A Quote by Eduard Hanslick
So long as we refuse to include lottery tickets among the symphonies, or medical bulletins among the overtures, we must refrain from treating the emotions as an aesthetic monopoly of music in general or a certain piece of music in particular.
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I tried to resist his overtures, but he plied me with symphonies, quartets, chamber music, and cantatas.
If we reject the word, or any word that labels music, what's left? That's the question we should all ask ourselves. Ben Ratliff asked it, and he came up with aesthetic categories. That's not what I would say. What's left are communities who make music together, or among whom music circulates. That's it.
Think the very fact that somebody like Mike Pence is seen as useful to the [Donald] Trump campaign would be analytically a sign of difficulty for him because, you know, the Republican Party over the last two decades has needed to include his support among women, among Latinos, among blacks, among young people, and among highly educated people.
Christian love is the only kind of love in which there is no rivalry, no jealousy. There is jealousy among the lovers of art; there is jealousy among the lovers of song; there is jealousy among the lovers of beauty. The glory of natural love is its monopoly, its power to say, 'It is mine. ' But the glory of Christian love is its refusal of monopoly.
Music, uniquely among the arts, is both completely abstract and profoundly emotional. It has no power to represent anything particular or external, but it has a unique power to express inner states or feelings. Music can pierce the heart directly; it needs no mediation.
We've created a multitrillion-dollar edifice for dispensing the medical equivalent of lottery tickets - and have only the rudiments of a system to prepare patients for the near certainty that those tickets will not win. Hope is not a plan, but hope is our plan.
Adventure upon all the tickets in the lottery, and you lose for certain; and the greater the number of your tickets the nearer your approach to this certainty.
I love all types of music - jazz, great pop music, world music and folk music - but the music I listen to most is piano music from the 18th, 19th and 20th century. Russian music in particular.
A particular piece of music attaches itself to the piece I'm writing, and there is nothing else I can listen to. Every day I return to the same space to write, the music providing both the walls and the pictures on the walls.
I don't like to define my music. To me, music is pure emotion. It's language that can communicate certain emotions and the rhythms cuts across genders, cultures and nationalities. All you need to do is close your eyes and feel those emotions.
Though I love the arts with all my heart - paintings, sculpture, theatre, and music - and think they are among the biggest achievements we humans can do, I am really convinced that architecture is among the most important.
Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.
As the lily among thorns, so is my love among the daughters.
As the apple tree among the trees of the wood, so is my beloved among the sons.
A book, at the same time, also has to do with what I call a buzz in the head. It's a certain kind of music that I start hearing. It's the music of the language, but it's also the music of the story. I have to live with that music for a while before I can put any words on the page. I think that's because I have to get my body as much as my mind accustomed to the music of writing that particular book. It really is a mysterious feeling.
Perhaps 25 to 50 years from now, I can design a piece of music, no so that it appeals to something common in millions of people, but I can design the music so that it's exactly right for you and only you at this particular moment for your particular experience, things that have happened to you over 20 years, to you're particular mental state right now.
We cannot, after all, judge a biography by its length, by the number of pages in it; we must judge by the richness of the contents...Sometimes the 'unfinisheds' are among the most beautiful symphonies.
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