Composers From The United States

"Would you like to go with me Down my dead end street? Would you like to come with me To village ghetto land?"

"Love's in need of love today, Don't delay, send yours in right away, Hate's going 'round breaking many hearts, Stop it please, before it's gone too far."

"And I'll go where I've longed to go, So long, away from tears."

"No more lying friends wanting tragic ends, Though they do pretend, They won't go when I go."

"'Cause we are sick and tired of hearing your song, Telling us how you are gonna change right from wrong, 'Cause if you really want to hear our views, You haven't done nothin'."

"I like to see you boogie right across the floor, I'd like to do it to you 'til you howl for more, I like to reggae, but you dance too fast for me, I'd like to make love to you so you can make me scream."

"And I can't go on this way, With it stronger every day, But being too shy to say That I really love you."

"'Where is your God?' That's what my friends ask me, And I say it's taken him so long 'Cause we've got so far to come."

"When the summer came you were not around, Now the summer's gone and love cannot be found, Where were you when I needed you last winter, my love?"

"But, very well, I believe I know you very well, Wish that you knew me too, very well, And I think I can deal with everything going through your head."

"Like a fool I went and stayed too long, Now I'm wondering if your love's still strong, Ooh, baby, here I am, Signed, sealed, delivered, I'm yours!"

"For once in my life I won’t let sorrow hurt me, Not like it’s hurt me before, oh For once I have something I know won't desert me ‘Cause I’m not alone anymore."

"For once in my life I have someone who needs me, Someone I needed so long."

"My Cherie Amour, pretty little one that I adore You're the only girl my heart beats for How I wish that you were mine."

"Baby, everything is alright, Uptight, outta sight!"

"What I’ve not heard is a unanimous commitment to atone for the sins of this country... I know that dance. I've heard those songs. It was an 18-year fight to (make) Dr. Martin Luther King Jr.'s birthday a national holiday... Yet it was a fight I was not willing to lose... Systemic racism can have an ending. Police brutality can have an ending. Economic repression of Black and brown people can have an ending... A movement without action is a movement standing still. To those who say they care: Move more than your mouth. Move your feet to the polls, and use your hands to vote... Black lives do matter. And this is not another digital, viral trend, moment or hashtag, Yes, all lives do matter, but they only matter when black lives matter too."

"I've been a vegan for two years, so that's helped my already good-looking self. I think that eating healthy is important. … We have to be about making our planet more greener, the urban areas more sustainable for the children. We can't just talk about it, we have to be about it. … I'm motivating people to do something about how we are living on this planet. … You know it is only possible to be able to have the blessing of song through the fact that God has given me life. And the only way we can have life is by perpetuating life in how we live."

"Most cassettes are afraid of me."

"Sometimes I think I would love to see … just to see the beauty of flowers and trees and birds and the earth and grass. … Being as I've never seen, I don't know what it's like to see. So in a sense I'm complete. Maybe I'd be incomplete if I did see. Maybe I'd see some things that I didn't want to see … the beauty of the earth compared to the destruction of man. You see, it's one thing when you are blind from birth, and you don't know what it's like to see, anyway, so it is just like seeing. The sensation of seeing is not one that I have and not one that I worry about."

"We all have ability. The difference is how we use it."

"I'm happier than the morning sun, And that's the way you said that it would be, If I should ever bring you inside my life."

"I hope it is clear...that the ways in which pitches represent pitch classes, and the ways pitch classes abstract pitch, must be examined in order to describe any kind of musical sense or progression, and that if one steps back into abstracted considerations derived without respect to such concerns, an understanding of the qualities of musical uniqueness will continue to be suppressed in favor of generalizations, which at best evoke a vague sense of what a piece may be doing, perhaps in common with some other pieces, but not what one piece is doing, all by itself."

"The crucial and monumental development in the art music of our century has been the qualitative change in the foundational premises of our musical language--the change from a highly chromaticized tonality whose principle functions and operations are still based on a limited selection, the seven notes of the diatonic scale, from the universal set of twelve pitch classes to a scale that comprehends the total pitch-class content of that universal set. We can point to the moment of that change with some precision. It occurs most obviously in the music of Scriabin and the Vienna circle, Schoenberg, Webern, and Berg, in 1909-1910, and very soon afterwards, though less obviously, in the music of Bartok and Stravinsky. I think it is safe to say that nothing of comparable significance for music has ever occurred, because the closing of the circle of fifths gives us a symmetrical collection of all twelve pitch classes that eliminates the special structural function of the perfect fifth itself, which has been the basis of every real musical system that we have hitherto known."

"Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation...accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'"

"Every bit of theorizing I’ve ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing."

"Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2 (November 1987)."

"If...[Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partitionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes."

"The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i.e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is...from Wagner (Die Walkure, Act III)."

"This intersecting of inherently non-symmetrical diatonic elements with inherently non-diatonic symmetrical elements seems to me the defining principle of the musical language of Le Sacre and the source of the unparalleled tension and conflicted energy of the work."

"Z-relation, or rather, "that certain pitch-class collections share the same 'interval vector' even though they are neither transpositionally nor inversionally equivalent was first pointed out by Howard Hanson in Harmonic Materials of Modern Music (New York: Appleton-Century-Crofts, 1960), p. 22, and by David Lewin in "Re: The Intervallic Content of a Collection of Notes," Journal of Music Theory 4:1 (1960). For a general criticism of Forte's concepts of pitch-class set equivalence see Perle, "Pitch-Class Set Analysis: An Evaluation," Journal of Musicology 8:2 (1990)."

"I would not want you to suppose that my rejection of Allen Forte's theory of pitch-class sets implies a rejection of the notion that there can be such a thing as a pitch-class set. It is only when one defines everything in terms of pitch-class sets that the concept becomes meaningless."

"His partitioning of the octave in the first ten bars places Varèse with Scriabin and the Schoenberg circle among the revolutionary composers whose work initiates the beginning of a new mainstream tradition in the music of our century."

"By the time of his Fourth String Quartet, inversional symmetry had become as fundamental a premise of Bartók's harmonic language as it is of the twelve-tone music of Schoenberg, Berg, and Webern. Neither he nor they ever realized that this connection establishes a profound affinity between them in spite of the stylistic features that so obviously distinguish his music from theirs...Nowhere does he [Bartók] recognize the communality of his harmonic language with that of the twelve-tone composers that is implied in their shared premise of the harmonic equivalence of inversionally symmetrical pitch-class relations."

"Now Momma's done away with the old black kettle she used to cook in when I was just little And the door ain't sprung on her electric range That little old farm and home we had it ain't there no more and that's too bad Folks are doing away with the simple things..."

"She seemed astonishingly unaffected. It was a bizarre contrast. She looks like a totally artificial creation, with the amazing blond wig and the 6-inch skyscraper heels and the bosom that makes her, no doubt, the unchallenged record holder and defending champion at Frederick's of Hollywood. Then she walks up to you and says, "Hi! I'm Dolly Parton!" The introduction is as unnecessary as if, say, John Wayne had walked up and said, "Hi! I'm John Wayne!" What is the proper response? "Yes, of course you are”? Dolly Parton spent about half an hour shaking everybody's hand and leaving behind a wake of people telling each other, "Gee, she's really nice," as if, well, as if somehow she shouldn't have been. There is a way in which we behave in public, in situations with a lot of strangers that implies a level of polite, subtle hostility. We are reserved. We check out the room for traps and hazards. We are uncomfortable, confronted with a hundred unfamiliar faces. What Dolly did was to come in with her brash, unaffected personality and sweep away all that paranoia in a rush of good will. It left everybody standing around afterward feeling a little goofy."

"This will sound crazy, but when I was interviewing Dolly Parton, I almost felt like she had healing powers."

"it takes guts to be a woman under patriarchy. I mean, Dolly Parton is like an image of a super-femme, but she has this certain brassiness, she just has to have total guts to survive around men and to have her image be so female. She's the kind of person that a drag queen would emulate, because she is using that female, or femme facade, which is like Marlene Dietrich or Mae West or Dolly Parton or any of those gutsy women over the years who drag queens have chosen to emulate, especially the ones who do female impersonation. There's the other edge to them besides the femme facade that is totally gutsy and a real survivor of the world"

"There's a lot of difference between songwriting and poetry, and I think that's what gets lost. Most lyrics do not read well. They sing well...I'll tell you who writes well, though, as I'm sure you're aware, and that's Dolly, Dolly Parton."

"I met Dolly Parton in Tennessee; her titties were filled with Hennessy. That country music really drove me crazy, but I rode that ass and said, "Yes, Miss Daisy!""

"Dolly’s big in Iceland. Her voice is immaculate, really powerful. Her character is so warm and human, and she has a great sense of humor. All my friends love Dolly, and most of them are people who would never listen to country music. It doesn’t happen very often when you get a character that is sort of larger than life. I don’t like rock music, but I like Kurt Cobain. He could be playing any style of music and I would have been interested. You know? And I think Dolly is like that. She is an incredible singer, an incredible songwriter."

"In a 2024 interview with The Guardian, Dolly addressed speculation about her retirement, stating, "I can’t retire. I always say I’ve dreamed myself into a corner. I’ve got to keep all those dreams alive. Every dream spins off into something else.""

"In October 2025, Dolly reassured fans about her health, saying, "I don’t think God is through with me... I ain't done working." She humorously added, "I ain't ready to die yet.""

"Due to health challenges, Dolly postponed her December 2025 Las Vegas residency. She humorously referred to it as her "100,000-mile check-up," clarifying it wasn’t related to cosmetic surgery."

"Following the death of her husband in March 2025, Dolly released the song "If You Hadn't Been There," expressing gratitude for his unwavering support throughout their nearly 60-year marriage"

"In January 2025, Dolly shared, "I think I'm a star to everybody but me... I always wanted to be famous, but nobody could have thought of the extent it became."

"My joke [is that] if I have any regrets, it’s that I got caught with some of the stuff that I had no regret about."

"I’m almost 78 years old. When you get older, you see everything, you’ve been through everything, and you can take a new spin on something that might have been right for you 10, 15 years ago."

"This is amazing to me how people look to me, that’s a big responsibility. There ain’t nobody that good. I’m not all that. I make a joke – I’m not even all there. I try to just be a decent human being, try to use love as my great tool and weapon. I try to leave my heart, my eyes, my ears open, and my mouth closed, when I know it’s not the right thing to be doing."

"Even within my own family, especially the last few years since Trump and Biden, all that, it’s like we can’t even go to a family dinner any more. Especially if people are drinking – they get in a damn fight at the table."

"I think words and titles just have such connotations, When I think about a ‘feminist’, you think about women that are anti-men, and you think of women that have been so mistreated, they have to make some sort of a statement. I’m all about women, I’m all about empowering women, but I’m all about empowering all people – love and respect and uplifting [them]."