A Quote by Jean Philippe Rameau
Emphasis on the common emotive or affective origins of music and words in the first cries of humankind undermines words.
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Especially with the live, just the way I curve words, it's about expression. It's so emotive, to be able to release these words into a mike. It really emphasizes this insane tingle down my spine whenever I play.
It used to be a common saying of Myson's that men ought not to seek for things in words, but for words in things; for that things are not made on account of words but that words are put together for the sake of things.
Poetry is music, and nothing but music. Words with musical emphasis.
It's always music first, or melody and words together, but never words first.
If you have words and want to write music for them, the words hit you with a feeling which you can't really describe in words, and so what you do is to put music to them and in this way you make contact with the words, through the musical thing. It happens when two feelings come together and they do something together and they compliment each other.
But the idols of the Market Place are the most troublesome of all: idols which have crept into the understanding through their alliances with words and names. For men believe that their reason governs words. But words turn and twist the understanding. This it is that has rendered philosophy and the sciences inactive. Words are mostly cut to the common fashion and draw the distinctions which are most obvious to the common understanding. Whenever an understanding of greater acuteness or more diligent observation would alter those lines to suit the true distinctions of nature, words complain.
'Words, Words, Words' was very much its title. It's just words, words, words and trying to show that I can pack as much material into an hour as I possibly could word count-wise.
Every song I've ever written always starts with the words because I want the music to be the musical extension of the feelings of the words, and not the words being the emotional extension of the feeling of the music.
The chief problem with television is that, for those who watch it consistently, it undermines and eventually destroys the ability to think. This is because it communicates primarily images, not by words, and words are necessary if we are to perceive logical connections and make judgments as to what is right and wrong.
The words 'alone,' 'lonely,' and 'loneliness' are three of the most powerful words in the English language. Those words say that we are human; they are like the words hunger and thirst. But they are not words about the body, they are words about the soul.
All people in the world - who are not hermits or mutes - speak words. They speak different languages, but they speak words. They say, "How are you" or "I'm not feeling well" all over the world. These common words - these common elements that we have between us - the writer has to take some verbs and nouns and pronouns and adjectives and adverbs and arrange them in a way that sound fresh.
Consolation of music is different from the one of words. It starts from the inside... It cries with you instead of telling you to stop crying.
Actions are the first tragedy in life, words are the second. Words are perhaps the worst. Words are merciless. . .
One of my little girls is named Reagan. Her first words were, 'Mr. Larry, tear down this crib.' That was her first words, it was very sweet. My first words were, 'Are you going to finish that sandwich?'
The most powerful words in English are 'Tell me a story,' words that are intimately related to the complexity of history, the origins of language, the continuity of the species, the taproot of our humanity, our singularity, and art itself.
One listens to a piece of great music, say, and feels deeply moved by it, and wants to put this feeling into words, but it can't be put into words. That's what - the music has already supplied the meaning, and words will just be superfluous after that. But it's that kind of verbal meaning that can't be verbalized that I try to get at in poetry.
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