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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?
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Photoplay (September 1973)

 

Julie Andrews

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We have lost a genius and a true ambassador of not only Pop music but of all music. He has been an inspiration to multiple generations, and I will always cherish the moments I shared with him on stage and all of the things I learned about music from him and the time we spent together. My heart goes out to his family and loved ones.

 

Michael Jackson

 

You know, actually we have no love — that is a terrible thing to realize. Actually we have no love; we have sentiment; we have emotionality, sensuality, sexuality; we have remembrances of something which we have thought as love. But actually, brutally, we have no love. Because to have love means no violence, no fear, no competition, no ambition. If you had love you will never say, "This is my family." You may have a family and give them the best you can; but it will not be "your family" which is opposed to the world. If you love, if there is love, there is peace. If you loved, you would educate your child not to be a nationalist, not to have only a technical job and look after his own petty little affairs; you would have no nationality. There would be no divisions of religion, if you loved. But as these things actually exist — not theoretically, but brutally — in this ugly world, it shows that you have no love. Even the love of a mother for her child is not love. If the mother really loved her child, do you think the world would be like this? She would see that he had the right food, the right education, that he was sensitive, that he appreciated beauty, that he was not ambitious, greedy, envious. So the mother, however much she may think she loves her child, does not love the child. So we have not that love.

 

Jiddu Krishnamurti

 

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

 

As music is the poetry of sound, so is painting the poetry of sight, and the subject-matter has nothing to do with harmony of sound or of colour. The great musicians knew this. Beethoven and the rest wrote music — simply music; symphony in this key, concerto or sonata in that. . . . Art should be independent of all claptrap — should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it; and that is why I insist on calling my works 'arrangements' and 'harmonies.'

 

James McNeill Whistler

 

It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. lf they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

 

Jerry Goldsmith