Ach! I know. If I were to play the Pathetique or the Moonlight Sonata for the high judges, they would let me off. But my defense unfortunately will not be musical.
--
To Leon Goldensohn, March 31, 1946, from "The Nuremberg Interviews" by Leon Goldensohn, Robert Gellately - History - 2004 - Page 82Walther Funk
I think there are some objective [musical] qualities... how complex something is, how melodic, how diverse the tonality is, et cetera. But I could also make a piece of music that contains all of those and yet isn't "good" from a subjective viewpoint. For example, take Beethoven's "Moonlight Sonata", Beatles "Yesterday", and Underworld's "Born Slippy", and play them all on top of each other at the same time. Great music in their own right, but terrible sounding together.
Andrew Sega
Farrell’s other eleven defenses are The PMS Defense ; The Husband Defense (Warren, I don’t quite know how to summarize this one—not sure I get it); The ‘Battered Woman Syndrome’ Defense, aka Learned Helplessness; ‘The Depressed Mother’ Defense ; The ‘Mothers Don’t Kill’ Defense ; The ‘Children Need Their Mother’ Defense ; The ‘Blame-The-Father, Understand-The-Mother’ Defense ; The ‘My Child, My Right To Abuse It’ Defense ; The Plea Bargain Defense ; The Svengali Defense ; and The Contract Killing Defense.
Warren Farrell
Capitalism stands its trial before judges who have the sentence of death in their pockets. They are going to pass it, whatever the defense they may hear; the only success victorious defense can possibly produce is a change in the indictment.
Joseph Schumpeter
One kiss, my bonny sweetheart; I'm after a prize tonight,
But I shall be back with the yellow gold before the morning light.
Yet if they press me sharply, and harry me through the day,
Then look for me by moonlight,
Watch for me by moonlight,
I'll come to thee by moonlight, though hell should bar the way.Alfred Noyes
I find it breathtaking [...] that when musical composition competitions are held, the contestants often do not submit tapes or records (or live performances) of their works they submit written scored, and the judges confidently make their aesthetic judgements on the basis of just reading the scores and hearing the music in their minds. How good are the best musical imaginations? Can a trained musician, swiftly reading a score tell just how that voicing of dissonant oboes and flutes over the massed strings will sound?
Daniel C. Dennett
Funk, Walther
Furniss, Harry
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