A Quote by Ma Yansong
When you look at classical structures, they're often linked to literature, music, or a poem. They were constructed by master builders, which means it's not something standard that you can copy.
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Indian classical music was born when time barely existed. It developed further within the structures of royal courts and a system of patronage where the ruler or the feudal master determined all.
I think that poetry is an act of celebration, that anytime you're writing a poem, it means that you're celebrating something, even if it's a sad poem, if it's an angry poem, a political poem or anything at all. The fact that you're taking the time and energy to pick up this thing and hold it to the light, and say, "Let's take some time to consider this," means that you've deemed it worthy enough to spend time on - which, in my opinion, is celebrating.
For we have built into all of us, old blueprints of expectation and response, old structures of oppression and these must be altered at the same time that we alter the living condition which are the result of those structures. For the master's tool will never dismantle the master's house.
Architects of grandeur are often the master builders of disillusionment.
I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.
There should be no boundaries in your relationship with sound. Often it's not about the music itself but the context in which you hear the music. For instance, listening to a piece of classical music in a film you love often changes your perception of it entirely.
The analogy between the mind and a computer fails for many reasons. The brain is constructed by principles that assure diversity and degeneracy. Unlike a computer, it has no replicative memory. It is historical and value driven. It forms categories by internal criteria and by constraints acting at many scales, not by means of a syntactically constructed program. The world with which the brain interacts is not unequivocally made up of classical categories.
I only knew classical music, which to me was the only true music. The only way I could survive at the bar was to mix the classical music with popular songs, and that meant I had to sing. What happened was that I discovered I had a voice plus the talent to mix classical music together with more popular songs, which at the time I detested.
I never have been a musician; I'm not actually capable. Because I can't even pretend to acquire the gift, all of my first feelings about art are still attached to music. I look at it yearningly, I look at it wonderingly. I behold it from afar, as something unattainable, something outside of myself, from which I can take nourishment, but I can't domesticate and master.
That mainstream English is essential to our self-preservation is indisputable . . . but it is not necessary to abandon Spoken Soul to master Standard English, any more than it is necessary to abandon English to learn French or to deprecate jazz to appreciate classical music.
Copy is not written. If anyone tells you ‘you write copy’, sneer at them. Copy is not written. Copy is assembled. You do not write copy, you assemble it. You are working with a series of building blocks, you are putting the building blocks together, and then you are putting them in certain structures, you are building a little city of desire for your person to come and live in.
If I were to agree to write the music for your beautiful poem, it would tie your poem up for some years as I have agreements and obligations which I must respect.
The copy of an ad is merely a punning gag to distract the critical faculties while the image of the product goes to work on the hypnotized viewer. Those who have spent their lives protesting about 'false and misleading ad copy' are godsends to advertisers, as teetotalers are to brewers, and moral censors are to books and films. The protesters are the best acclaimers and accelerators. Since the advent of pictures, the job of the ad copy is as incidental and latent as the 'meaning' of a poem is to a poem, or the words of a song are to a song.
Right from the 17th century, composers who have taken up music as their means of livelihood went through a hard time financially. They were paid only for commissioned works and public performances. And, when their music became famous, orchestras in other cities and countries would pay a small amount to copy the music.
A science is something which is constructed from truth on workable axioms. There are 55 axioms in scientology which are very demonstrably true, and on these can be constructed a great deal.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
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