Musical Quotes - page 10
If you pass the light from a sodium flash through a prism, you get a pattern very different from the familiar continuous rainbow that Newton elicited from natural sunlight. Instead of a continuous pattern, in which all gradations of pure color are apparently represented, the sodium flash generates a series of lines of light. ...in the musical analogy, sodium produces a chord where sunlight produced all possible tones-"white noise."
Frank Wilczek
The bases of music are rhythm and harmony. Rhythm is ordered recurrence in time... As the planets move around the sun, they repeat their orbits periodically; thus there is already a primitive kind of rhythm in their motion.... Harmony... can be considered a special kind of rhythm.... pure musical tones are produced when the vibrations are... periodic or... repeat themselves regularly in time. Two tones harmonize if their intervals of repetition are in rhythm-or, in mathematical language, if their periods are in proportion. Kepler... in the third book of Harmonice mundi... attempted to make other... related, connections between musical harmony and mathematical proportion.
Frank Wilczek
...there is no point to musical analysis at all unless it is 'two-dimensional' – unless [...] one examines the music in terms of what I call its 'Background' (and this 'Background' is the sum total of the expectations which the composer creates) and its 'Foreground' (and its 'Foreground' is what he does instead). That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead...
Hans Keller
The musician's technique, in fact, should be as protean as the actor's. The best method of attaining this is by combining the qualities of the artist and the technician. To do this it is essential, that in addition to concentrating upon musical technique, one should keep in touch with the other arts. They provide that general culture to the musician without which he will never become a great artist.
Alfred Cortot
It seems to me that this last piece, The Poet Speaks, which is the title Schumann gave to this immortal work, should be a transition into a kind of intimate reverie. It is not just about making a beautiful sound and expressive phrasing. You also need to create a sense of dreaming. The truth is, you need to dream this piece, rather than play it.
Will you allow me to take your place? These two phrases are not connected. They are two different elements... of the same musical state. Here, like a question... And here again, another, tenderly asking the way. And from this moment, you should convey the music not just through the notes but through some kind of inspiration drawn from its immortal spirit. Now the sonorities should fade away...grow fainter and dimmer...and you are left simply in the presence of a reminiscent dream.
Alfred Cortot
The nice thing about an -ism, someone once observed, is how quickly it becomes a wasm. Some musical wasms-academic-wasm, for example, and its dependent varieties of modern-wasm and Serial-wasm-continue to linger on artifical life support, thought, and continue to threaten the increasingly fragile classical ecosystem.
Richard Taruskin
When I was little, I saw the play Les Misérables on Broadway, I thought it was the most amazing thing I have ever seen. So I went to my manager and told him I wanted to be in it. He asked me if I could sing, and I said no. I took one lesson and landed the role of Cosette in a national tour of the musical.
Ashley Tisdale
Musical compositions can be very sad - Chopin - but you have the pleasure of this sadness. The cheap consolation is: you will be happy. The higher consolation is the pleasure and recognition of your unhappiness, the pleasure of having recognised that fate, destiny and life are such as they are and so you reach a higher form of consciousness.
Umberto Eco
Although it may seem incredible, this cure helped me. At the beginning of the summer I began to compose... New musical ideas began to stir with me-far more than I needed for my concerto. By the autumn I had finished the Adagio and Finale... The Two movements I played... at a charity concert... They had a gratifying success... By the Spring I had finished the first movement of the concerto... Out of gratitude, I dedicated it to Nikolay Dahl.
Sergei Rachmaninoff
Dad is a man of few words. He rarely discusses my compositions. But I hear him humming my numbers to my nephew. The recent one is a hit from the Telugu flick "Oy”. A musical genius in the family is both a huge advantage and a disadvantage. I've absorbed so much from my father. But, at the same time, fans keep writing to me saying they expect more from me - because of my lineage!
Yuvan Shankar Raja
Dad used to say it's [live recording] the backbone for any musical endeavour. And I've realised that with time. So most often, my re-recordings are live. Technology does enhance music, but the warmth of a live orchestra is incomparable. Fans wrote to me after ‘Oru Devadai...' ("Vaamanan”) saying the score had a divine quality. That's because it was done live. Besides, I'm also conscious of the employment problem that technology-driven music creates.
Yuvan Shankar Raja
But just as the world grew right again,
We heard a wanderer out on the plain
Singing what none of us understood;
Yet we thought that the world grew thrice more sweet
And the meadows were blossoming under his feet.
And we felt a grand and beautiful fear,
For we knew that a marvellous thought drew near;
So we kept the glass for a little while:
And the skies grew deeper and twice as bright,
And the seas grew soft as a flower of light,
And the meadows rippled from stile to stile;
And memories danced in a musical throng
Thro' the blossom that scented the wonderful song.
Alfred Noyes
I suppose it is written that any one who sets up for a bit of a philosopher, must contradict himself to his very face. For here have I fairly talked myself into thinking that we have the whole thing before us at last; that there is no answer to the mystery, except that there are as many as you please; that there is no centre to the maze because, like the famous sphere, its centre is everywhere; and that agreeing to differ with every ceremony of politeness, is the only "one undisturbed song of pure concent” to which we are ever likely to lend our musical voices.
Robert Louis Stevenson
I knew Robert Burns, and I knew my father. Yet were you to ask me which had the greater natural faculty, I might perhaps actually pause before replying. Burns had an infinitely wider education, my father a far wholesomer. Besides, the one was a man of musical utterance; the other wholly a man of action, with speech subservient thereto. Never, of all the men I have seen, has one come personally in my way in whom the endowment from nature and the arena from fortune were so utterly out of all proportion. I have said this often, and partly know it. As a man of speculation - had culture ever unfolded him - he must have gone wild and desperate as Burns; hut he was a man of conduct, and work keeps all right. What strange shapable creatures we are!
Thomas Carlyle
