A Quote by Igor Stravinsky
I know that the twelve notes in each octave and the variety of rhythm offer me opportunities that all of human genius will never exhaust.
Related Quotes
In holy music's golden speech Remotest notes to notes respond: Each octave is a world; yet each Vibrates to worlds beyond its own.
The genius of a composer is found in the notes of his music; but analyzing the notes will not reveal his genius. The poet's greatness is contained in his words; yet the study of his words will not disclose his inspiration. God reveals himself in creation; but scrutinize creation as minutely as you wish, you will not find God, any more than you will find the soul through careful examination of your body.
That's one thing you hear in my voice today. I could yodel from one octave to another octave. It always fascinated me.
I am now a fundamentalist American; give me time and I will tell you why individualism, laissez-faire and the slightly restrained anarchy of capitalism offer the best opportunities for the development of the human spirit.
Richard Feynman was fond of giving the following advice on how to be a genius. You have to keep a dozen of your favorite problems constantly present in your mind, although by and large they will lay in a dormant state. Every time you hear or read a new trick or a new result, test it against each of your twelve problems to see whether it helps. Every once in a while there will be a hit, and people will say, "How did he do it? He must be a genius!"
And there is this fact of the twelve baskets: why twelve? What does it mean? Twelve is the number of the tribes of Israel, symbolically it represents all the people. And this tells us that when food is shared equally, with solidarity, nobody is devoid of the necessary, each community can meet the needs of the poorest. Human ecology and environmental ecology go hand in hand.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
The construction of the human figure, its tremendous variety of balance, of size, of rhythm, all those things make the human form much more difficult to get right in a drawing than anything else.
If... [Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
Yet housekeeping actually offers more opportunities for savoring achievement than almost any other work I can think of. Each of its regular routines brings satisfaction when it is completed. These routines echo the rhythm of life, and the housekeeping rhythm is the rhythm of the body. You get satisfaction not only from the sense of order, cleanliness, freshness, peace and plenty restored, but from the knowledge that you yourself and those you care about are going to enjoy these benefits.
I never violate an inner rhythm. I loathe to force anything. I don't know if the inner rhythm is Eastern or Western. I know it is essential for me. I listen to it and I stay with it. I have always been this way. I have regards for the inner voice.
If a man will comprehend the richness and variety of the universe, and inspire his mind with a due measure of wonder and awe, he must contemplate the human intellect not only on its heights of genius but in its abysses of ineptitude.
When I was about twelve I used to think I must be a genius, but nobody's noticed. If there is such a thing as a genius, I am one, and if there isn't I don't care.
Books, in all their variety, offer the human intellect the means whereby civilisation may be carried triumphantly forward.
I don't have a 10-octave range. No human being has a 10-octave range.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
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