A Quote by John Lydon
Music is a simulation of something, but language is the greatest thing we possess.
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Mental simulation is not as good as actually doing something. But it's the next best thing. And the right kind of a story is a simulation.
If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.
To possess another language, Charlemagne tells us, is to possess another soul. German is such a language. Once you have it in your head, you can go there anytime, you can close the door, you have a refuge.
The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
Music is a manifestation of the human spirit, similar to language. Its greatest practitioners have conveyed to mankind things not possible to say in any other language. If we do not want these things to remain dead treasures, we must do our utmost to make the greatest possible number of people understand their idiom.
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
Music is the greatest communication in the world. Even if people don't understand the language that you're singing in, they still know good music when they hear it.
There was something about the music on that tape. It felt different. Like, it set her lungs and her stomach on edge. There was something exciting about it, and something nervous. It made Eleanor feel like everything, like the world, wasn't what she'd thought it was. And that was a good thing. That was the greatest thing.
Yeats was the greatest poet of our times . . . certainly the greatest in this language, and so far as I am able to judge, in any language.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
A basic language-literacy of Nature is falling from us. And what is being lost along with this literacy is something perhaps even more valuable: a kind of language-magic, the power that certain words possess to enchant our imaginative relations with Nature and landscape.
The greatest thing an actor can experience is discovery. The greatest thing an artist can walk away with is to learn something about themselves and the world and this was one of those.
Most of the dramatism in Wagner comes from a very close link between the music and the language of the text. So much of the expressivity of Wagner's music dramas comes from the singers' capacity to play with the sound of the language. This kind of thing you can do very well in concert performance.
For me, writing music is a way of processing the world. It's not a concrete thing, as in, "This piece is about giraffes." It's much more of an emotional sort of thing. I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn't really confront.
It's one thing to just play a tune, or play a program of music, but it's another thing to practically create a new language of music, which is what 'Kind of Blue' did.
I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.
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