A Quote by J. M. Coetzee

Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
The history of music is nothing more than the history of art-music or classical music, the music that was commissioned by aristocrats.
Music just gives me so much energy and inspiration. Music and literature in a way probably influence me more than cinema does because they're different forms and yet related. I probably know as much about music history as I do about the history of cinema.
Music is part of history, and our history has lessons that cannot be separated from our greatest music.
Even now, all possible feelings do not yet exist, there are still those that lie beyond our capacity and our imagination. From time to time, when a piece of music no one has ever written or a painting no one has ever painted, or something else impossible to predict, fathom or yet describe takes place, a new feeling enters the world. And then, for the millionth time in the history of feeling, the heart surges and absorbs the impact.
You have a history of art-music that you equate with music. That's what I love about that term art-music. It separates itself from music-music, the music people have always made.
If you look at the history of music, you have classical composers, church music, pop music, etc. Music that's existed for centuries. I think there are some songs that are close to immortal. They will last longer than we will in this lifetime.
Music is so essential to the Cuban character that you can't disentangle it from the history of the nation. the history of Cuban music is one of cultural collisions, of voluntary and forced migrations, of religions and revolutions.
When I did the Abyssinian mass, I went through the whole history of the church music and the gospel music, even with the Anglo American hymns, the Afro American hymns, the spirituals and how it developed, up to Thomas Dorsey and the Dixie Hummingbirds, going through the history of the music, jazz musicians.
The first half of 'Book Reports' deals with the history of popular music and rock criticism. When I hooked all those historical pieces together, building on the minstrelsy piece, it became my history of popular music.
Right around the end of the fifties, college students and young people in general, began to realize that this music was almost like a history of our country - this music contained the real history of the people of this country.
All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.
I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.
I've always tried to write California history as American history. The paradox is that New England history is by definition national history, Mid-Atlantic history is national history. We're still suffering from that.
In order to understand the history of the banjo, and the history of bluegrass music, we need to move beyond the narrative we've inherited, beyond generalizations that bluegrass is mostly derived from a Scotch-Irish tradition with influences from Africa. It is actually a complex Creole music that comes from multiple cultures.
I write my music with the idea that it will appeal to all of those people, and I want them to go in with all the history that's within all of us - all the things that they've listened to in the backs of their minds, whether it's country music or minimal techno, or classical music or whatever. I want them to bring that excitement, that love, or that hate, or whatever it might be, to my music. I feel that my music draws on so many different things.
Musicians do music for the girls. We do music for the money. We do music for the recognition, for the rock and roll history. But we also do it because it's fun.
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