A Quote by Marilyn Hacker
The pull between sound and syntax creates a kind of musical tension in the language that interests me.
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I feel like for me to write songs that I would be interested in as a listener, there has to be tension, and there has to be some kind of push and pull between reality and the potential of disaster.
There's a huge number of things that are occurring with the ice works which fascinate me enormously, but it's driven by this kind of frantic race against time. And whilst that creates a huge amount of tension and problems, it's a tension that I think I feed off.
My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.
I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
When you translate poetry in particular, you're obliged to look at how the writer with whom you're working puts together words, sentences, phrases, the triple tension between the line of verse, the syntax and the sentence.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
It is the difference between men and women, not the sameness, that creates the tension and the delight.
A lot of my friends are doctors, and the difference between me and them is there's no musical emergencies to pull me away from dinner. 'I need the chords for that song right now!' No, it can wait.
You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
Desire means you are dragged out of the moment; that creates a tension, that creates anxiety, that creates hope. And then finally hope turns sour, becomes frustration. Each hope leads you into anguish. Buddha calls it the only impurity. Cut the roots of desire, live in the moment so totally, pull yourself out of the past and don`t project yourself into the future. Let this moment be all and all. And your life will have such a purity, such a crystal-clear consciousness that right now you cannot imagine.
Rather than thinking of sound and sense in my essays as two opposing principles, two perpendicular trajectories, as they are often considered in conversations around translation, or even as two disassociated phenomena that can be brought together to collaborate with more or less success, I think of sound as sense. Sound has its own meaning, and it's one of the many non-semantic dimensions of meaning in language. I want to emphasize is the formal dynamic between language-as-information and language-as-art-material.
One of the interesting things about comedy is it's tension release, and nothing creates tension faster than anger.
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.
Drawing creates its own kind of private space. Coupled with certain interests that I want to speak to in my art, it's really kind of a safe haven for me. Creating art is not only a comfort zone, but also a way of speaking to my passions.
My natural tendency is to fall in love with language and character and setting, and kind of forget about pacing. Narrative tension doesn't come naturally to me, and if it does feel fast-paced that makes me incredibly happy.
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