Educators From The United States

"The relation of tonic to dominant is the foundation of Western triadic tonality. The attempt of the early nineteenth century to substitute third or mediant relationships for the classical dominant amounted to a frontal attack on the principles of tonality, and it eventually contributed to the ruin of triadic tonality. This ruin was accomplished from within the system, however, as mediant relationships were essential to tonality as conceived in the eighteenth century."

"The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds."

"The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated."

"Beethoven is the first composer to represent the complex process of memory-not merely the sense of loss and regret that accompanies visions of the past, but the physical experience of calling up the past within the present."

"Visual delight, sentiment, and exploration become one in the new appreciation of landscape and Nature."

"It is above all through landscape that music joins Romantic art and literature."

"It is typical of Schumann's musical thinking to construct this complex network of references outside his music-to quote Beethoven, and then to have Beethoven's distant beloved refer to Clara. But this should give a clue to the nature of Schumann's achievement. It is not Schumann's music that, refers to Clara but Beethoven's melody, the "secret tone.""

"The extraordinary stylistic changes of late eighteenth-century music may have provided much of the inspiration for the literature of the turn of the century, but the literary forms that resulted were deeply eccentric. It was these works—paradoxical, anticlassical, often with startlingly unbalanced proportions—which in turn influenced the music of the generation of composers that followed. The most clearly affected by literature and art were Schumann, Berlioz, and Liszt, but neither Mendelssohn nor Chopin remained untouched by literary developments, like the revival of Celtic and medieval poetry, as the overtures of Mendelssohn and the Ballades of Chopin explicitly demonstrate."

"For Beethoven, music was still shape, realized and inflected by instrumental sonority: other realizations may be as absurd as arrangements of the Hammerklavier, for example, always are, but the musical conception takes precedence over its realization in sound. The sonority serves the music. For Schumann, however, as for Chopin and Liszt, the conception was worked out directly within the sonority as a sculptor works directly in clay or marble. The instrumental sound is shaped into music."

"In the piano writing of the Romantic generation of the 1830s, in fact, a fully pedalled sonority becomes the norm: the piano is expected to vibrate fairly constantly, and an unpedalled sonority is an exception, almost a special effect. Furthermore, the phrase is now shaped at least partially by changes in this full vibration. The change of pedal is crucial to the conception of rhythmic movement and to the sustaining of the melodic line over the bass."

"Schumann's humor is rarely either witty or light: the unrealizable musical structure, the musical motto hidden and partly inaudible, must have stirred his musical fantasy."

"Here, in the last pages of the "Abegg" Variations, Schumann plays the motto theme A-B-E-G-G (B in German notation is the English Bb) not by sounding the last four notes but by taking them away, one by one, from, the chord of Bb-E-G. This is the first time in history that a melody is signified not by the attack but by the release of a series of notes. The motto, however, ends with a repeated final G. If the motto is played by releasing each successive note, we are faced with a paradox: when the G is released once on the piano, it is no longer there to be released again-the motto is not only unplayable as conceived but unimaginable. Schumann signifies as much by another paradox: he adds accents to the sustained notes."

"The absolutely inaudible is rejected from music during the period of Viennese Classicism in which every musical line is potentially or imaginatively audible, but it makes a dramatic reappearance in the music of Schumann. The most striking of many examples is one of the episodes in the Humoresk, the last of the great piano works of Schumann's early years. ... There are three staves: the uppermost for the right hand; the lowest for the left; the middle, which contains the melody, is not to be played. Note that the melody is no more to be imagined as a specific sound than it is to be played: nothing tells us that the melody is to be heard as vocal or instrumental. This melody, however, is embodied in the upper and lower parts as a kind of after-resonance-out of phase, delicate, and shadowy."

"It is fitting that a discourse on Romantic music should commence with a meditation on the art of Bach. The Bach revival is still sometimes considered an early nineteenth-century phenomenon, although this is hardly tenable: in the 1780s Mozart was deeply affected by Bach, and at the same time Beethoven was being brought up on the Well-Tempered Keyboard. Bach was well known to European musicians as a composer of keyboard music through manuscript copies of this work long before systematic publication began in 1800. The "revival" of Bach in the Romantic period was basically a rediscovery of his choral works and a new evaluation of his technique: his art was no longer simply a model for the fugue, as it had been in the eyes of Mozart, but for the art of music as a whole. The new approach to Bach and to Baroque music in general, however, did not extend to the sound of that music on the original instruments. Few musicians in the 1820s and '30s 'had the slightest interest in the sonority of old harpsichords or Baroque organs (Ignaz Moscheles was an engaging exception). What they saw, and needed to see, in Bach was the achievement of an ideal."

"Inaudible music may seem an odd notion, even a foolishly Romantic one—although it is partly the Romantic prejudice in favor of sensuous experience that makes it seem odd. Still, there are details of music which cannot be heard but only imagined, and even certain aspects of musical form which cannot be realized in sound even by the imagination."

"Nevertheless, music will not acknowledge a context greater than itself—social, cultural, or biographical—to which it is conveniently subservient. To paraphrase Goethe's grandiose warning to the scientist: do not look behind the notes, they themselves are the doctrine."

"Music has its existence on the borderline between meaning and nonsense. That is why most attempts to attribute a specific meaning to a piece of music seem to be beside the point—even when the attribution is authoritative, even when it is made by the composer himself."

"Mathematicians tells us that it is easy to invent mathematical theorems which are true, but that it is hard to find interesting ones. In analyzing music or writing its history, we meet the same difficulty, and it is compounded by another. For whom is it interesting? To paraphrase a famous remark of Barnett Newman, musicology is for musicians what ornithology is for the birds."

"I have never believed that the historian should seek to perpetuate the misapprehensions of the past, and it is true that we understand Beethoven today better than his contemporaries did, better, above all, than the generation that immediately followed him, including his own most important pupil, Karl Czerny."

"I do not mean that it is not worthwhile to attempt a revision of the canon or that no success is possible. A few valuable minor changes have been made to our sense of the basic material of the history of music, and other alterations are still waiting to take hold. Gesualdo has not displaced Monteverdi or Palestrina but has won a permanent place; on the other hand, the attempt to convince us that Telemann is a major composer appears to have been abandoned. Alkan has not had the breakthrough his admirers had hoped for. Attacks on Tchaikovsky have not had much success in removing his music from the repertory; his credit with performers has not changed a bit."

"We can see that canonic status is accorded to the works of a composer not by posterity, or at least not by a posterity as distant in time as is sometimes thought; nor does it depend very much on whether the works are frequently performed for the public in every important musical center. To a certain extent, canonic status is actually built into some new works, partly by the way they impose themselves on an already substantial musical tradition. This may explain why it is so difficult to alter a firmly installed canon in any radical way, or to dislodge works that have been an integral part of it for some time."

"There is a revealing sardonic comment by Leopold Godowsky on a well-known statement of Paderewski, who once boasted, "When I don't practice for one day, my fingers know it; for two days, and my friends know it; for three days and the whole world knows it." Godowsky added: "On the fourth day, the critics hear about it." In any case, poets and novelists are generally better reporters of the general state of musical opinion than music journalists, who most often have an ax to grind, or, quite reasonably and justifiably, a more limited set of prejudices to broadcast."

"When I was a small child, The New York Times received every new creation of Igor Stravinsky with hostility, but even then I knew, like everybody else, that he was the greatest living composer-and I knew it even without having heard much Stravinsky or even any of the more recent works at all. It is a mistake of music historians to rely too much on journalists and music critics to assess a composer's reputation, as we generally find a certain delay in their transmission of the more influential professional judgments."

"By this time Mozart had been dead for almost fourteen years and Haydn was too weak to compose. Beethoven was unchallenged throughout Europe as the greatest living composer of instrumental music. Even more, he was generally recognized as having surpassed his famous predecessors. This, of course, did not prevent critics from greeting each new work as a disappointment after his by then acceptable achievements of the previous years."

"Normally, misprints are either easily corrected or else so trivial that it makes no difference whether we play the correct or the faulty version. ... Nevertheless, on rare occasions, a misprint or slip of the pen may challenge our view of the musical language. These extreme cases may help us understand a little more about the way music acquires meaning, or what it means to say that the music makes sense."

"Critical evaluation was transformed into understanding, and criticism became not an act of judgment but of comprehension."

"If getting used to music is the essential condition for understanding, it is hard to see just what purpose is served by writing about it. A few experiences of listening to a symphony or nocturne are worth more than any essay or analysis. The work of art itself teaches us how to understand it, and makes the critic not merely parasitical but strictly superfluous."

"We can, in fact, relive the history of taste in our own lives, the way embryos are supposed to go through the history of the evolution of a species."

"It is not, however, the unfamiliarity or strangeness of a work or of a composer's manner that is a bar to understanding, but rather the disappearance of the familiar, the ongoing disappointment of the expectations and hopes fostered by the musical tradition in which we have grown up."

"More positively, taking pleasure in music is the most obvious sign of comprehension, the proof that we understand it, and we may extend that to sympathy with other listeners' enjoyment ..."

"Understanding music simply means not being irritated or puzzled by it."

"Our freedom is hemmed in on every side. We must be grateful for what remains."

"The eventual survival of the tradition is ultimately not at stake."

"If you could invent a better battery, one that can store more energy using less exotic metal, one that could handle the heat without loss of performance or just plain catching on fire, we could store energy from the wind and the Sun and have it available whenever we need it. You would change the world all right. You might also get rich – crazy rich!"

"Nye, a mechanical engineer who once worked for Boeing Co., is best known for his PBS TV science show that ran from 1993 to 1998. He made science entertaining. He still does as a science educator."

"Bill Nye [is] executive director of the Planetary Society, the Pasadena, Calif.-based nonprofit that advocates for space exploration."

"Nye grew up in a science-minded family in Washington, D.C. His mom was a math and science whiz. His dad manufactured sundials. His grandfather was an organic scientist. Fittingly, one of young Bill’s favorite hangouts was the original Smithsonian National Air and Space Museum, which looked like a small Quonset hut."

"His show made science fun, and kids loved it."

"Bill Nye left a lasting impression on youngsters (and their parents) who watched his Emmy Award-winning television show “ Bill Nye the Science Guy” from 1993 to ’97. They saw him explain chemical reactions using steel wool, electricity, oxygen and a balloon, and saw him demonstrate gravity by throwing a watermelon, milk carton, tofu, a lamp, a computer and a TV off a building top."

"His latest television series is called 'Eyes of Nye'" Lately, Nye has focused considerable attention on environmental science."

"By the mid-1990s he had his own television show, 'Bill Nye the Science Guy,' which was shot entirely in Seattle. Nye and his show won several Emmys."

"Nye developed his character 'Bill Nye the Science Guy' while living in Seattle and working on the comedy show 'Almost Live.'"

"A graduate of Cornell University, Nye began his career as an engineer. In fact, Boeing still uses his hydraulic pressure resonance suppressor today."

"He eventually quit his day job as an engineer to focus on comedy writing and performing. The decision led to the creation of 'Bill Nye the Science Guy,' which won 28 Emmys in five years. He also won seven national Emmy Awards for writing, performing and producing."

"Nye, who earned a mechanical engineering degree from Cornell University, combined his love of science with his flair for comedy when he won a Steve Martin look-alike contest in Seattle."

"Nye has been instrumental in making science fun for preteen audiences‚ but when he is speaking at a collegiate venue he focuses more on topics he’s serious about."

"It's his gift. He makes science understandable and fun, and he knows how to connect with people."

"He has a cult following among science teachers."

"Bill Nye is many things: comedian, scientist, author, inventor, TV personality."

"Nye is a former Boeing engineer whose name (besides meaning 'new' in Danish) has become synonymous with wacky popular science ever since he became a cast member on KING/5's now defunct late-night comedy show, 'Almost Live.'"