (1951) American writer

“Because if it weren’t they wouldn’t be common,” cried Solms-Braunfels, and there was another shout of laughter from the table.
Source: Queen's Gambit Declined (1989), Chapter 8 (p. 89)

People, Stupidity, Faith, Understanding

“An unbiased reader, on opening one of their [Fichte’s, Schelling’s or Hegel’s] books and then asking himself whether this is the tone of a thinker wanting to instruct or that of a charlatan wanting to impress, cannot be five minutes in any doubt. … The tone of calm investigation, which had characterized all previous philosophy, is exchanged for that of unshakeable certainty, such as is peculiar to charlatanry of every kind and at all times. … From every page and every line, there speaks an endeavor to beguile and deceive the reader, first by producing an effect to dumbfound him, then by incomprehensible phrases and even sheer nonsense to stun and stupefy him, and again by audacity of assertion to puzzle him, in short, to throw dust in his eyes and mystify him as much as possible.”

Arthur Schopenhauer book Parerga and Paralipomena

E. Payne, trans. (1974) Vol. 1, p. 23
Parerga and Paralipomena (1851), Sketch of a History of the Doctrine of the Ideal and the Real

Books, Time

“By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs…Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations.”

George Perle (1915–2009) American composer

Pages 46-47
The Listening Composer

Music, Communication, Time

“Dodgeball? My children were playing dodgeball? That cruel, brutal, violent schoolyard game so mercilessly satirized in the 2004 film with Ben Stiller? The game, more important, that exemplified everything that was wrong with my childhood in suburban New Jersey, a short, pasty-faced Jewish girl in a town full of scrubbed, blond, athletic WASPs, their long tanned limbs toned from years of tennis lessons and country club swim teams? Dodgeball? Over my dead body.”

Ayelet Waldman (1964) American- Israeli writer

Salon.com column http://www.salon.com/mwt/col/waldman/2005/06/06/dodgeball/index.html?sid=1350454

Children, Girl, Game, Childhood

“Ebbinghaus: Language is a system of conventional signs that can be voluntarily produced at any time.
Croce: Language is articulated, limited sound organized for the purpose of expression.
Dittrich: Language is the totality of expressive abilities of individual human beings and animals capable of being understood by at least one other individual.
Eisler: Language is any expression of experiences by a creature with a soul.
B. Erdmann: Language is not a kind of communication of ideas but a kind of thinking: stated or formulated thinking. Language is a tool, and in fact a tool or organ of thinking that is unique to us as human beings.
Forbes: Language is an ordered sequence of words by which a speaker expresses his thoughts with the intention of making them known to a hearer.
J. Harris : Words are the symbols of ideas both general and particular: of the general, primarily, essentially and immediately; of the particular, only secondarily, accidentally and mediately.
Hegel: Language is the act of theoretical intelligence in its true sense, for it is its outward expression.
Jespersen: Language is human activity which has the aim of communicating ideas and emotions.
Jodl: Verbal language is the ability of man to fashion, by means of combined tones and sounds based on a limited numbers of elements, the total stock of his perceptions and conceptions in this natural tone material in such a way that this psychological process is clear and comprehensible to others to its least detail.
Kainz : Language is a structure of signs, with the help of which the representation of ideas and facts may be effected, so that things that are not present, even things that are completely imperceptible to the senses, may be represented.
De Laguna: Speech is the great medium through which human co-operation is brought about.
Marty: Language is any intentional utterance of sounds as a sign of a psychic state.
Pillsbury-Meader: Language is a means or instrument for the communication of thought, including ideas and emotions.
De Saussure: Language is a system of signs expressive of ideas.
Schuchardt. The essence of language lies in communication.
Sapir: Language is a purely human and non-instinctive method of communicating ideas, emotions and desires by means of a system of voluntarily produced symbols.”

Géza Révész (1878–1955) Hungarian psychologist and musicologist

Footnote at pp. 126-127; As cited in: Adam Schaff (1962). Introduction to semantics, p. 313-314
The Origins and Prehistory of Language, 1956

Way, Soul, Intelligence, Communication

“The sudden and abrupt deletion of all individuals occupying the lower bands of the Tone Scale from the social order would result in an almost instant rise in the cultural tone and would interrupt the dwindling spiral into which any society may have entered.”

L. Ron Hubbard book Science of Survival

Source: Science of Survival (1951), p. 170.

“You know the wild flowers suit your hair:
Place hands full of the purple bloom
Of loosestrife, glad of such soft doom,
And tender-toned narcissus there”

Edward Andrade (1887–1971) English physicist

Poem Fate and the Little Flowers

Flowers

“Gaiety of tone is the luminous dominant, of tint, the warm dominant, of line, lines above the horizontal
Calmness of tone is the equality of dark and light; of tint, of warm and cool, and the horizontal for line.
Sadness of tone is the dark dominant; of tint, the cool dominant, and of line, downward directions.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

Sadness, Light

“I grew up with the colors of war -- the red colors of fire and blood, the brown tones of earth as it explodes in our faces and the piercing silver of an exploded missile, so bright that nothing can protect your eyes from it. I grew up with the sounds of war -- the staccato sounds of gunfire, the wrenching booms of explosions, ominous drones of jets flying overhead and the wailing warning sounds of sirens. These are the sounds you would expect, but they are also the sounds of dissonant concerts of a flock of birds screeching in the night, the high-pitched honest cries of children and the thunderous, unbearable silence. "War," a friend of mine said, "is not about sound at all. It is actually about silence, the silence of humanity."”

Zainab Salbi (1969) Iraqi American author, women's rights activist

Speech at TEDGlobal 2010

War, Children, Color, Bird

“Light in tone, the novel [Murphy] is Beckett’s response to the therapeutic orthodoxy that the patient should learn to engage with the larger world on the world’s terms.”

J.M. Coetzee (1940) South African writer

“The Making of Samuel Beckett,” New York Review of Books, vol. LVI, no. 7 (April 30, 2009), p. 14

World, Light, Learning

“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

“In the case of a novel, or any imaginative work, especially if the tone is poetic, my own preference is for ending with a touch of symbolism which shall leave the reader brooding. A fine novel, a well-written story, "proves" nothing. Certain characters have played their parts, life goes on, and the final passage may be allowed to remain with one foot in the air, as is the case with some of Chopin's conclusions. But there is no absolute rule in such matters, and there are epic novelists who like to end on a powerful crescendo, as Ravel does in Bolero, or Dvorak in the New-World Symphony. Composition has features which are common to all the arts, and the author can learn as much about his business in the concert hall as in the library.”

André Maurois (1885–1967) French writer

The Art of Writing

Life, World, Art, Imagination

“Women, he held, had never been treated with elementary justice. To worship them was no less unfair than to hold them in contempt. The honest man, in our day, should regard a woman without the least bias of sexual prejudice; should view her simply as a fellow-being, who, according to circumstances, might or not be on his own plane. Away with all empty show and form, those relics of barbarism known as chivalry! He wished to discontinue even the habit of hat-doffing in female presence. Was not civility preserved between man and man without such idle form? Why not, then, between man and woman? Unable, as yet, to go the entire length of his principles in every-day life, he endeavoured, at all events, to cultivate in his intercourse with women a frankness of speech, a directness of bearing, beyond the usual. He shook hands as with one of his own sex, spine uncrooked; he greeted them with level voice, not as one who addresses a thing afraid of sound. To a girl or matron whom he liked, he said, in tone if not in phrase, "Let us be comrades." In his opinion this tended notably to the purifying of the social atmosphere. It was the introduction of simple honesty into relations commonly marked — and corrupted — by every form of disingenuousness. Moreover, it was the great first step to that reconstruction of society at large which every thinker saw to be imperative and imminent.
But Constance Bride knew nothing of this, and in her ignorance could not but misinterpret the young man's demeanor. She felt it to be brusque; she imagined it to imply a purposed oblivion of things in the past.”

George Gissing (1857–1903) English novelist

Source: Our Friend the Charlatan (1901), Ch. II

Life, Women, Justice, Sex

“Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”

Alfred Stieglitz (1864–1946) American photographer

Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.

Nature, Sense, Light, Distant

“Whereas the conception of space and time as a four-dimensional manifold has been very fruitful for mathematical physicists, its effect in the field of epistemology has been only to confuse the issue. Calling time the fourth dimension gives it an air of mystery. One might think that time can now be conceived as a kind of space and try in vain to add visually a fourth dimension to the three dimensions of space. It is essential to guard against such a misunderstanding of mathematical concepts. If we add time to space as a fourth dimension it does not lose any of its peculiar character as time. …Musical tones can be ordered according to volume and pitch and are thus brought into a two dimensional manifold. Similarly colors can be determined by the three basic colors red, green and blue… Such an ordering does not change either tones or colors; it is merely a mathematical expression of something that we have known and visualized for a long time. Our schematization of time as a fourth dimension therefore does not imply any changes in the conception of time. …the space of visualization is only one of many possible forms that add content to the conceptual frame. We would therefore not call the representation of the tone manifold by a plane the visual representation of the two dimensional tone manifold.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Music, Color, Mathematics, Thinking

“As the peculiar faculty of the eye is to see form and colour, and of the ear to hear sweet tones and voices, so is aspiration peculiar to the soul. To relax from ceaseless aspiration is sin. This energy of aspiration directed to and grasping God, as far as is possible for the creature, is called Hope, which is also a divine virtue. Through this faculty the soul acquires such great confidence that she deems nothing in the Divine Nature beyond her reach.”

Meister Eckhart (1260–1328) German theologian

Sermon VII : Outward and Inward Morality
Meister Eckhart’s Sermons (1909)

God, Hope, Soul, Confidence

“As far as my own experience is concerned, I sometimes begin a drawing with no preconceived problem to solve, with only the desire to use pencil on paper, and make lines, tones, and shapes with no conscious aim; bur as my mind takes in what is so produced, a point arrives where some idea becomes conscious and crystallizes, and then a control and ordering begin to take place.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, The sculptor speaks' (1937), p. 255

Idea, Problem, Drawing

“You can do plein-air painting indoors, [to his pupil then, Berthe Morisot ] by painting white in the morning, lilac during the day and orange tones in the evening.”

Edouard Manet (1832–1883) French painter

quote of Manet, recorded bij Berthe Morisot; in Manet by Himself, ed. Juliet Wilson Bareau Little Brown 2000, London; p. 303
1850 - 1875

Painting

“The happiest screen collaboration of Elsa Lanchester and Charles Laughton — they're both wonderful — is in this adaptation of a Somerset Maugham story, "The Vessel of Wrath." It's set on an island in the Pacific, which Maugham calls Baru, and it's concerned with the efforts of the prim missionary (Lanchester) to reform the carnal, ribald beachcomber (Laughton). The situation is the reverse of that in Maugham's Sadie Thompson story, but with a light, comic tone. The Hepburn-Bogart "African Queen" probably took a few notions from it.”

Pauline Kael (1919–2001) American film critic

"The Beachcomber," p. 56.
5001 Nights at the Movies (1982)

Effort, Light

“I complain to one of my fellow servers that I don't understand how she can go so long without food. "Well, I don't understand how you can go so long without a cigarette," she responds in a tone of reproach. Because work is what you do for others; smoking is what you do for yourself.”

Barbara Ehrenreich (1941) American writer and journalist

Source: Nickel and Dimed: On (Not) Getting by in America (2001), Ch. 1: Serving in Florida (p. 31)

Food, Understanding

“During a lecture the Oxford linguistic philosopher J. L. Austin made the claim that although a double negative in English implies a positive meaning, there is no language in which a double positive implies a negative. To which Morgenbesser responded in a dismissive tone, "Yeah, yeah."”

Sidney Morgenbesser (1921–2004) American philosopher

The Independent, The Independent, Professor Sidney Morgenbesser: Philosopher celebrated for his withering New York Jewish humour http://www.independent.co.uk/news/obituaries/professor-sidney-morgenbesser-550224.html, 6 August 2004. The Times, Sidney Morgenbesser: Erudite and influential American linguistic philosopher with the analytical acuity of Spinoza and the blunt wit of Groucho Marx https://www.thetimes.co.uk/article/sidney-morgenbesser-5cz8gg8qfvm, September 8, 2004. (Some have quoted it as "Yeah, right.") Block, Melissa (August 2, 2004). " The Witty Professor: Sidney Morgenbesser https://www.npr.org/templates/story/story.php?storyId=3810783". NPR.org. Baum, Devorah (2017). The Jewish Joke: An essay with examples (less essay, more examples) https://books.google.com/books/about/The_Jewish_Joke.html?id=vwD0DQAAQBAJ. Profile Books. ISBN <bdi>9781782831938</bdi>.

Quotes

“The other major impression to emerge from Magick Without Tears is that -- as odd as it sounds -- one of Crowley's chief drawbacks was his sense of humour. This is a disability he shares with Bernard Shaw: both were driven by a strange compulsion to be flippant. But when he becomes absorbed in an idea, Shaw can remain serious for a sufficiently long time to convince the reader of his intellectual stature. In Crowley, the flippancy has the tone of a schoolmaster trying to be funny for the benefit of the sixth form, or a muscular Christian trying to convince you that he isn't really religious. 'How can a yogi ever feel worried?... That question I have been expecting for a very long time!' (Crowley has never learned that exclamation marks give the impression of a gushing schoolgirl.) 'And what you expect is to see my middle stump break the wicket-keeper's nose, with the balls smartly fielded by Third Man and Short Leg!' It makes us aware that there was something wrong with Crowley's 'self-image.”

Colin Wilson (1931–2013) author

He is one of those people who, no matter how hard they try, never feel quite grown up.
Source: Aleister Crowley: The Nature of the Beast (1987), p. 150

People, Feeling, Idea, Question

“I was born to be an editor, I always edit everything. I edit my room at least once a week. Hotels are made for me. I can change a hotel room so thoroughly that even its proprietor doesn't recognize it… I edit people's clothes, dressing them infallibly in the right lines… I change everyone's coiffure — except those that please me — and these I gaze at with such satisfaction that I become suspect, I edit people's tones of voice, their laughter, their words. I change their gestures, their photographs. I change the books I read, the music I hear… It's this incessant, unavoidable observation, this need to distinguish and impose, that has made me an editor. I can't make things. I can only revise what has been made.”

Margaret Caroline Anderson (1886–1973) American magazine editor

My Thirty Years' War: An Autobiography (Knopf, 1930, 274 pages), p. 58.

People, Books, Music, Laughter

“There have been two or three meetings held in the City of London… attended by the same class of people, but not ending up with a resolution promising to pay. On the contrary, we are spending the money, but they won't pay. What has happened since to alter their tone? Simply that we have sent in the bill. We started our four Dreadnoughts. They cost eight millions of money. We promised them four more; they cost another eight millions. Somebody has got to pay, and then these gentlemen say: "Perfectly true; somebody has got to pay, but we would rather that somebody were somebody else". We started building; we wanted money to pay for the building; so we sent the hat round. We sent it round amongst workmen, and the miners and weavers of Derbyshire and Yorkshire, and the Scotchmen of Dumfries, who, like all their countrymen, know the value of money, they all dropped in their coppers. We went round Belgravia, and there has been such a howl ever since that it has well-nigh deafened us.”

David Lloyd George (1863–1945) Former Prime Minister of the United Kingdom

Speech in Limehouse, East London (30 July 1909), quoted in Better Times: Speeches by the Right Hon. D. Lloyd George, M.P., Chancellor of the Exchequer (London: Hodder & Stoughton, 1910), p. 144.
Chancellor of the Exchequer

Money, People

“Tone is light in another shape. In music, instruments perform the functions of the colours employed in painting.”

Honoré de Balzac book Gambara

Gambara (1837)

Music, Light, Painting

“Take the tone of the company you are in.”

Philip Stanhope, 4th Earl of Chesterfield (1694–1773) British statesman and man of letters

16 October 1747
Letters to His Son on the Art of Becoming a Man of the World and a Gentleman (1774)

“Thou art the whisper in the gloom,
The hinting tone, the haunting laugh:
Thou art the adorner of my tomb,
The minstrel of mine epitaph.”

Lionel Johnson (1867–1902) English poet

The Dark Angel (1895)

Art

“Poetry is an art form that demands heightened attention and retention. It both invites and rewards more intense involvement than we normally give to other kinds of speech. Poetic technique, therefore, is never esoteric but eminently practical. It serves at least two purposes. First, it announces that a poem differs from other kinds of speech, that it requires the audience's special attention. A poem begins by attracting our attention through its sound, shape, typography, syntax, texture, or tone. Second, the technique maintains the audience's involvement. All poetic form is a way of keeping the audience's attention beyond what ordinary language requires. Meter, for example, creates a gentle trance state in the auditor. Since poetry is more intense, condensed, and expressive than ordinary language, it needs these techniques to carry the burden of its message.”

Dana Gioia (1950) American writer

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

Art, Way

“It would not be too much to say that if all drinking of fermented liquors could be done away, crime of every kind would fall to a fourth of its present amount, and the whole tone of moral feeling in the lower order might be indefinitely raised.”

Charles Buxton (1823–1871) English brewer, philanthropist, writer and politician

Reported to be in his pamphlet How to Stop Drunkenness in Grappling with the Monster http://www.gutenberg.org/files/13509/13509.txt by T. S. Arthur Attributed

Feeling, Drink

“I have pleaded (labor's) case, not in the quavering tones of a feeble mendicant asking alms, but in the thundering voice of the captain of a mighty host, demanding the rights to which free men are entitled.”

John L. Lewis (1880–1969) American labor leader

Speech at United Mine Workers convention at Indianapolis (March 1940), quoted in Melvyn Dubofsky and Warren R. Van Tine, John L. Lewis: A Biography (1986), p. 278

Men

“There rise her timeless capitals of Empires daily born,
Whose plinths are laid at midnight, and whose streets are packed at morn;
And here come hired youths and maids that feign to love or sin
In tones like rusty razor-blades to tunes like smitten tin.”

Rudyard Kipling (1865–1936) English short-story writer, poet, and novelist

Naaman's Song http://whitewolf.newcastle.edu.au/words/authors/K/KiplingRudyard/prose/LimitsRenewals/naamansong.html, Stanza 2. Other works

Love, Youth

“Went in at the tone eare and out at the tother.”

John Heywood (1497–1580) English writer known for plays, poems and a collection of proverbs

Part II, chapter 9.
Proverbs (1546), Bartlett's Familiar Quotations, 10th ed. (1919)

“We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple... The method of expression relies on the optical mixture of tones, tints and their reactions”

Paul Signac (1863–1935) French painter

shadows that follow very strict rules Quote from Maria Buszek, online - note 22 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf Seurat's quote from: Jules Christophe, Seurat, in 'Les Hommes d'aujourd'hui', no. 368, March-April 1890 From Delacroix to Neo-Impressionism, 1899

Art, Light, Reading

“To be a student of Stuck [1898 - 1900] sounded good. In reality, however, it was not half so splendid. Instead of coming to him with a sound mind I brought a thousand pains and many prejudices. In the realm of colour I found it hard to progress. Since the tone provided by mood predominated strongly in my mastery of form, I sought to find as much profit as possible here at least. And, in this respect, a great deal really was to be gained at Stuck's. Naturally I was not the only one, at this time, to be deficient in the realm of color. Later, in his monograph, Kandinsky passed a similar judgement on this school [of Stuck].”

Paul Klee (1879–1940) German Swiss painter

Quote (1900), # 121, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1895 - 1902

Pain, School, Color, Mood

“Alas! when angry words begin
Their entrance on the lip to win;
When sullen eye and flushing cheek
Say more than bitterest tone could speak;
And look and word, than fire or steel,
Give wounds more deep,—time cannot heal;
And anger digs, with tauntings vain,
A gulf it may not pass again.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Golden Violet - The Ring
The Golden Violet (1827)

Time, Anger

“Faith is important to me. I wanted to make sure the tone was reverent. I'm just someone who marvels at God. I grew up Catholic, but I'm very comfortable in all religions.”

Vera Farmiga (1973) American actress

On her directorial debut film Higher Ground, as quoted in " The One-Minute Interview with Vera Farmiga http://www.gq.com/story/vera-farmiga-higher-ground-interview" by Andrew Richdale at GQ (August 25, 2011)

God, Faith, Religion

“We need a renewed emphasis on civic learning in schools. And our young people need positive role models. Bullying and prejudice in our public life sets a national tone, provides permission for cruelty and bigotry, and compromises the moral education of children. The only way to pass along civic values is to first live up to them.”

George W. Bush (1946) 43rd President of the United States

2010s, 2017, Speech at "Spirit of Liberty: At Home, In the World" event (2017)

Life, Children, People, Education

“At certain moments, words are nothing; it is the tone in which they are uttered.”

Paul Bourget (1852–1935) French writer

A de certaines minutes, les mots ne sont rien, c’est le ton qui est tout.
Source: Cosmopolis (1892), Ch. 5 "Countess Steno"

“Technical display in Chopin, after the early works, is transmuted into tone color or dramatic gesture-we may say, to accept the prejudices of Chopin's own generation, that it has been ennobled. This is the source of much of the poetry in Chopin's music: it comes from the transformation of the vulgar into something aristocratic.”

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

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Music, Color

“We do not mechanically connect the sensation of white with the idea of light, any more than we connect the sensation of black with the idea of darkness. We admit that a black jewel, even if of a dead black, may be more luminous than the white or pink satin of its case. Loving light, we refuse to measure it, and we avoid the geometrical ideas of the focus and the ray, which imply the repetition-contrary to the principle of variety which guides us-of bright planes and sombre intervals in a given direction. Loving colour, we refuse to limit it, and subdued or dazzling, fresh or muddy, we accept all the possibilities contained between the two extreme points of the spectrum, between the cold and the warm tone.”

Albert Gleizes (1881–1953) French painter

1910s, Du Cubisme (1912)

Love, Idea, Light, Dead

“While debates are meant to include tough questions and contrast candidates' visions and policies for the future of America, CNBC's moderators engaged in a series of 'gotcha' questions, petty and mean-spirited in tone, and designed to embarrass our candidates. What took place Wednesday night was not an attempt to give the American people a greater understanding of our candidates' policies and ideas”

Reince Priebus (1972) American attorney and politician; White House Chief of Staff, January – July 2017

Debate fallout: GOP suspends partnership with NBC http://www.washingtonexaminer.com/debate-fallout-gop-suspends-debate-partnership-with-nbc/article/2575337 (October 30, 2015)

People, Idea, Understanding, Question

“All poetry is the reproduction of the tones of speech”

Louis Untermeyer (1885–1977) American poet

Modern American Poetry 1950

Quotes about tone page 4

Quotes about tone
page 4