Classical Quotes - page 25
The classical support for as-if models in the social sciences stems from the economist Milton Friedman (1953), who, like the psychologist B. F. Skinner, saw little value in modeling cognitive processes. In contrast, our aim is to understand actual decision processes, not only the outcomes. There is a good reason for this. Without modeling the cognitive blade of Simon's scissors, it is utterly impossible to determine in what environments heuristics succeed, that is, their ecological rationality.
Gerd Gigerenzer
What is more, Bhimsen was as much at home in encapsulating the classical mode as in toying with the lighter variety of music. While his alap, bhadat and bandish in the classical mode sported a proportioned, balanced and serene majesty of the melodic range, the lighter Bhava Geet, Thumri, Abhang and Dasapadas were redolent with discreet lyrical flavour.
Bhimsen Joshi
Old-boy networks, alumni giving, affirmative action, sports, and diversity have pretty much put an end to classical meritocratic admissions. That decline of standards in admissions is perversely ironic, because at about the same time, a new campus ethos of grade inflation was predicated on the self-important notion that if you were smart enough to get into Princeton or Harvard, then Harvard and Princeton would make the necessary adjustments and concessions to make sure you graduated. The result of self-congratulation is that a Stanford graduate now usually knows less history than his Hillsdale counterpart. A successful self-made businessman can know a lot more about the economy than does a Harvard M. B. A.
Victor Davis Hanson
When I was nine years old, I started playing guitar, and I took classical guitar lessons and studied music theory. And played jazz for a while. And then when I was around fourteen years old, I discovered punk rock. And so I then tried to unlearn everything I had learned in classical music and jazz so I could play in punk rock bands.
Moby
Maybe baseball has to accept that it is now more like classical music than popular music, with football and basketball - and soccer? - being the Justin Biebers and Lady Gagas of sports. Baseball need not hang its head in shame. A lot of things that are good and worthy are not popular. And baseball is plenty popular, for heaven's sake.
Jay Nordlinger
Such abstruse ideas are totally alien to Chopin. The Romantic interweaving of music and literature that was characteristic of Schumann and Liszt was a negligible source of inspiration. Schumann dedicated Kreisleriana to Chopin, but in fact Chopin's consciousness for classical strength and form had nothing in common with the exalted, torn, eccentric and confused character of the work.
Burkard Schliessmann
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
Undoubtedly the best language for the expression of this ‘unfathomable' quality was music. The infinity of musical spheres of expression, independent of rationality, is often perceived as ‘unfathomable' by listeners too. The formal principles of order seem to lie hidden deeper in this art than in others. In the twentieth century the great creative minds, when faced with Romantic artistic urges running riot which they believe must be overcome, or feel they have succeeded in overcoming, have stressed the importance of existing rules; they have followed traditional forms, or else, in their search for new ways to connect, have found and set up new formula-tions and principles. The young Schumann's creative path led in the opposite direction, from classical forms, however deeply revered, to the freedom of subjective self-expression.
Burkard Schliessmann
I'm very interested in the ‘Culture of Interpretation.' I'm convinced that each great artist has his own personal style, but it is his artistic responsibility in developing this style to respond other interpretations, either prior or at the same time. I'm convinced that Rubinstein would have presented us another Chopin if Cortot had not existed. Cortot presented very romantic Chopin interpretations - really masterly, outstanding, but confused. Rubinstein's immediate answer was a very classical Chopin. He was really the first to point out the classical line and structure in his oeuvre.
Burkard Schliessmann
