I like to think of music as an emotional science.
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Page 388George Gershwin
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There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.
Raymond Chandler
Many consider that Shostakovich is the greatest 20th-century composer. In his 15 symphonies, 15 quartets, and in other works he demonstrated mastery of the largest and most challenging forms with music of great emotional power and technical invention…All his works are marked by emotional extremes – tragic intensity, grotesque and bizarre wit, humour, parody, and savage sarcasm.
Dmitri Shostakovich
I think when something's over, events have a way of conspiring to make you realise that it's over. As cryptic as that sounds, it's true. Things would happen and I'd be like, Am I going to have to deal with this for the rest of my life? And it was a very, very emotional band. It's in the music. The relationship between me and Morrissey was very emotional. It wasn't volatile in that we would row or anything like that, but it was so intense that if rocked slightly it would be a big deal. Was the lack of a manager important? Massively, I think. I was nursemaiding people when I needed nursemaiding myself. And I couldn't see where we were going to go in the near future musically without repeating ourselves and not being as good.
Johnny Marr
We started out in the middle ages creating music which had certain desirable physical properties (for example, a major chord sounds "nice" because the frequencies are in integer ratios to each other). And then as society evolved, we created these emotional contexts for certain instruments and progressions. Major-chord arpeggios sound "happy", minor chords sound "sad", chromatic scales can sound "scary", et cetera. In the 20th century, film soundtracks reinforced this point as people associated certain kinds of music with certain visual and emotional experiences. It's a giant feedback loop, really; once you grow up in a given culture, it leaves this musical fingerprint on you which colors your experiences.
Andrew Sega
I know I shall be called heterodox, and that unseen lightning flashes and unheard thunderbolts will be playing around my head, when I say that women will never be profound students in any other department except music while they give four hours a day to the practice of music. I should by all means encourage every woman who is born with musical gifts to study music; but study it as a science and an art, and not as an accomplishment; and to every woman who is not musical, I should say, 'Don't study it at all;' you cannot afford four hours a day, out of some years of your life, just to be agreeable in company upon possible occasions. If for four hours a day you studied, year after year, the science of language, for instance, do you suppose you would not be a linguist? Do you put the mere pleasing of some social party, and the reception of a few compliments, against the mental development of four hours a day of study of something for which you were born? When I see that girls who are required by their parents to go through with the irksome practising really become respectable performers, I wonder what four hours a day at something which they loved, and for which God designed them, would do for them. I should think that to a real scientist in music there would be something mortifying in this rush of all women into music; as there would be to me if I saw every girl learning the constellations, and then thinking she was an astronomer!
Maria Mitchell
Gershwin, George
Gershwin, Ira
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