A Quote by Spencer W. Kimball
Language is like music; we rejoice in beauty, range, and quality in both, and we are demeaned by the repetition of a few sour notes.
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We note the increasing coarseness of language and understand how Lot must have felt when he was, according to Peter, "vexed with the filthy conversation of the wicked." (2 Peter2:7.) We wonder why those of coarse and profane conversation, even if they refuse obedience to God's will, are so stunted mentally that they let their capacity to communicate grow more and more narrow. Language is like music; we rejoice in beauty, range, and quality in both, and we are demeaned by the repetition of a few sour notes.
Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.
In all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience.
At a very early age I began to thump on the piano alone, and it was not long before I was able to pick out a few tunes? I also learned the names of the notes in both clefs, but I preferred not be hampered by notes.
One series of notes, high and delicate, sang of a sweet moonlight kiss gone sour; another line of music rippled with regret over opportunities forever lost.
The eight laws of learning are explanation, demonstration, imitation, repetition, repetition, repetition, repetition, repetition.
To rejoice in temporal comforts is dangerous, to rejoice in self is foolish, to rejoice in sin is fatal, but to rejoice in God is heavenly.
English is like music. The English language is really fit for singing. The notes match the feelings, and it makes sense.
In Physic, things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humors.
Obviously, it's had a huge effect on repetitive music or dance music or house music. Ambient in the last ten years has infiltrated into all those repetitive musics. I don't know what part it plays in pop necessarily but I'm sure there's some connection. But in all the music that deals with experimental repetition, drum and bass, dub, various kinds of house music, there's always been a quality of atmosphere and ambience. I think it's infiltrated that pretty heavily.
I get good references from a wide range of music. Something who's been a good influence in the last few years is Qawwali music. If you listen to a Qawwali singer like Aziz Mian - he's like James Brown. Qawwali is like Pakistani gospel-jazz. It's emotional, but it's also improvised, and it's all about that sacred-and-profane tightrope.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
Now, if the principle of toleration were once admitted into classical education - if it were admitted that the great object is to read and enjoy a language, and the stress of the teaching were placed on the few things absolutely essential to this result, if the tortoise were allowed time to creep, and the bird permitted to fly, and the fish to swim, towards the enchanted and divine sources of Helicon - all might in their own way arrive there, and rejoice in its flowers, its beauty, and its coolness.
Though music transcends language, culture and time, and though notes are the same, Indian music is unique because it is evolved, sophisticated and melodies are defined.
You have to open the music, so to speak, and see what's behind the notes because the notes are the same whether it is the music of Bach or someone else.
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