Composition Quotes - page 13
The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is...from Wagner.
George Perle
The only happy talkers are dandies who extract pleasure from the very perishability of their material and who would not be able to tolerate the isolation of all other forms of composition for most good talkers, when they have run down, are miserable they know that they have betrayed themselves, that they have taken material which should have a life of its own, to dispense it in noises upon the air.
Cyril Connolly
[with painting] directly tube against canvas, one soon becomes too slick... I regretfully realized that my composition was reduced to no more than a series of coloured rhythms, harmonious, discordant, monotonous and that, from simplification to simplification, I was falling into the trap of decoration. I no longer got to the bottom of things: I no longer cut through to their heart. The decorative spirit was leading me to forget painting.
Maurice de Vlaminck
As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.
Guity Novin
My subject matter is Colombia and it has always been Colombia; I lived many years in New York, in Paris, and I have never had the feeling to paint an American or a French subject matter. The thing is that the art - and the artist - must have roots in his own land, in his own life: my life is in Colombia, and my land is Colombia. Now, of course, the language that you use to express the subject matter must be universal: the composition, the colour, the balance, etc. In this sense, subject must be local, but the language must be universal, in order to touch any human being in the world...
Fernando Botero
[Doc Dubois] had been focusing all of his attention in the other direction, on Peach Pit and its iron-rich "children,” PP1, PP2, and PP3, nailing down their exact orbital parameters, taking high-res photographs.
PP3 was especially interesting. It was a congealed glob of mostly iron, similar in composition to Amalthea. It was some fifty kilometers in diameter. And it had a deep cleft on one side, comparable in size to the Grand Canyon, apparently formed by a collision that had rent its outer skin while it was partly congealed. Doob had begun calling PP3 Cleft.
Neal Stephenson
Human happiness seems to consist in three ingredients action, pleasure and indolence. And though these ingredients ought to be mixed in different proportions, according to the disposition of the person, yet no one ingredient can be entirely wanting without destroying in some measure the relish of the whole composition. composition.
David Hume
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
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
Salman Rushdie
