Quotes About Music

After opening his concert with the American national anthem, Rubinstein stood up and told the audience that he did not see the flag of his own country among the dozens displayed in the Opera House. His next selection, he announced, would therefore be the Polish national anthem. As he played the stirring notes of "Poland Has Not Yet Perished as Long as We Live," the audience burst out in loud, sustained applause.

Whatever her name was, she was pretty. She had a thick, careless braid of chestnut hair, a quick smile, and dark, merry eyes. She wore some kind of a fuzzy lavender pullover, and when she crossed her legs and lifted her guitar onto her lap, she had an interesting way of tucking the foot of the bottom leg back under her chair that made Hector feel melty. He looked away in self-preservation.

Head held high and lips parted, she breathed in the music, sending it through her torso and arms and legs the way the Tai Chi teacher told us to breath the air, transforming it into energy, motion. Dancing is the body's song, and Bess sang.

I ain't a street busker, I'm a microphone hustler, manipulating lyrics I'm a lyrical shuffler.

Music, once admitted to the soul becomes ... a sort of spirit, and never dies. It wanders perturbedly through the halls and galleries of the memory.

When asked, 'What did you want to say in this work?' he would answer, 'I've said what I've said.' This made sense in where everyone assumed music had a meaning - but where saying the wrong thing could get a person killed. -Symphony for the City of the Dead: Dmitri Shostakovich and the Siege of Leningrad

the modern relationship between software and hardware is essentially the same as that between music and the instrument or voice that brings it to life. A single computer can transform itself into the cockpit of a fighter jet, a budget projection, a chapter of a novel, or whatever else you want, just as a single piano can be used to play Bach or funky blues.

By engaging in dialectical conversation with this music, theology places black vernacular culture at the heart of its mediation of the Christian message.

Music is the key to freeing heavy burdens of one's soul!

Music hath its land of origin; and yet it is also its own country, its own sovereign power, and all may take refuge there, and all, once settled, may claim it as their own, and all may meet there in amity; and these instruments, as surely as instruments of torture, belong to all of us.

He lives in kind of a different world from the rest of us. You know? The kind of world where electricity is a lot of invisible spiders. The kind of world where there's organ music that gets louder when he eats refined sugar.

I know what I wish. I wish some Day that I might live by a River — one that is strong of current & silent; & above it, in the Pines, the Hawks shall call; & I shall live there in a small House of one Room & play the Violin, & Someone Else shall play the Harpsichord, & we will be far from all Human Habitation. We shall walk by the Banks of that River, & listen to the Buzzing of the Rushes, & that alone shall be our Company.

Most symphonies, however, are wordless. They are built only of tones, nonlinguistic sounds vibrating in the air, and somehow, we take them to heart and feel that they speak to us more deeply than words ever could. Cultures make up certain rules for music that we learn without even recognizing them; for example, in the West, we have decided that music in minor keys tends to sound sad or anxious, while music in major keys conveys confidence, triumph. Other cultures have made other decisions.

We could sing to lift our spirits,' one of them suggested. Believe me, you want me to end the chapter now.

Even the basic facts of Dmitri Shostakovich's life are often contested, as a glance through the end notes of this book attests. How do we reconstruct the story of someone who lived in a period in which everyone had an excuse to lie, evade, accuse, or keep silent?

its heart, it is a story about the power of music and its meanings — a story of secret messages and doublespeak, and of how music itself is a code; how music coaxes people to endure unthinkable tragedy; how it allows us to whisper between the prison bars when we cannot speak aloud; how it can still comfort the suffering, saying, "Whatever has befallen you — you are not alone.

Now western movies, western novels, and western music were all forbidden again. Russian nationalism was on the rise. French bread was renamed "city bread.

While he wrote the fourth and final movement of the symphony, an artist who lived in the apartment above him started sculpting a bust of him. Shostakovich sat uneasily while he was being sculpted. He couldn't sit still. His fingers kept tapping as he played scales and chords on his cheeks.

Shostakovich and another composer banged out trashy songs on the piano while people danced in the corridor.

As musicologist Richard Taruskin has said, "What made Shostakovich's music the secret diary of a nation was not only what he put into it, but what it allowed listeners to draw out.

As one Shostakovich biographer put it, "Testimony is a realistic picture of Dmitri Shostakovich. It just isn't a genuine one.

It meant different things to different people, but somehow it meant them all intensely. Shostakovich's words just confuse the issue. His symphony itself is what remains. Listen to it. It is your symphony to write with him.

Or to put it another way: Should "the people" be raised up through education and literacy so that they were full participants in the Revolutionary experiment? Or should music, writing, painting, and drama be simplified to the point where anyone could understand them?

now they complained that the crazed music was too bizarre, and even worse, "irrelevant to students [and] metal- and textile-workers.