A Quote by Michael Faraday
All your names I and my friend approve of or nearly all as to sense & expression, but I am frightened by their length & sound when compounded. As you will see I have taken deoxide and skaiode because they agree best with my natural standard East and West. I like Anode & Cathode better as to sound, but all to whom I have shewn them have supposed at first that by Anode I meant No way.
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I have taken your advice and the names used are anode cathode anions cations and ions the last I shall have but little occasion for. I had some hot objections made to them here and found myself very much in the condition of the man with his son and Ass who tried to please every body.
I propose to distinguish these bodies by calling those anions which go to the anode of the decomposing body; and those passing to the cathode, cations; and when I have occasion to speak of these together, I shall call them ions.
I think, when you're a young composer, you're told constantly that what you're supposed to do is figure out what your voice is. "What is your thing supposed to sound like?" You know: "What's the thing you do," that everyone can recognizably tell from a long distance is you and then you're supposed to be in search of that marker and you're supposed to find it and you're supposed to live there for the rest of your life. And it seemed to me, from a young age, that was what I was encouraged to do. You find a sound and that's your sound! That's what you do.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
There's an expression in life: "You can only make one first impression." And that first impression has to be spectacular. So, I wait, and let people see it when it's ready to go. It's not a set rule, but I think it's the better way of working. People will agree with you because of your track record, but you want people to like it because it's good, not because you found it.
We look so very different from the way we sound. It’s a shock, similar to hearing your own voice for the first time, when you’re forced to wonder how the rest of you comes across if you sound nothing like the way you think you sound. You feel dislodged from the old shoe of yourself.
It's taken a while for me to figure out my sound. It's tough, coming from DJing, because you know how things are supposed to sound, but you also don't want to be formulaic about it.
Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience - in some ways, perhaps more effect because it does it in a very indirect way.
Generally, you are held to a sound and that becomes your sound. That gets branded as your sound, and all the copycats start with it because the labels are looking for that sound.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
And if there are no cars or planes, and if no one’s Uncle John is out in the wood lot west of town banging away at a quail or pheasant; if the only sound is the slow beat of your own heart, you can hear another sound, and that is the sound of life winding down to its cyclic close, waiting for the first winter snow to perform last rites.
I felt that I really couldn't be creative with opera. You're supposed to sound this way here. You're supposed to crescendo here. You're supposed to do that. I had no sense of identity while singing that kind of music.
I dont want to sound gloomy, but, at some point of your lives, every one of you will notice that you have in your life one person, one friend whom you love and care for very much. That person is so close to you that you are able to share some things only with him. For example, you can call that friend, and from the very first maniacal laugh or some other joke you will know who is at the other end of that line. We used to do that with him so often. And then when that person is gone, there will be nothing like that in your life ever again.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
In Western classical music the idea of holiness, purity, perfection, and total beauty is expressed through clarity of sound - a bell-like sound. Obviously, that has its own place, and it's a beautiful way of doing it. But I don't think I am the first to point out that in Africa, the more buzzing the sound is, the more it indicates the other world - the spirit world.
I'm very influenced by landscapes, not so much the way places look as the way the names sound. In this country we've got so many cultures, and the place names - the Spanish names and the Indian names, which are so incredibly musical.
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