Quotes About Classical

En el mundo del arte clásico, las obras se aprecian en base a la ejecución del artista; es decir, la destreza con la que pinta el lienzo o cincela la piedra. En el arte moderno, sin embargo, la valoración se basa más en la idea que en su ejecución

In your world of classical art, pieces are revered for the artist's skill of execution—that is, how deftly he places the brush to canvas or the chisel to stone. In modern art, however, masterpieces are often more about the idea than the execution.

In your world of classical art pieces are revered for the artist's skill of execution - that is, how deftly he places the brush to canvas or the chisel to stone. In modern art, however, masterpieces are often more about the idea than the execution.

Bueno, esa es con frecuencia la cuestión, ¿no? En el mundo del arte clásico, las obras se aprecian en base a la ejecución del artista; es decir, la destreza con la que pinta el lienzo o cincela la piedra. En el arte moderno, sin embargo, la valoración se basa más en la idea que en su ejecución. Por ejemplo, cualquiera puede componer una sinfonía de cuarenta minutos que consista únicamente en un acorde y silencio, pero fue Klein quien tuvo la idea.

I think one of the reasons it ended was that his eyes never lit up for me the way they did for classical music. I realize that in the long run I may not be as wonderful as a Brahms symphony but I think I'm good for a Haydn quintet.

It is so important for people at a young age to be invited to embrace classical music and opera.

If anything I think we connect to what our parents were listening to when they were our age. I'm listening to a lot of classical and electronic music, like Aphex Twin, non-vocal music.

Virgil and Horace [were] the severest writers of the severest age.

I have a great interest in classical mythology and I need to make a sphinx or satyr every once in awhile to satisfy those interests. (...)

In classical physics, science started from the belief – or should one say, from the illusion? – that we could describe the world, or least parts of the world, without any reference to ourselves.

Classical works; all (of course) immeasurably superior to anything produced in later times; and all (from my present point of view) possessing the one great merit of enchaining nobody's interest, and exciting nobody's brain.

what young men in our colleges learn through those of Greek and Latin—that is grammar, rhetoric, and logic. After his seven years of study, the young Muhammadan binds his turban upon a head almost as well filled with the things which appertain to these branches of knowledge as the young man raw from Oxford—he will talk as fluently about Socrates and Aristotle, Plato and Hippocrates, Galen and Avicenna; (alias Sokrat, Aristotalis, Alflatun, Bokrat, Jalinus and Bu Ali Sena); and

He had essentially created the new genre of string trio in 1788 with the Divertimento in E-flat major, K. 563.

If 'myth' is a slippery term, so is 'classical'. It is common shorthand for 'ancient Greek and Roman'. But this shorthand has a history, and a bias.

This book aims to capture, and explore, the outrageousness, inventiveness, and sheer fun that characterize classical mythology. But it is also born of the conviction that myth matters. It mattered for the ancient Greeks and Romans, and it matters for us in understanding who we are: our selves, our liberties, and our lies.

The orthodox interpretation offers no explanation as to why everyday objects never assume quantum mechanical states that do not allow a classical interpretation.

Mozart has the classic purity of light and the blue ocean; Beethoven the romantic grandeur which belongs to the storms of air and sea, and while the soul of Mozart seems to dwell on the ethereal peaks of Olympus, that of Beethoven climbs shuddering the storm-beaten sides of a Sinai. Blessed be they both! Each represents a moment of the ideal life, each does us good. Our love is due to both.

Classical mechanics gave us a deterministic view of the world. Quantum mechanics, conversely, gives us a probabilistic view instead. According to Newton, if you know the cause af an event, you can predict the outcome. According to M.Born, you can only predict how likely that outcome will be.

Classical/Traditional Pilates instructors teach the exercises in a standard order that does not vary from student to student.

My grandmother Shahmshad Begum was an accomplished classical singer. And I'd often urge her to teach me. She would demand that I sit and practice singing with her, which I never did. But I finally did sing in Mohan Kumar Saab's 'Aman.'

I'm a self-confessed geek, and my whole concept of music at first was entirely electronic. In many ways, it turned out to be an advantage. I was so green, so utterly naive about the nature of classical music, that I did things that made me look totally, deliberately unorthodox.

My mother has learnt classical singing from renowned artiste Druba Ghosh at Sangeet Mahabharati, a music school. During my vacations, my father would sent me to this same school.

The reason that I like to use classical myths as models is because African American writers and African American stories are usually understood as occurring in some kind of vacuum - because of slavery.

Country music as a genre, as an art form, is just as valid out there in the pantheon of the arts as classical, jazz, ballet, whatever.