<!-- Hide script from older browsers
var quotes = new Array();
var numberOfQuotes = 0; 
var quotes = new Array();
var numberOfQuotes = 0; 
function addQuots(quote)
{
quotes[numberOfQuotes++] = quote;
}
// Add quotes
addQuots ("Musicality, in addition to being an attribute of man, is also an attribute of the world. The one without the other makes no sense: the existence of the new dimension is revealed precisely in communication between man and things, in the fact that the singer shares actively in what he sings about. Singing man verifies his own reality in the new dimension, but at the same time, thanks to the tones he steps outside himself and recognizes the reality of the new dimension in things. Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Of course, music is not the only means of attaining the broader, deeper levels of existence, nor is it the only testimony to them, music however surely provides the shortest, the least arduous, perhaps even the most natural solvent of artificial boundaries between the self and others, just as language is most apt and useful for expressing every sort of distinction and difference between them. Because man can accede to the 'new dimension', he may properly be called 'musical'. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("A Stone is frozen music - Pythagoras");
addQuots ("Jag är inte intreserad av era bilar och era flygplan. Allt jag önskar är en kamel, en sval natt med månsken, en säck med mjölk, en tobakspung och ingenting framför mig utom tomheten. Det är frihet det! - Två genom Sahara.");
addQuots ("Time and rhythm appear even to exclude each other: rhythm resists regular time; 'time' appears to suffocate rhythm. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The body is only something inhabited by the spirit - Merriam: An African World.");
addQuots ("The shadow likes places where light is present.");
addQuots ("Efile Mukulu can arrange anything he wishes - Merriam: An African World.");
addQuots ("Congolese magic, cannot be applied to Westerners for a variety of reasons which together add up to practicality. - Merriam: An African World.");
addQuots ("If it rains all night, stops a while, and then begin raining again in the morning, no magic can stop it. - Merriam: An African World.");
addQuots ("The Shadow stays until the end of the funeral - Merriam: An African World.");
addQuots ("Once one becomes a witch, no turning back is possible - Merriam: An African World.");
addQuots ("Now the New Year reviving old Desires, The thoughtful Soul to Solitude retires - Omar Khayyam: Rubaiyat.");
addQuots ("Strange, is it not? that of the myriads who Before us pass'd the door of Darkness through, Not one returns to tell us of the Road, Which to discover we must travel too. - Omar Khayyam: Rubaiyat.");
addQuots ("Förnuftet tar för godt blott hvad det ej förstår - Eric Hermelin: Om Sans (1939).");
addQuots ("The one function TV news performs very well is that when there is no news we give it to you with the same emphasis as if there were. - David Brinkley.");
addQuots ("Let us make a special effort to stop communicating with each other, so we can have some conversation. - Judith Martin.");
addQuots ("Dear GOD, What does it mean You are a Jealous God?  I thought You had everything. Jane - Children's Letters to God.");
addQuots ("Dear GOD, Why is Sunday school on Sunday?  I thought it was supposed to be our day of rest. - Children's Letters to God.");
addQuots ("Dear GOD, I think the stapler is one of your greatest inventions. Ruth M. - Children's Letters to God.");
addQuots ("Dear GOD, If You watch me in church Sunday, I'll show You my new shoes. Mickey D. - Children's Letters to God.");
addQuots ("Music in the future will almost certainly hybridise hybrids to such an extent that the idea of a traceable source will become an anachronism. - David Toop: Ocean of Sound.");
addQuots ("Harmony and counterpoint existed to be ignored according to whim and intuition - David Toop: Ocean of Sound.");
addQuots ("I would like to see, and I will succeed myself in producing, music which is entirely free from 'motifs', or rather consisting of one continuous 'motif' which nothing interrupts and which never turns back on itself. - Debussy.");
addQuots ("I saw what was happening to leaders. I thought leaders were an endangered species. - Sun Ra.");
addQuots ("Disco mixing, the merging of a records by a DJ, denied the musician as performer, denied the integrity of any idividual performance, denied the problems of mixing musical styles or cultural difference, denied the conclusion of a work. - David Toop: Ocean of Sound.");
addQuots ("We've had sixty, seventy years of making records. That's stage one. Now we sample them. - David Toop: Ocean of Sound.");
addQuots ("Claude Lévi-Strauss associates noise-making instruments with death, decomposition, social disorder and cosmic disruption. The instruments of darkness he calls them.");
addQuots ("When a sick man was on his deathbed, noise was prescribed before his death, and silence afterwards. - David Toop: Ocean of Sound.");
addQuots ("Noise persistently draws on the metaphorical resource of dark powers. Music for the dance of death, in other words, rather than the music of the spheres. - David Toop: Ocean of Sound.");
addQuots ("Debussy believed that percussion in Europe was the art of barbarians. Barbarians, yes, but a hopelessly meek and fussy tribe. - David Toop: Ocean of Sound.");
addQuots ("Deserts mean to me not only the physical deserts of sand, sea, mountains and snow, of outer space, of empty city streets... but also that remote inner space no telescope can reach, where man is alone in a world of mystery and essential loneliness. - Varése.");
addQuots ("It's faith music. If you believe in it I'm sure it will work. - Brian Eno.");
addQuots ("A problem with utopias is that they tend to be closed systems, frozen in their supposed perfection and therefore boring, imprisoning and fanatical - David Toop: Ocean of Sound.");
addQuots ("A great andvantage of working with dead people is that their objections, the objections of habit or fixed identity, go unheard. - David Toop: Ocean of Sound.");
addQuots ("When I clap my hand, duppy appear to me from coast to coast, flying through the night post and through keyholes. Sometimes they melt the key, if the key is in the keyhole, in a puff of smoke - pfffffffff. Yes Tubbs, madness, the people dem like it! - Lee Perry.");
addQuots ("The ascetic face which Eurocentric tradition has come to associate with serious expression. - David Toop: Ocean of Sound.");
addQuots ("Some music is not recordable - David Toop: Ocean of Sound.");
addQuots ("Playing for people over a period of eight hours and having them´bring their sleeping bags and hammocks, people brought food and spent the whole night. It felt like a great alternative to the ordinary concert scene. - Terry Riley.");
addQuots ("The idéa of neutrality was ahead of its time, however, since in an irony worthy of his own sarcastc wit, Satie had to rush around the room, commanding the audience to ignore what they were hearing. - David Toop: Ocean of Sound.");
addQuots ("It must be remembered, disconcerting though the fact may be, that so far from a grammar - the structure of a symbol system - being a reflection of the structure of the world, any supposed structure of the world is more probably a reflection of the grammar used. - Ogden and Richards: The Meaning of Meaning.");
addQuots ("Musicologist Samuel Akpabot notates a kara flute ensemble of the Birom people in northern Nigeria as follows: Player 1 stops to do a little dance; player 2 stops to blow his nose; player 3 stops to urinate and spit; player 4 stops to laugh at player 3 and chat with the crowd; players 3 and 4 stop to argue; player 5 stops to tune his drum. Notation is the critical word. Similar notations of musical events appear daily in newspapers and magazines, except they are called reviews. - David Toop: Ocean of Sound.");
addQuots ("Man... grows through anti-structure and conserves through structure. - Victor Turner.");
addQuots ("TaxiDriver was the first and only film where, when the censors saw the film, the only requirement they had in order to pass it for a screening certificate was a sound cut. - David Toop: Ocean of Sound.");
addQuots ("Spring creates, summer makes grow: this is love. Autumn gathers, winter shelters in the barns: this is justice. Love corresponds to music, justice corresponds to rites. Music effects union, the rites effect separation. In union men love one another, in separation men respect one another. If music predominates, there arises the danger of dissolution; if the rites predominate there artises the danger of stagnation. - Li Chi.");
addQuots ("The words associated with music are not art, artist or work of art, but summer and winter, separation and union, love and justice, dissolndl: Sound And Symbol, 1956.");
addQuots ("The meaning of a tone lies not in what it points to but in the pointing itself; more precisely, in the different way, in the individual gesture, with which each tone points toward the same place. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Music is always in demand when, for whatever reason, human beings are to be made to forget themselves. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Music gives us images in which there is nothing to be seen. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The emotion is secondary (when singing), is spiritualized, put into brackets. The evil to which the poem refers is just as good, just as lovable, as the good. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Tones serve not to communicate our feelings but to help us share actively in what is said. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Mystics speak of a place where all things are together, implying not an undifferentiated mixture of all things, but the common source that feeds each particular thing. This source is also the domain of tones. One and the same melody could not express 'beware' and 'rejoice' with equal truth if such a domain did not exist. The very existence of tones is evidence of a stratum of reality, in which unity shines through diversity.- Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Singing man does not step out of anything, does not leave anything behind him. Quite on the contrary, it is speaking man who gets to the bottom of himself, and he does this not by turning his back on the world; he does not go 'into himself', he goes out of himself; he does not shut himself in, he opens himself. Singing man reaches back deeper into himself, reaches out farther, and thus also gets farther out, penetrates deeper into things than speaking man. Singing man reaches a new depth of the world, and by the same token a deeper level of himself. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Wittgenstein was wrong to write, 'what we cannot speak of we must consign to silence.' Not at all: what we cannot speak of we can sing about. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Just what we speak of here should be clear. Singing man does not rise himself above speaking man; musical man does not supersede rational man. The otherness of tones is not of another world. It does not derive from some transcendental beyond or from some purely interior self or thought or feeling. It is singing man's different attitudecomes one with. The two acts are like breathing in and breathing out, in one process, or the Chinese sage's complementarity of love and respect. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Singing man did not precede speaking man; he misunderstands himself when he sees himself as the representative of an evolutionary state closer to the animal stage. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Man at the magical stage might well see nature, but he sees it from the inside so to speak. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The affinity between music and magic does not just come down to superficial similarities; it is rooted in their very nature, in both, man's sense of being at one with the world outweighs his sense of being distinct from it. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Music and speech would stand for two stages of development. The magical stage: the world experienced as one; existence as egoless, timeless, spaceless; the opposition between man and world not yet present. The mythical stage: awakening of the individual spirit, opposition between man and the world felt as a polarity; awareness of self as existing in time; the individual in process of emerging from the group. At the magical stage the crucial organ was the ear the crucial sense the sense of hearing. At the mythical stage it was the mouth, the organ of speech. There is no mouth in the earliest representations of human figures; only later is the mouth fully delineated.- Zuckerkandl: Sound And Symbol, 1956");
addQuots ("In this view of mankind's development, words and music are sharply contrasted and assigned radically different origin. Their relationship is reduced to one of temporal succession, a crucial evolutionary leap in the history of the human race. This interpretation helps us understand why fanatics of the word look upon the presence of music among us as a dangerous atavism, while those who have lost hope in the word believe they hear in music the glad tidings of ultimate return to a lost paradise. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("What the tone expresses is not the subject but the interpenetration of subject and object. Music does not thrive at the expense of rationallity. Music originates, grows, and reaches its culmination within human rationality, together with it, not outside it or against it. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Only one among the seven tones is characterized by a state of perfect balance. This balance does not mark a zero point; it is active but its activity is, so to speak, directed toward itself. The other six tones are audibly directed toward this one tone, which functions as the center of attraction; they gravitate toward it, point to it, each from 1956.");
addQuots ("The dynamic tone quality taken by itself - directed tension originating in the tone's incompleteness, its striving to be completed, is precisely this: the very presence, audible existence of the 'not yet' and the 'no longer' as such, i.e., as nonexistent. It is the exact opposite of what occur in the pseudotemporal gestalt, in which anticipation and recollection imply a stemming of the forward flow of time, a denial of any difference between a thing's being present and its not being present to awareness. Yet a serious conception of how time is, in fact, structured must begin by postulating pure nonbeing as something real, something that can be perceived - the audibility of time. Abolish the paradox and you abolish music. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Music possesses a realm that is absolutely its own. The world of musical art, a world of sounds, is quite separate from the world of noises. Whereas a noise merely evokes in us some isolated event, a produced sound in itself evokes the whole musical universe.  If in this hall where I am speaking, where you hear the noise of my voice together with various other auditory events, a note were suddenly heard - if a tuning fork or a well-tuned instrument began to vibrate - the moment you were affected by this unusual noise, which cannot be confused with the others, you would immediately have the sensation of a beginning. A quite different atmosphere would be immediately created, a special state of expectation would be felt, a new order, a world, would be announced, and your attention would be organized to receive it. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("A stream without water, a streaming without stream, have long since ceased to be dismissed as nonsense. At any rate, this much is clear: tonal movement is psychic, not bodily motion, a motion without a material substratum, nonspatial motion, spontaneous or self-motion. The states of mind in psychic motion are matched by the continually changing and internally coherent dynamic states in tonal motion. The movement so heard is 'emotion', not motion of bodies. In this sense, the proposition 'To hear music is to hear emotion' is true. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The melody's character of necessity is always recognized post factum. Every step, as it is being made, is free; once made, it is necessary. Freedom in prospect, necessity in retrospect: this duality is characteristic of the type of law that governs tonal motion. The same type of law - freedom in prospect, necessity in retrospect - is above all characteristic of living processes. What is distinctive of music is the fact that in it this law governing life (in a higher sense) becomes audible. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Tones stand for something; they are symbols, universals arrived at by way of abstraction from actually experienced particulars, and what they stand for is called 'feeling', 'inner life'. What music actually renders is nothing  other than the morphology of feeling... the law of experience, the order of affective and selffeeling existence, which cannot be said in words, but is not for this reason unsayable. Music is our myth of the inner life. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Technology merely makes it possible to carry to pathological extremes a tendency deeply rooted in human nature. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The ear is not a reflector but a resonator of music. The more deeply I share in the living motion of tones, the more genuine, more valid, more informed my experience will be. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Musical experience teaches us that human sense organs are not confined to the biological function. Hearing tonal motion is an act of cognition by means of which we actually perceive an event in our environment. Man's senses are organs that serve not merely to protect him against dangers and to determine his behavior in his environment, but are first and foremost organs of cognition, of apprehending the true nature of the world and himself - not just barred windows that separate 'world' and 'self' from one another, but open doors through which the two can approach one another. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The ear has much more in common with the skin than with the eye: this is why, in deaf persons, the ears function as organ of 'musical' sensation is taken over by the skin, not by the eye. No graphic representation of sounds in the form of lines and curves on the oscilloscope screen can serve as substitute for sensations of sound. In contrast, when an area of skin sensitive to subtle vibrations is exposed to sound waves, it has sensations which, however shadowy, correspond to sensations of sound. Just as the skin is exposed to the surrounding air, so the ear is exposed to sound. Just as inner warmth and outer warmth, and inner and outer coolness, meet in the skin, so inner and outer living motion meet in the ear. Colors do not color us in the same way as warmth waaws me into their motion; by being heard, nonmaterial living processes characterized by states of tension become something perceived, something known. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The ear is 'my' ear; it communicates something to me - 'I, ear, something' being clearly distinguished from one another. But the moment I begin to hear music instead of signals, the situation changes. The relation between 'I' and 'ear' is reversed: now the ear possesses me and I am possessed by the ear, which in turn is possessed by the music, becomes the tones' own ear. At this point language, being firmly tied to the subjet-object-predicate structure, begins to fail us. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("Helen Keller describes how she first realized that 'water' was not just a sign or expressive sound but a name, and that it made sense to say 'water' even when she was not wet or thirsty. The step from functional designation to meaning, the emergence of meaning, is the crucial one: with it, the human spirit rises above nature. The word marks the moment when man comes into the world and becomes aware of the world. Thus he can call the word 'God': the word created man. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("We hear the sea or the storm, not merely a roar; bells, not a ringree of any objective reference, does not occur elsewhere. The analoguous phenomenon in the visible world, the art of pure colors and forms, offers nothing comparable, for the colors and forms are either the same as are found in objects or derived from objects, whereas man finds no tones in the audible world; he must supply them himself. It is man who creates the purely audible, in which the audible world reveals itself in a form that is entirely its own. Withoeeing with one's ears. Only in music does hearing come into its own. If one tries to understand hearing on the basis of any given sound sensations, as most psychologists do, one can never get beyond what hearing has in common with seeing and touching. What hearing really is, what we really are as listeners can be understood only on the basis of hearing music. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("In the domain of musical form there are as many laws as there are individual musical patterns, and that each law is valid only for a given instance. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The meaning of a human individual's life can be grasped only in retrospect: we act as we do because we are what we are; we become what we are because we act the way we do. The process is a gradual one of progression from amorphous beginnings toward ever more sharply defined forms and is complete only when the last step has been taken. A man's death might be compared to the birth of a melody - to the moment when it has ceased to 'grow' and enters actual existence. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("The world, man's world, shows us two faces: the face of logic and the face of music. We cannot do without either of them. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("In music, after all, man is not radically separated from the world as a subject from an object, but each is turned toward the other as in the togetherness of an encounter. The truth of music, like that of mathematics, consists in this, that it serves us as a key to understanding the world we live in. - Zuckerkandl: Sound And Symbol, 1956.");
addQuots ("If life brings you lemons - make lemonade");
addQuots ("Style is the death of Creativity - Don Cherry");
addQuots ("In the Western system of music some people get into where the technique is the main thing, and audiences, that's what they applaud. It's like some people confuse technique with professionalism. I hate professionalism. I've been a professional musician long enough, and have shown I can do it. But professionalism becomes a religion in certain quarters, and to me, there's more to religion than that. - Don Cherry");
addQuots ("Might be dangerous... you go first! - Marty Feldman, Young Frankenstein");
addQuots ("How can you tell if a stage is level - the timpani player has drool coming out of both sides of his mouth");
addQuots ("Late style is what happens if art does not abdicate its rights in favor of reality - Edward Said");
addQuots ("I can't understand why people are frightened of new ideas. I'm frightened of the old ones. - John Cage");
addQuots ("Sure, it works in practice, but does it work in theory? - Brogan Darectar");
addQuots ("Människorna lever sida vid sida som oxar; nätt och jämnt lyckas de av och till dela på en flaska sprit. - Michel Houellebecq: Plateforme, 2001");
// end hiding contents -->