A Quote by Susanne Katherina Langer

Music is the tonal analogue of emotive life. — © Susanne Katherina Langer
Music is the tonal analogue of emotive life.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
I just tend toward more lush, full sounds in my productions. I don't have any preference when it comes to analogue versus digital; I use what's best for the application. Analogue synthesis is nice, but it's just one tool among many, and it has its place.
I want music to move me, and I don't think it can do that without at least a link to tonality. It's the tug between atonal and tonal which makes music poignant.
Music is the tonal reflection of beauty.
Theoretical concepts of music and extended techniques are more like seasoning to me; they're not the meal. I like outside music that still has a sense of forward motion and an emotive quality to it.
Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
You see more and more why healing is happening through music. It's because music causes a reorganization of the tonal structure, and Man in essence is a vibration
Vinyl's just a fun endgame step. I work with analogue signal chains too, but the mp3 is the way I listen to music.
I started with very tonal 19th-century music because I wanted to be a violinist as a child. So this was my first music, and then I was very much influenced by Stravinsky and Shostakovich in the 1950s. But I was starting to develop my own style.
There is a real formula to writing music, verse, chorus, verse, chorus, bridge. It's very formulaic. The subject matter that you can address in pop music is somewhat restricted. It just doesn't allow that same emotive quality that you can put into poetry.
Music says so much. Really specific but those are also real tonal things as well.
There is no one part of the brain which recognizes or responds emotionally to music. Instead, there are many different parts responding to different aspects of music: to pitch, to frequency, to timbre, to tonal intervals, to consonance, to dissonance, to rhythm, to melodic contour, to harmony.
Emphasis on the common emotive or affective origins of music and words in the first cries of humankind undermines words.
A non-analogue image has an extremely compressed life. It starts as this and, in increasingly short time spans, becomes that.
My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
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