Musical Quotes - page 40
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
A lot of my tracked music was written when I was very young, relatively speaking. I was very optimistic, I had finally discovered some sort of public musical outlet, it was generally a very happy time. So, the music of that time sort of reflects that, I think? By the time I started the Alpha Conspiracy project, I was older, a bit more sophisticated (and, well, cynical), and so the music got more complex.
Andrew Sega
We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.
Andrew Sega
If I tend to reread the European past in my own Postmodern image, if I frequently write about Bach and Beethoven in the same ways in which I discuss the Artist Formerly Known as Prince and John Zorn, it is not to denigrate the canon but rather to show the power of music all throughout its history as a signifying practice. For this is how culture always works-always grounded in codes and social contracts, always open to fusions, extensions, transformations. To me, music never seems so trivial as in its 'purely musical' readings. If there was at one time a rationale for adopting such an intellectual position, that time has long since past. And if the belief in the nineteenth-century notion of aesthetic autonomy continues to be an issue when we study cultural history, it can no longer be privileged as somehow true.
Susan McClary
Man will become immeasurably stronger, wiser, and subtler his body will become more harmonious, his movements more rhythmic, his voice more musical. The forms of life will become dynamically dramatic. The average human type will rise to the heights of an Aristotle, a Goethe, or a Marx. And above these heights, new peaks will rise.
Leon Trotsky
His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky.
George Sand
I hope it is clear...that the ways in which pitches represent pitch classes, and the ways pitch classes abstract pitch, must be examined in order to describe any kind of musical sense or progression, and that if one steps back into abstracted considerations derived without respect to such concerns, an understanding of the qualities of musical uniqueness will continue to be suppressed in favor of generalizations, which at best evoke a vague sense of what a piece may be doing, perhaps in common with some other pieces, but not what one piece is doing, all by itself.
Paul Lansky
