A Quote by Frederick Lenz

The Romans were the tonal incarnate, complete order. — © Frederick Lenz
The Romans were the tonal incarnate, complete order.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
The world is not to be put in order; the world is order, incarnate. It is for us to harmonize with this order.
The tonal is the sense of place. It is order and reason in a world of chaos.
Jesus was a poor, black man who lived in a country and who lived in a culture that was controlled by rich white people. The Romans were Italian - which means they were Europeans, which means they were white - and the Romans ran everything in Jesus' country.
[Romans] never made any improvements on the cavalry. And amazingly, when you read the sources, they couldn't make it because stirrups were not known in Europe. For hundreds of years, the Romans couldn't make a cavalry which proved to be extremely effective.
In the world order, if the nagual dominates and not the tonal, then we'll live in times of fear and superstition.
I do not believe, even remotely, that you have to have a partner in your life in order to be whole, in order to be complete, in order to be fulfilled. You just don't have to.
The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.
Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
I did feel a little afraid, as you say, the complete liberty and "elasticity" of it. But I found that I liked some of the things that it availed me of in terms of emotion and tonal stuff. I came to find it appealing.
Modern Romans insisted that there was only one god, a notion that struck Alobar as comically simplistic. Worse, this Semitic deity was reputed to be jealous (what was there to be jealous of if there were no other gods?), vindictive, and altogether foul-tempered. If you didn't serve the nasty fellow, the Romans would burn your house down. If you did serve him, you were called a Christian and got to burn other people's houses down.
They were devils incarnate.
Actually, the decision was not only expedient but necessary. The severity of this summary justice showed the world that we would continue to fight mercilessly, stopping at nothing. The execution of the Tsar's family was needed not only in order to frighten, horrify, and dishearten the enemy but also in order to shake up our own ranks, to show them that there was no turning back, that ahead lay either complete victory or complete ruin.
The order of things established by the Romans in Libya rested in substance on a balance of power between the Nomad kingdom of Massinissa and the city of Carthage.
Christ was crucified because he threatened the tonal of the time. He was killed because he threatened the established order of the political regime.
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