Musical Quotes (10 quotes)
Because basic learning takes place so early—as…the classic musical South Pacific reminds us, “You've got to be taught before it’s too late, before you are six or seven or eight; you’ve got to be carefully taught,”—we must strengthen our pre-school program, especially Headstart, Kindergarten and Day Care.
Does it not seem as if Algebra had attained to the dignity of a fine art, in which the workman has a free hand to develop his conceptions, as in a musical theme or a subject for a painting? It has reached a point where every properly developed algebraical composition, like a skillful landscape, is expected to suggest the notion of an infinite distance lying beyond the limits of the canvas.
Fractals are patterns which occur on many levels. This concept can be applied to any musical parameter. I make melodic fractals, where the pitches of a theme I dream up are used to determine a melodic shape on several levels, in space and time. I make rhythmic fractals, where a set of durations associated with a motive get stretched and compressed and maybe layered on top of each other. I make loudness fractals, where the characteristic loudness of a sound, its envelope shape, is found on several time scales. I even make fractals with the form of a piece, its instrumentation, density, range, and so on. Here I’ve separated the parameters of music, but in a real piece, all of these things are combined, so you might call it a fractal of fractals.
In my opinion, there is absolutely no trustworthy proof that talents have been improved by their exercise through the course of a long series of generations. The Bach family shows that musical talent, and the Bernoulli family that mathematical power, can be transmitted from generation to generation, but this teaches us nothing as to the origin of such talents. In both families the high-watermark of talent lies, not at the end of the series of generations, as it should do if the results of practice are transmitted, but in the middle. Again, talents frequently appear in some member of a family which has not been previously distinguished.
Most of the arts, as painting, sculpture, and music, have emotional appeal to the general public. This is because these arts can be experienced by some one or more of our senses. Such is not true of the art of mathematics; this art can be appreciated only by mathematicians, and to become a mathematician requires a long period of intensive training. The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.
My first view - a panorama of brilliant deep blue ocean, shot with shades of green and gray and white - was of atolls and clouds. Close to the window I could see that this Pacific scene in motion was rimmed by the great curved limb of the Earth. It had a thin halo of blue held close, and beyond, black space. I held my breath, but something was missing - I felt strangely unfulfilled. Here was a tremendous visual spectacle, but viewed in silence. There was no grand musical accompaniment; no triumphant, inspired sonata or symphony. Each one of us must write the music of this sphere for ourselves.
Saturated with that speculative spirit then pervading the Greek mind, he [Pythagoras] endeavoured to discover some principle of homogeneity in the universe. Before him, the philosophers of the Ionic school had sought it in the matter of things; Pythagoras looked for it in the structure of things. He observed the various numerical relations or analogies between numbers and the phenomena of the universe. Being convinced that it was in numbers and their relations that he was to find the foundation to true philosophy, he proceeded to trace the origin of all things to numbers. Thus he observed that musical strings of equal lengths stretched by weights having the proportion of 1/2, 2/3, 3/4, produced intervals which were an octave, a fifth and a fourth. Harmony, therefore, depends on musical proportion; it is nothing but a mysterious numerical relation. Where harmony is, there are numbers. Hence the order and beauty of the universe have their origin in numbers. There are seven intervals in the musical scale, and also seven planets crossing the heavens. The same numerical relations which underlie the former must underlie the latter. But where number is, there is harmony. Hence his spiritual ear discerned in the planetary motions a wonderful “Harmony of spheres.”
The harmony of the universe knows only one musical form - the legato; while the symphony of number knows only its opposite - the staccato. All attempts to reconcile this discrepancy are based on the hope that an accelerated staccato may appear to our senses as a legato.
This [the fact that the pursuit of mathematics brings into harmonious action all the faculties of the human mind] accounts for the extraordinary longevity of all the greatest masters of the Analytic art, the Dii Majores of the mathematical Pantheon. Leibnitz lived to the age of 70; Euler to 76; Lagrange to 77; Laplace to 78; Gauss to 78; Plato, the supposed inventor of the conic sections, who made mathematics his study and delight, who called them the handles or aids to philosophy, the medicine of the soul, and is said never to have let a day go by without inventing some new theorems, lived to 82; Newton, the crown and glory of his race, to 85; Archimedes, the nearest akin, probably, to Newton in genius, was 75, and might have lived on to be 100, for aught we can guess to the contrary, when he was slain by the impatient and ill mannered sergeant, sent to bring him before the Roman general, in the full vigour of his faculties, and in the very act of working out a problem; Pythagoras, in whose school, I believe, the word mathematician (used, however, in a somewhat wider than its present sense) originated, the second founder of geometry, the inventor of the matchless theorem which goes by his name, the pre-cognizer of the undoubtedly mis-called Copernican theory, the discoverer of the regular solids and the musical canon who stands at the very apex of this pyramid of fame, (if we may credit the tradition) after spending 22 years studying in Egypt, and 12 in Babylon, opened school when 56 or 57 years old in Magna Græcia, married a young wife when past 60, and died, carrying on his work with energy unspent to the last, at the age of 99. The mathematician lives long and lives young; the wings of his soul do not early drop off, nor do its pores become clogged with the earthy particles blown from the dusty highways of vulgar life.
We do not listen with the best regard to the verses of a man who is only a poet, nor to his problems if he is only an algebraist; but if a man is at once acquainted with the geometric foundation of things and with their festal splendor, his poetry is exact and his arithmetic musical.