A Quote by Anton Seidl

It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities. — © Anton Seidl
It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.
When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.
The field of vision is comparable, for me, to the terrain of an archaeological dig. To see is to be on guard, to wait for what emerges from the background, without any name, without any particular interest: what was silent will speak, what is closed will open and will take on a voice.
Ships that pass in the night, and speak each other in passing, only a signal shown, and a distant voice in the darkness; So on the ocean of life, we pass and speak one another, only a look and a voice, then darkness again and a silence.
We cannot have peace on Earth until we learn to speak with one voice. That voice must be the voice of reason, the voice of compassion, the voice of love. It is the voice of divinity within us.
It [my vocal] didn't sound like what I wanted to hear; the vibrato isn't what I liked anymore. So I got myself to an ear, nose and throat guy who does a lot of work with singers, and I was hoping there was a big wart on my vocal cords or something and they could scrape it off and I could have the voice I wanted. But he said, "No, for 71, that's your voice."
When Jackson used that particular tone of voice, men died, pure and simple.
I really knew how to speak - from my female voice, that "different voice" that Carol Gilligan so presciently described many years ago in her groundbreaking book. Because if we try to speak in a voice that isn't ours, we lose our power.
I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.
For books I want to keep reading, it's definitely the voice. It must be a voice I've never heard before, and it must have its own particular intelligence. By 'voice,' I don't mean vernacular. It has to have its own particular history and world that it inhabits.
A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.
Natural rights is simple nonsense: natural and imprescriptible rights, rhetorical nonsense—nonsense upon stilts.
In every song, there is a vocal element that doesn't have any words. I wanted to play around with how emotive and expressive my voice could be.
Of which beauty will you speak? There are many: there are a thousand: there is one for every look, for every spirit, adapted to each taste, to each particular constitution.
Gardeners (or just plain simple writers who write about the garden) always have something they like intensely and in particular, right at the moment you engage them in the reality of the borders they cultivate, the space in the garden they occupy at any moment, they like in particular this, or they like in particular that.
We cannot expect that everyone, to use the phrase of a decade ago, will talk sense to the American people. But we can hope that fewer people will listen to nonsense. And the notion that this Nation is headed for defeat through deficit, or that strength is but a matter of slogans, is nothing but just plain nonsense.
I began to realize how simple life could be if one had a regular routine to follow with fixed hours, a fixed salary, and very little original thinking to do.
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