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

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    <h1>Quotations</h1>
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<!-- Page published by Emacs Muse begins here --><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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<p class="cke-footer">* jeffcovey becomes too groggy to read the directions and becomes
  the year's first nasal spray overdose fatality.
</p>
<p class="cke-timestamp">Last Modified:
    March 13, 2008</p>
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Commit	Line	Data
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" />
	10	<link rel="stylesheet" href="default.css" media="screen" />
	11	</head>
	12	<body>
	13	<h1>Quotations</h1>
	14	<div class="contents">
	15	<dl>
	16	</dl>
	17	</div>
	18
	19
	20	<!-- Page published by Emacs Muse begins here --><blockquote>
	21	<p class="quoted">
	22	There are those who consider that studies in harmony, counterpoint,
	23	and fugue are the exclusive province of the intended composer. But if
	24	we reflect that theory must follow practice, rarely preceding it
	25	except by chance, we must realize that musical theory is not a set of
	26	directions for composing music. It is rather the collected and
	27	systematized deductions gathered by observing the practice of
	28	composers over a long time, and it attempts to set forth what is or
	29	has been their common practice. It tells not how music will be written
	30	in the future, but how music has been written in the past.</p>
	31	<p class="quoted">The results of such a definition of the true nature of musical theory
	32	are many and important. First of all, it is clear that this knowledge
	33	is indispensable to musicians in all fields of the art, whether they
	34	be composers, performers, conductors, critics, teachers, or
	35	musicologists. Indeed, a secure grounding in theory is even more a
	36	necessity to the musical scholar than to the composer, since it forms
	37	the basis for any intelligent appraisal of the individual styles of
	38	the past or present.</p>
	39	<p class="quoted">On the other hand, the person gifted for creative musical composition
	40	is taking a serious risk in assuming that this genius is great enough
	41	to get along without a deep knowledge of the common practice of
	42	composers. Mastery of the technical or theoretical aspects of music
	43	should be carried out by him as a life's work, running parallel to his
	44	creative activity but quite separate from it. In the one he is
	45	following common practice, while in the other he is responsible solely
	46	to the dictates of his own personal tastes and urge for expression.</p>
	47
	48	</blockquote>
	49
	50	<p>Walter Piston (Intro to the first edition of <em>Harmony</em>)</p>
	51
	52	<p>—</p>
	53	<!-- Page published by Emacs Muse ends here -->
	54
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66	src="img/buttons/debian.png" alt="[ Powered by Debian ]" /></a>
67
68	<a href="http://hcoop.net/">
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70	alt="[ Hosted by HCoop]" />
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72
73	<a href="http://www.fsf.org/register_form?referrer=114">
74	<img src="img/buttons/fsf_member.png"
75	alt="[ FSF Associate Member ]" />
76	</a>
77	</p>
78
cb44b69b	79	<p class="cke-footer">* jeffcovey becomes too groggy to read the directions and becomes
cb44b69b	80	the year's first nasal spray overdose fatality.
2aff8b5c	81	</p>
	82	<p class="cke-timestamp">Last Modified:
	83	March 13, 2008</p>
	84	</body>
	85	</html>