[clinton/website/site/unknownlamer.org.git] / Quotations.html

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    <h1>Quotations</h1>
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<blockquote>
<p class="quoted">
There are those who consider that studies in harmony, counterpoint,
and fugue are the exclusive province of the intended composer. But if
we reflect that theory must follow practice, rarely preceding it
except by chance, we must realize that musical theory is not a set of
directions for composing music. It is rather the collected and
systematized deductions gathered by observing the practice of
composers over a long time, and it attempts to set forth what is or
has been their common practice. It tells not how music will be written
in the future, but how music has been written in the past.</p>
<p class="quoted">The results of such a definition of the true nature of musical theory
are many and important. First of all, it is clear that this knowledge
is indispensable to musicians in all fields of the art, whether they
be composers, performers, conductors, critics, teachers, or
musicologists. Indeed, a secure grounding in theory is even more a
necessity to the musical scholar than to the composer, since it forms
the basis for any intelligent appraisal of the individual styles of
the past or present.</p>
<p class="quoted">On the other hand, the person gifted for creative musical composition
is taking a serious risk in assuming that this genius is great enough
to get along without a deep knowledge of the common practice of
composers. Mastery of the technical or theoretical aspects of music
should be carried out by him as a life's work, running parallel to his
creative activity but quite separate from it. In the one he is
following common practice, while in the other he is responsible solely
to the dictates of his own personal tastes and urge for expression.</p>

</blockquote>

<p>Walter Piston (Intro to the first edition of <em>Harmony</em>)</p>

<p>&mdash;</p>
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2aff8b5c	1	<?xml version="1.0" encoding="utf-8" ?>
	2	<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
	3	"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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	5	<head>
	6	<title>Quotations</title>
	7	<meta name="generator" content="muse.el" />
	8	<meta http-equiv="Content-Type"
	9	content="text/html; charset=utf-8" />
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	15	<link rel="stylesheet" href="default.css" />
2aff8b5c	16	</head>
	17	<body>
	18	<h1>Quotations</h1>
	19	<div class="contents">
	20	<dl>
	21	</dl>
	22	</div>
	23
	24
11f9bd69 CE	25	<!-- Page published by Emacs Muse begins here -->
11f9bd69 CE	26	<blockquote>
2aff8b5c	27	<p class="quoted">
	28	There are those who consider that studies in harmony, counterpoint,
	29	and fugue are the exclusive province of the intended composer. But if
	30	we reflect that theory must follow practice, rarely preceding it
	31	except by chance, we must realize that musical theory is not a set of
	32	directions for composing music. It is rather the collected and
	33	systematized deductions gathered by observing the practice of
	34	composers over a long time, and it attempts to set forth what is or
	35	has been their common practice. It tells not how music will be written
	36	in the future, but how music has been written in the past.</p>
	37	<p class="quoted">The results of such a definition of the true nature of musical theory
	38	are many and important. First of all, it is clear that this knowledge
	39	is indispensable to musicians in all fields of the art, whether they
	40	be composers, performers, conductors, critics, teachers, or
	41	musicologists. Indeed, a secure grounding in theory is even more a
	42	necessity to the musical scholar than to the composer, since it forms
	43	the basis for any intelligent appraisal of the individual styles of
	44	the past or present.</p>
	45	<p class="quoted">On the other hand, the person gifted for creative musical composition
	46	is taking a serious risk in assuming that this genius is great enough
	47	to get along without a deep knowledge of the common practice of
	48	composers. Mastery of the technical or theoretical aspects of music
	49	should be carried out by him as a life's work, running parallel to his
	50	creative activity but quite separate from it. In the one he is
	51	following common practice, while in the other he is responsible solely
	52	to the dictates of his own personal tastes and urge for expression.</p>
	53
	54	</blockquote>
	55
	56	<p>Walter Piston (Intro to the first edition of <em>Harmony</em>)</p>
	57
	58	<p>—</p>
	59	<!-- Page published by Emacs Muse ends here -->
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	81	alt="[ FSF Associate Member ]" />
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	84
11f9bd69 CE	85	<p class="cke-footer">Ethan: i'm working on myself
	86	Ethan: the self is the most important thing
	87	Ethan: i learned this from a packet of tea
2aff8b5c	88	</p>
2aff8b5c	89	<p class="cke-timestamp">Last Modified:
f6d19803	90	January 21, 2013</p>
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