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18 | <h1>Quotations</h1> | |
19 | <div class="contents"> | |
20 | <dl> | |
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22 | </div> | |
23 | ||
24 | ||
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25 | <!-- Page published by Emacs Muse begins here --> |
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> | |
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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> |
89 | <p class="cke-timestamp">Last Modified: | |
f6d19803 | 90 | January 21, 2013</p> |
2aff8b5c | 91 | </body> |
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