A Quote by Elisabeth Schwarzkopf
At Bloomington, Indiana, I was invited to listen to music written in quarter tones for four harps and voices. I had to go out to be sick.
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At the Sex Institute in Bloomington, Indiana, they were a phenomenal help, too. We went out there for a few days, and they gave us access to materials. And the biographies, there are four or five, ranging from very poor to excellent.
For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
The last thing I do is go and listen to heavy rock music. But I love electronic music. The purity of the tones is inspiring, because it's obviously much more controlled than a guitar tone.
A lot of people listening to music now don't listen to the songs or lyrics at all. They just go, "Good tones..." and that's it.
Then the voices of the Ainur, like unto harps and lutes, and pipes and trumpets, and viols and organs, and like unto countless choirs singing with words, began to fashipn the theme of Iluvatar to a great music; and a sound arose of endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights, and the places of the dwelling of Iluvatar were filled to overflowing, and the music and the echo of the music went out into the Void, and it was not void.
I had a massive victory over Ted [Cruz], it turned out. Remember Indiana was gonna be the change? I was gonna win New York, I was gonna win, then Indiana? But Indiana was a landslide. You gotta get over it. You know, at some point you gotta get over it. Otherwise we're gonna have three or four new Supreme Court justices that are going to be a disaster for the Republican Party.
When I started, I didn't know how to sing in Arabic - it's a very complex and sophisticated music full of codes and modes and quarter-tones.
When I became conscious of being a person, when I was very small, I knew that I was from Indiana, but I had never seen Indiana. I was born there, but we moved when I was, like, a year old. I always had a sense of a place that was far away from where I was. I would research it and find out about it and I remember on Christmas morning I used to always call Indiana to find out what the weather was like; to see if it was snowing or not.
Sometimes I would come back from a run, and my artificial leg would have a puddle of blood from my stump. I wouldn't go to sick bay. In that year, if I had gone to sick bay, they would have written me up. I didn't go to sick bay. I'd go somewhere and hide and soak my leg in a bucket of hot water with salt in it--an old remedy. Then I'd get up the next morning and run.
The music of revelation announces itself to the reader in somber brooding tones or in melodies light as air and one is invited to dance with the most captivating of partners: poetry.
When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.
I had the total attention of both my parents, and was secure in the knowledge of being loved ... My memories of falling asleep at night are to the comfortable sound of my parents' voices, voices which conveyed in their tones the message that these two people loved and trusted one another.
I went to UGA for a quarter. One quarter of my extended university life. I enjoyed it. UGA was a blast. I crashed all the frat parties, dressing like a frat boy, acting like I was one of them. I had too much fun. So I had a good time for the quarter that I was a Bulldog. Go Bulldogs!
Growing up, my grandmother did not want worldly music in the house. Then when I went out to California, I started listening to Spanish music, mostly Mexican music. But were I in Egypt, I would listen to the music of the people, or if I was in Italy, I'd listen to Italian music.
I first got really interested in Noh in about 1977. There was an independent bookstore in Bloomington, Indiana where I was going to high school. It was a really nice place. There was a New Directions paperback. It was the Pound/Fenollosa book, 'The Classic Noh Theatre of Japan.'
I always had a sense of people and would talk with them. I talk to my doorman. I talk to everybody I work with. I enjoy it. I like being part of a real life. I love dreams. I love glamour. I love being invited to great places. But I don't really care if I go, as long as I'm invited. I get invited to so many things, but I'd rather go have a hamburger or see a movie.
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