Music, the greatest good that mortals know,
And all of heaven we have below.
Our music is the fifth Veda. The Vedas teach you brahma Vidya (translation: Sacred Knowledge). You cannot learn that from a machine. If you go on contemplating and meditating upon the divine art. I am sure you will reach the ultimate destination in your music which is Brahman I am trying to reach that.
Music without emotion is like an empty shell. Technique is, of course, essential, but the emphasis should be on bhava or emotional expression. For this, the vocalist has to make a deep and thought study of the nava-rasas. Classical musicians generally ignore this aspect and pay no attention to rasa-siddhant. That is why our shastriya sangeet fails to appeal to listeners who always prefer music which appeals to the heart, rather than the intellect.
It is not easy to determine the nature of music, or why anyone should have a knowledge of it.
Music is the exaltation of the mind derived from things eternal, bursting forth in sound.
If you think this was an isolated incident, let me paraphrase Pastor Martin Niemoller, "First they came for the music faculty and I did not speak out because I was not a musician. Then they came for the psychologists and I did not speak out because I was not a psychologist. Then they came for the biologists and I did not speak out because I was not a biologist. Then they came for me and there was no one left to speak out for me."
I saw The Sound of Music again recently, and I loved it. Probably it's a more valuable film now than when it first came out, because some of the things it stood for have already disappeared. There's a kind of naive loveliness about it, and love goes by so fast ... love and music and happiness and family, that's what it's all about. I believe in these things. It would be awful not to, wouldn't it?
Who sings of all of Love's eternity
Who shines so bright
In all the songs of Love's unending spells?
Holy lightning strikes all that's evil
Teaching us to love for goodness sake.
Hear the music of Love Eternal
Teaching us to reach for goodness sake.
Hunting, fishing, drawing, and music occupied my every moment; cares I knew not, and cared naught about them. I purchased excellent and beautiful horses, visited all such neighbors as I found congenial spirits, and was as happy as happy could be.
In societies with fewer opportunities for amusement, it was also easier to tell a mere wish from a real desire. If, in order to hear some music, a man has to wait for six months and then walk twenty miles, it is easy to tell whether the words, "I should like to hear some music," mean what they appear to mean, or merely, "At this moment I should like to forget myself." When all he has to do is press a switch, it is more difficult. He may easily come to believe that wishes can come true.
What is called music today is all too often only a disguise for the monologue of power. However, and this is the supreme irony of it all, never before have musicians tried so hard to communicate with their audience, and never before has that communication been so deceiving. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector.
I didn't like the music business and I didn't like me. There's an element of falseness about the whole thing. Even things like doing an interview. It's not as though we just met in the pub and are having a chat it's part of a process. If you do it all day, every day for years, you end up thinking: 'Who the hell am I?' I was lucky enough to make some money, enough to let me kick back. It was a great experience and it was nice to have a couple of No.1s but the best thing about it was that the money I made allowed me to have freedom and choice in my life.
It was more like an abortion than music, but he got a wildly enthusiastic response from the crowd. Well, we're all pro-choice out here in Hillmont, after all.
Kids: they dance before they learn there is anything that isn't music.
The truest expression of a people is in its dance and in its music. Bodies never lie.
We have also sound houses, where we practice and demonstrate all sounds and their generation. We have harmonies which you have not, of quarter sounds and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have; together with bells and rings that are dainty and sweet. We represent small sounds as great and deep; likewise divers trembling and warblings of sounds, which in their original are entire. We represent and imitate all articulate sounds and letters, and the voices of beasts and birds. We have certain helps which set to the ear to do further the hearing greatly. We have also divers strange and artificial echoes, reflecting the voice many times, and as if it were tossing it; and some that give back the voice louder than it came, some shriller and some deeper; yea, some rendering the voice, differing in the letters or articulate sound from that they receive. We have also means to convey sounds in tubes and pipes, in strange lines and distances...
We have all been affected as composers, as teachers, as musicians by recordings to an extent that cannot possibly be calculated as yet or predicted for the future. The music which is being most widely disseminated and most widely discussed, and therefore most widely imitated and influential, is that music which is available on records. The music that is only published is very little known. I don't think one can possibly exaggerate the extent to which the climate of music today is determined by the fact that the total Webern is available on records, that the total Schoenberg is becoming available.
Somebody will ask those of us who compose with the aid of computers: 'So you make all these decisions for the computer or the electronic medium but wouldn't you like to have a performer who makes certain other decisions?' Many composers don't mind collaborating with the performer with regards to decisions of tempo, or rhythm, or dynamics, or timbre, but ask them if they would allow the performer to make decisions with regard to pitch and the answer will be 'Pitches you don't change.' Some of us feel the same way in regard to the other musical aspects that are traditionally considered secondary, but which we consider fundamental. As for the future of electronic music, it seems quite obvious to me that its unique resources guarantee its use, because it has shifted the boundaries of music away from the limitations of the acoustical instrument, of the performer's coordinating capabilities, to the almost infinite limitations of the electronic instrument. The new limitations are the human ones of perception.
Well, I never been to Spain
But I kinda like the music
Say the ladies are insane there
And they sure know how to use it
They don't abuse it, never gonna lose it
I can't refuse it.
Where there is devotional music, God with his grace is always present.
Now he took the music of like Mandrill, like "Fencewalk", certain disco records that had funky percussion breaks like The Incredible Bongo Band when they came out with "Apache" and he just kept that beat going. It might be that certain part of the record that everybody waits for--they just let their inner self go and get wild. The next thing you know the singer comes back in and you'd be mad.
Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.
Most people still steal music.
We've had DRM in Windows for years. The most common format of music on an iPod is "stolen".
This fact, the surfacing of structure in an undeliberate action, is too big to take on here, but it was enough to convince me that the structuraliststhe advocates of planning music before you hear or care what the plan gives youwere right: do not rely on unplanned music; it comes out as though it were planned, but planned by someone you cross the street to avoid.