A Quote by Andromeda Romano-Lax
What I remember best from those times is the music itself. When it succeded, we took hold of the audience's attention, working it from a distracted, unshaped mass into spun beauty, passing the fine strands back and forth until we wove together something grander, not only music but memory, too-the particulars of past and present, stretched taut across a loom of timeless ideals. Harmony. Symmetry. Order.
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Memory is corrupted and ruined by a crowd of memories. If I am going to have a true memory, there are a thousand things that must first be forgotten. Memory is not fully itself when it reaches only into the past. A memory that is not alive to the present does not remember the here and now, does not remember its true identity, is not memory at all. He who remembers nothing but facts and past events, and is never brought back into the present, is a victim of amnesia.
The past does not only draw us back to the past. There are certain memories of the past that have strong steel springs and, when we who live in the present touch them, they are suddenly stretched taut and then they propel us into the future.
Virtue is the music of the soul, the harmony of the passions; it is the order, the symmetry, the interior beauty of the mind; the source of the truest pleasures, the fountain of the sublimest and most perfect happiness.
Memory is therefore, neither Perception nor Conception, but a state or affection of one of these, conditioned by lapse of time. As already observed, there is no such thing as memory of the present while present, for the present is object only of perception, and the future, of expectation, but the object of memory is the past. All memory, therefore, implies a time elapsed; consequently only those animals which perceive time remember, and the organ whereby they perceive time is also that whereby they remember.
A song playing comprises a very specific and vivid set of memory cues. Because the multiple-trace memory models assume that context is encoded along with memory traces, the music that you have listened to at various times of your life is cross-coded with the events of those times. That is, the music is linked to events of the time, and those events are linked to the music.
I mostly write to music, even though I know I sound free-form a lot. Then there are times when I'll have a concept and hold on to it until I come across the right music that makes a marriage.
Because memory is time folding back on itself. To remember is to disengage from the present. In order to reach any kind of success in automobile racing, a driver must never remember.
You want to make music that reflects your ideals, but considering the isolating process of recording and the time and energy requirements of touring, there aren't a lot of opportunities to express those ideals anywhere but the music itself.
Music is monophonic in the Eastern world, especially if we're talking about Indian music, Persian music. What we have in classical and Western world is harmony. So I think it's a great idea to be able to bring the best of two together and create something new.
There is a kind of silver spiderweb that's spun around the world, and the strands of that web are certain loves and certain understandings. And if we follow those, and if we walk those strands, we're going to meet others at the intersections who have been walking the same way across this web. And when we meet, there's a kind of "I know who you are."
My concern today is with the painting of manners of the present. The past is interesting not only by reason of the beauty which could be distilled from it by those artists for whom it was the present, but also precisely because it is the past, for its historical value. It is the same with the present. The pleasure which we derive from the representation of the present is due not only to the beauty with which it can be invested, but also to its essential quality of being present
All of a sudden I understand why I like Aliki Barnstones poems so much. They remind me of the one she has studied most - shall we call her her master - Emily Dickinson. Not in the forms, not, as such, in the music, and not in the references; but in that weird intimacy, that eerie closeness, that absolute confession of soul.... In Barnstone, too, the two worlds are intensely present, and the voice moves back and forth between them. She has the rare art of distance and closeness. It gives her her fine music, her wisdom, her form. She is a fine poet.
There is music wherever there is harmony, order and proportion; and thus far we may maintain the music of the spheres; for those well ordered motions, and regular paces, though they give no sound unto the ear, yet to the understanding they strike a note most full of harmony.
The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them,and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself they turn into dumb idols,breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.
Engaged in a fiery dance, their bodies were linked and seperated by the flashing blades. At times they nearly touched, taut skin only a hair's breadth away, but then momentum would whirl them apart, and they would withdraw for a second, only to join again. Their sinuous forms wove together like twisting ropes of windblown smoke.
Beauty addresses itself chiefly to sight, but there is a beauty for the hearing too, as in certain combinations so words and in all kinds of music; for melodies and cadences are beautiful; and minds that lift themselves above the realm of sense to a higher order are aware of beauty in the conduct of life, in actions, in character, in the pursuits of the intellect; and there is the beauty of the virtues.
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