A Quote by Constant Lambert
Music, from being an ordered succession of sounds, has become a matter of "sonorities", and anyone who can produce a brightly coloured brick of unusual shape is henceforth hailed as an architect.
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It's not unusual to be loved by anyone, it's not unusual to have fun with anyone. But when I see you hanging about with anyone, it's not unusual to see me cry. I wanna' die.
Guys like Future and me, we help create and shape the sound of music - not just Atlanta music, but music all over. If you really pay attention to the music being made, a lot of that is very heavily influenced by the stuff that we created. I listen to so many songs that's like, 'Damn, this sounds like my music!'
The day I went to see my father to say I wanted to become an architect, he was a bit surprised, because for him being a builder is much more than being just an architect. He was very angry, and I never thought I could do something else.
One thing he discovered with a great deal of astonishment was that music held for him more then just pleasure. There was meat to it. The grouping of sounds, their forms in the air as they rang out and faded, said something comforting to him about the rule of Creation. What the music said was that there is a right way for things to be ordered so that life might not always be just tangle and drift, but have a shape, an aim. It was a powerful argument that life did not just happen.
In writing, you discover interior sonorities in words. Dipthongs sound differently beneath the pen. One hears them with their sounds divorced.
If, then, there must be something eternal, let us see what sort of Being it must be. And to that it is very obvious to Reason, that it must necessarily be a cogitative Being. For it is as impossible to conceive that ever bare incogitative Matter should produce a thinking intelligent Being, as that nothing should of itself produce Matter.
Unless you're living on the street and surviving on a diet of discarded turkey drumsticks, there's no point in being gloomy. We've spent too long trying to cheer ourselves up by spending money on brightly coloured things we don't really need. We've stopped using our imaginations.
Personally, I can't see how anyone can produce any beautiful music out of being angry.
Pop music can absorb so many peculiar talents, ranging from the completely nonmusical poseur who just uses music as a kind of springboard for a sense of style, to people who just love putting all that complicated stuff together, brick by brick, on their computers, to people like me who like playing conceptual games and being surprised.
And so matching by itself is incapable of creating an art of reckoning. Without our ability to arrange things in ordered succession little progress could have been made. Correspondence and succession, the two principles that permeate all mathematics - nay, all realms of exact thought - are woven into the very fabric of our number system.
My music is simple stuff. Anybody can sit down, look at a set of symbols and produce sounds the music represents.
The architect is very interesting because the architect is the commander, meaning the one who commands all the workers. The architect is also the music director and composer. He cannot play each instrument, but he needs to understand and embody the sense of each part.
The equipment doesn't matter, it's the vibe you put into it. If the music sounds good, music sounds good.
We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music.
The bicycle might just be the greatest of all inventions. It empowers the human machine, and with no input beyond perhaps a trendy isotonic health drink in a brightly coloured bottle at an inflated price.
We should bear the intelligence and taste of the architect or the gardener in how we shape the becoming of our self. Too much precision ("stringency") is simply misplaced, a formalism inappropriate to the kind of matter we have to deal with (and to be).
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