Harmonic Quotes
The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.
Frank Zappa
The music has gotten thick. Guys give me tunes and they're full of chords. I can't play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them.
Miles Davis
To start, we will consider a single particle moving in three space dimensions under the influence of a general central potential. Later we will specialize to the case of a Coulomb potential, and work out the spectrum of hydrogen. One other classic problem, the harmonic oscillator, will be treated at the end of this chapter.
Steven Weinberg
Joni's genius is that she creates chords that are ambiguous, chords that have two or more different roots. ...Joni's music is as close to impressionist visual art as anything I've heard. ...harmonic complexity born out of her strict insistence that the music not be anchored in a single harmonic interpretation.
Daniel Levitin
With a note of music, one strikes the fundamental, and, in addition to the root note, other notes are generated: these are called the harmonic series...As one fundamental note contains within it other notes in the octave, two fundamentals produce a remarkable array of harmonics, and the number of possible combinations between all the notes increases phenomenally. With a triad, affairs stand a good chance of getting severely out of hand...
Robert Fripp
At first we got along very well. Esipova even boasted outside the class that she had pupils who wrote sonatas (I completed Sonata, Op. 1, and played it to Esipova, who took it home and inserted pedaling). But before long trouble began. Esipova's method of teaching was to try to fit everyone into a standard pattern. True, it was a very elaborate pattern, and if the pupil's temperament coincided with her own, the results were admirable. But if the pupil happened to be of an independent cast of mind Esipova would do her best to suppress his individuality instead of helping to develop it. Moreover, I had great difficulty in ridding myself of careless playing, and the Mozart, Schubert and Chopin which she insisted on were somehow not in my line. At that period I was too preoccupied with the search for a new harmonic idiom to understand how anyone could care for the simple harmonies of Mozart.
Anna Yesipova
A lot of work and thinking goes into my DJing. I want the entire night to progress seamlessly and when I have to adapt the energy on the fly for the crowd on any given night, I can do so with harmonic mixes that I've practiced over and over again. I am far from the only DJ that does this and it's something I take pride in being able to do.
Avicii
Some... agreeing with Philolaus, believe that the proportion is called harmonic because it attends upon all geometric harmony, and they say that 'geometric harmony' is the cube because it is harmonized in all three dimensions, being the product of a number thrice multiplied together. For in every cube this proportion is mirrored; there are in every cube 12 sides, 8 angles and 6 faces; hence 8, the [harmonic] mean between 6 and 12, is according to harmonic proportion...
Nicomachus
It's something very few actors really get to experience. When you're a character actor or voiceover guy, it's job to job. You're like a migrant worker, almost. The longevity [of "SpongeBob”] is an unbelievable statistical anomaly. It's like, I didn't buy that many lottery tickets and I won the lottery. It's a totally random, harmonic convergence of people you met and your agent getting you an audition. Actors have so little control over their own lives; it's nice to have something you're not in control of that's actually positive. There was a point when "SpongeBob” was cancelled after the first few seasons and the first movie. We went to a wrap party that I thought was the season wrap party but was the series wrap party. Nobody knew. So I already feel like I dodged a bullet.
Tom Kenny
As we all know, the singularity in the art of Bach is the fusion of both levels and lines, the horizontal and vertical line. It's a real wonder to see that the creation and forming of the horizontal line, the polyphonic structure, also results in this perfect, beautiful vertical line, the harmonic line. As we also know, Bach already used the full harmonic range and radius as no composer before him. My artistic aim of course is to point out the horizontal line in soloistic manner in a dynamically elastic way, but in the same breath to form the harmonic line in a bright field of color (I would call it "harmonic articulation”), to achieve a particular atmosphere of emotions and moods, drama, velocity, vividness, and so on. As we can imagine, these are high demands ...
Burkard Schliessmann
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
Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2 (1990).
George Perle
In this world, everything has a pulse or a vibration. This sound is unique to each living or non-living thing and in itself creates a music that no-one can hear. I believe that this has a very powerful resonance with, and a deep effect on, our lives. What would happen if we took this further and applied it to bigger things, more powerful things; like an entire solar system or galaxy say, what would that sound like?
Musica Universalis is the ancient theory that every celestial body, the sun, the moon and the stars, has an inner music. This is a harmonic and mathematical concept derived from the movements of the planets in the solar system. The music created is inaudible to the human ear.
Music of the Spheres is my interpretation of this theory. Every planet and every star; the whole universe has music within it that no-one can hear. This is what it would sound like if it was set free. This is Music of the Spheres.
Mike Oldfield
