All old Poems, Homer's and the rest, are authentically Songs. I would say, in strictness, that all right Poems are; that whatsoever is not sung is properly no Poem, but a piece of Prose cramped into jingling lines,-to the great injury of the grammar, to the great grief of the reader, for most part! What we wants to get at is the thought the man had, if he had any: why should he twist it into jingle, if he could speak it out plainly? It is only when the heart of him is rapt into true passion of melody, and the very tones of him, according to Coleridge's remark, become musical by the greatness, depth and music of his thoughts, that we can give him right to rhyme and sing; that we call him a Poet, and listen to him as the Heroic of Speakers,-whose speech is Song.
Thomas CarlyleRelated topics
call depth grammar great greatness grief heart heroic injury listen man melody music passion piece rapt rest right should sing song speak speech thoughtRelated quotes
Mashups [...] nobody's going to listen to mashups in another ten years. Mashups are novelty music. They're like "The Monster Mash." They have no musical staying power. You're pursuing a phantom there. It's bad music, I mean, it's not bad- it's a pastiche, it's like magazine collage- which can be good for what it is. But to pretend that that's like tremendous creative work- No! It's a tremendous creative power- and it can have a tremendous audience, but it's not tremendously good. And we need a little bit of aesthetic honesty in confronting things like this. Just because it's new, and people with laptops can do it, and get away with it, and find an audience for it, does not make it a real cultural advance. It's an epiphenomenon.
Bruce Sterling
Demiurgus [said my father] was enamoured of refined, perfect, and sophisticated materials. We give precedence to junk. We are simply rapt by it, entranced by the cheapness, the paltriness, the tawdriness of the material. Do you understand,” my father asked, "the profound meaning of that weakness, that passion for gaudy tissue-paper, papier-mâ ché, coloured lacquer, straw, and sawdust? It is,” he said with a pained smile, "our love for matter as such, for its downiness and porousness, its unique, mystical consistency. Demiurgus, that renowned master and artist, hides it away, causes it to vanish behind life's make-believe. We, to the contrary, love its abrasiveness, its unruliness, its rag doll ungainliness. Behind each gesture, each movement, we like to see its exertion, its torpor, its sweet ursinality.
Bruno Schulz
For the longest time, I didn't know the name of anyone in Led Zeppelin. I didn't care about what they looked like or ate. I wanted to listen, not read about them. I've always had that philosophy. I never started playing drums to get chicks or money or anything else. Long before I had concepts of those things, I wanted to be a drummer. That's the basic concept of what I do. I'm a drummer. I play drums. We are artists as drummers, and people should realize that. Not everyone can sit down and use all four of your limbs simultaneously to create something out of wood and plastic. We're creating something beautiful, and it may not sound pretty, but if you listen with the right ear, it sounds very pretty. If you try and listen to a song without drums, you haven't got anything.
John Dolmayan
To such a one, already filled with intellectual substance, and possessing what we may call the practical gold-bullion of human culture, it was an obvious improvement that he should be taught to speak it out of him on occasion; that he should carry a spiritual banknote producible on demand for what of "gold-bullion" he had, not so negotiable otherwise, stored in the cellars of his mind. A man, with wisdom, insight and heroic worth already acquired for him, naturally demanded of the schoolmaster this one new faculty, the faculty of uttering in fit words what he had. A valuable superaddition of faculty:-and yet we are to remember it was scarcely a new faculty; it was but the tangible sign of what other faculties the man had in the silent state.
Thomas Carlyle
The over-publicized bit about expression (or non-expression) was simply a way of saying that music is supra-personal and super-real and as such beyond verbal meanings and verbal descriptions. It was aimed against the notion that a piece of music is in reality a transcendental idea "expressed in terms of" music, with the reductio ad absurdum implication that exact sets of correlatives must exist between a composer's feelings and his notation. It was offhand and annoyingly incomplete, but even the stupider critics could have seen that it did not deny musical expressivity, but only the validity of a type of verbal statement about musical expressivity. I stand by the remark, incidentally, though today I would put it the other way around: music expresses itself.
Igor Stravinsky