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So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it.
--
Music as an Aspect of the Human Spirit (1954)

 

Aaron Copland

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In this world, everything has a pulse or a vibration. This sound is unique to each living or non-living thing and in itself creates a music that no-one can hear. I believe that this has a very powerful resonance with, and a deep effect on, our lives. What would happen if we took this further and applied it to bigger things, more powerful things; like an entire solar system or galaxy say, what would that sound like?
Musica Universalis is the ancient theory that every celestial body, the sun, the moon and the stars, has an inner music. This is a harmonic and mathematical concept derived from the movements of the planets in the solar system. The music created is inaudible to the human ear.
Music of the Spheres is my interpretation of this theory. Every planet and every star; the whole universe has music within it that no-one can hear. This is what it would sound like if it was set free. This is Music of the Spheres. (from the introduction to Music of the Spheres)

 

Mike Oldfield

 

Everything on this planet has something to do with music. Music functions in the realm of sculptured air. Polluted as our atmosphere might be, air is the thing that makes music work. Since all other things that occur in the sound domain are transmitted to the ear through that swirling mass, depending on how wide you want to make your definition, you could perceive quite a bit of human experience in terms of music.

 

Frank Zappa

 

I have known Harriet long, and a nobler, higher spirit or a truer, seldom dwells in human form.

 

Harriet Tubman

 

Faith must now get what is essentially the form of mediation. It itself is already this form implicitly, for it is knowledge of God and of his character, and this knowledge is in itself a process, a movement-is life, mediation. It is involved in the very nature of the freedom which is the inner characteristic of faith, that it should not be what we at first called substantial, solid unity, that it should not be idea; in freedom I exist on the contrary as that activity in the affirmation which is infinite negation of itself. Now if we should wish to give to mediation the form of an external mediation as the foundation of faith, then such a form would be a wrong one. This mediation, of which the basis is something external is false. The content of faith my indeed come to be my means of instruction, miracle, authority, etc. These may be the foundation of faith as subjective faith. But it is just in giving this position to the content whereby it assumes the character of a basis for me, that we go on a wrong track; and when faith is reached, this externality must drop away. In faith I make that my own which comes to me thus, and it ceases to be for me an Other. Immediate faith may be so defined as being the witness of the Spirit to Spirit, and this implies that no finite content has any place in it. Spirit witnesses only of Spirit, and only infinite things are mediated by means of external grounds. The true foundation of faith is the Spirit, and the witness of the Spirit is inherently living. Verification may at first appear in that external formal manner, but this must drop away. It may thus happen that faith in a religion has its commencement form such testimony, from miracles, that is in a finite content. Christ Himself, however, spoke against miracles, He reproached the Jews for demanding them of Him, and said to His disciples, “The Spirit will guide you into all truth.”

 

Georg Wilhelm Friedrich Hegel

 

[Serafin was] an extraordinary coach, sharp as a vecchio lupo [sly fox]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills ... have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it. ... But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living.

 

Maria Callas