A Quote by Claude Levi-Strauss

The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. . . .
The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.
If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void.
People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
Since true listening involves a setting aside of the self, it also temporarily involves a total acceptance of the others. Sensing this acceptance, the speaker will feel less and less vulnerable, and more and more inclined to open up the inner recesses of his or her mind to the listener. As this happens, speaker and listener begin to appreciate each other more and more, and the dance of love is begun again.
When I speak of the gifted listener, I am thinking of the nonmusician primarily, of the listener who intends to retain his amateur status. It is the thought of just such a listener that excites the composer in me.
Recently my fingers have developed a prejudice against comparatives. They all follow this pattern: a squirrel is smaller than a tree; a bird is more musical than a tree. Each of us is the strongest one in his or her own skin. Characteristics should take off their hats to one another, instead of spitting in each other's faces.
Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
I've been a full-time composer for many years, and I'm still learning all the time. There is always more than one musical "solution" to each movie scene, but my goal is to compose music that works perfectly for the director, and me!
Fight less, cuddle more. Demand less, serve more. Text less, talk more. Criticize less, compliment more. Stress less, laugh more. worry less, pray more. With each new day, find new ways to love each other even more.
There's more musical freedom on Madison Avenue than anywhere else. It's an Eden for a composer.
If we compel the composer to write in terms of what the listener is able to hear, we flirt with the danger of freezing the evolution of musical language, whose progressive development comes about through transgressions of a given era's perceptual habits."
laughter, that distinctively human emotion, laughter which springs from trust in the other, from willingness to put oneself momentarily in the other's place, even at one's own expense, is the special emotional basis of democratic procedures, just as pride is the emotion of an aristocracy, shame of a crowd that rules, and fear of a police state.
Any composer will not completely enjoy the process of creating a remix. Even if one adds their own elements, the song ultimately belongs to the original composer.
Women believe -- or at least often pretend to believe -- that all our tenderness for them springs from desire; that we love them when we have not for a time enjoyed them, and dismiss them when we are sated, or to express it more precisely, exhausted. There is no truth in this idea, though it may be made to appear true. When we are rigid with desire, we are apt to pretend a great tenderness in the hope of satisfying that desire; but at no other time are we in fact so liable to treat women brutally, and so unlikely to feel any deep emotion but one.
There are few treasures of more lasting worth than the experiences of a way of life that is in itself wholly satisfying. Such, after all, are the only possessions of which no fate, no cosmic catastrophe can deprive us; nothing can alter the fact if for one moment in eternity we have really lived.
Surely the hold of great music on the listener is precisely this: that the listener is made whole; and at the same time part of an image of infinite grace and grandeur which is creation.
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