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I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano.
--
To Leon Goldensohn, April 7, 1946, from "The Nuremberg Interviews" by Leon Goldensohn, Robert Gellately - History - 2004 - Page 83

 

Walther Funk

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"A tonal type is minimally identifiable by its three markers and thus objectively observable completely apart from its musical or cultural context; it is 'scientific,' it is 'etic.' 'Mode' conversely is all bound up in sixteenth-century musical culture, not as a living doctrine of the music of the church and a heritage fomr the Middle Ages but also as a musical construct being expirimented with by members of the culture, from both humanistic and traditional points of view; it is thoroughly 'emic' and requires study on its own terms...."

 

Harold Powers

 

There is no servant except that there exists a white spot upon his heart. So when he commits a sin, a black spot arises into that white spot. Then when he repents, this black spot moves away. But if he continues on committing sins, the blackness of this spot increases till such time that it overwhelms and overrides the whiteness. When the whiteness is all covered over (by the blackness), the owner of it (the heart) does never at all return towards beneficence and goodness. And This is what God means when he says: "Nay! rather, what they used to do has become like a rust upon their hearts." (Qur'an, 83:14)

 

Muhammad al-Baqir

 

As I search the archives of my memory I seem to discern six types or methods which divide themselves from one another with measurable distinctness. There is the type magisterial or imperative; the type laconic or sententious; the type conversational or homely; the type refined or artificial, smelling of the lamp, verging at times upon preciosity or euphuism; the demonstrative or persuasive; and finally the type tonsorial or agglutinative, so called from the shears and the pastepot which are its implements and emblem.

 

Benjamin N. Cardozo

 

The two divinest things this world has got,
A lovely woman in a rural spot!

 

Leigh Hunt

 

"The issue of 'science' does not intrude itself directly upon the occasion of the performance of a musical work, at least a non-electronically produced work, since—as has been said—there is at least a question as to whether the question as to whether musical composition is to be regarded as a science or not is indeed really a question; but there is no doubt that the question as to whether musical discourse or—more precisely—the theory of music should be subject to the methodological criteria of scientific method and the attendant scientific language is a question, except that the question is really not the normative one of whether it 'should be' or 'must be,' but the factual one that it is, not because of the nature of musical theory, but because of the nature and scope of scientific method and language, whose domain of application is such that if it is not extensible to musical theory, then musical theory is not a theory in any sense in which the term ever has been employed. This should sound neither contentious nor portentous, rather it should be obvious to the point of virtual tautology.”

 

Milton Babbitt