"We can no longer maintain any distinction between music and discourse about music, between the supposed object of analysis and the terms of analysis."
--
(1999). Discourse. Key Terms in Popular Music and Culture. Malden, Massachusetts. ISBN 0631212639.Bruce Horner
"And 'speak truth unto power'? What does this mean? It means giving your best advice to superiors based on the best information available and objective analysis even when you know it may not be music to their ears."
Anson Chan
"Even discourse which does not acknowledge "musical coherence" as "intellectual communication" does not in fact succeed in treating it as anything else; it is only by locating their concerns in domains where the "musical" aspects of music are peripherally or not at all involved that musical discourses can circumvent the fact that when the "object of thought" consists of the contents of a musical composition just the recognition of the identities of any of these contents (or even of the undivided single identity of them taken all together as a "unit") involves (to varying degrees) the same considerations that are involved in a discourse that explicitly--and hence with a better chance of cognitive particularity--regards such a composition as an instance of communicative thought."
Benjamin Boretz
Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2 (1990).
George Perle
What he actually did was take 'black' and 'white' music and transform them into this third thing; (in the final analysis), no one sang so many different kinds of music - rock, gospel, country, standards -, as well as Presley sang them, at such a high level, and for such a long time.
Elvis Presley
"The over-publicized bit about expression (or non-expression) was simply a way of saying that music is supra-personal and super-real and as such beyond verbal meanings and verbal descriptions. It was aimed against the notion that a piece of music is in reality a transcendental idea "expressed in terms of" music, with the reductio ad absurdum implication that exact sets of correlatives must exist between a composer's feelings and his notation. It was offhand and annoyingly incomplete, but even the stupider critics could have seen that it did not deny musical expressivity, but only the validity of a type of verbal statement about musical expressivity. I stand by the remark, incidentally, though today I would put it the other way around: music expresses itself."
Igor Stravinsky
Horner, Bruce
Horney, Karen
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