Accompany Music Quotes

Do you know anything about silent films?" "Sure," I said. "The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn't until the 1920s that sound became truly incorporated into films, eventually making silent ones obsolete in cinema.

The city is like poetry; it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines.

A poem compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines. The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain elusive.

I'd never heard of them, but at that moment, it was the best song I'd ever heard. I went out and bought Ten and listened to it on repeat. When I listened to track five, "Black," it was like I was there, in that moment all over again. After the summer was over, when I got back home, I went to the music store and bought the sheet music and learned to play it on the piano. I thought one day I could accompany Conrad and we could be, like, a band.

Do you know anything about silent films?” “Sure,” I said. “The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn’t until the 1920s that sound become truly incorporated into films, eventually making silent ones obsolete in cinema.” Bryan gaped, as though that was more than he’d been expecting. “Oh. Okay. Well, um, there’s a silent film festival downtown next week. Do you think you’d want to go?” I shook my head. “No, I don’t think so. I respect it as an art form but really don’t get much out of watching them.” “Huh. Okay.” He smoothed his hair back again, and I could almost see him groping for thoughts. Why on earth was he asking me about silent films? “What about Starship 30? It opens Friday. Do you want to see that?” “I don’t really like sci-fi either,” I said. It was true, I found it completely implausible. Bryan looked ready to rip that shaggy hair out. “Is there any movie out there you want to see?” I ran through a mental list of current entertainment. “No. Not really.” The bell rang, and with a shake of his head, Bryan slunk back to his desk. “That was weird,” I muttered. “He has bad taste in movies.” Glancing beside me, I was startled to see Julia with her head down on her desk while she shook with silent laughter. “What?” “That,” she gasped. “That was hilarious.” “What?” I said again. “Why?” “Sydney, he was asking you out!” I replayed the conversation. “No, he wasn’t. He was asking me about cinema.” She was laughing so hard that she had to wipe away a tear. “So he could find out what you wanted to see and take you out!” “Well, why didn’t he just say that?” “You are so adorably oblivious,” she said. “I hope I’m around the day you actually notice someone is interested in you.” I continued to be mystified, and she spent the rest of class bursting out with spontaneous giggles.

I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a piercing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase--nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it.

No man sings as beautifully as when his song is accompanied by a woman’s voice.

This mournful and restless sound was a fit accompaniment to my meditations.

So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning.

Mira, I'm about to be naked," Blue said as he whipped off his belt and tossed it on the floor. "So watch out. Well, in my underwear." "I've seen you in your bathing suit," Mira said. "It's the same thing." "It is not the same thing," Blue said. "When it's accompanied by seventies porn music, it's an X-rated strip show." Blue yanked off his shirt. "Freddie, you're kind of slow on the uptake. Eine kleine porn music, please." Freddie scrunched his forehead in distaste. "I don't want to plug my guitar in just so I can play some bow-chicka-wow-wow accompaniment to your strip show. Mira laughed. "Bow-chicka-what was that, Freddie?

Those who choose, conduct, present, and accompany the music may influence the spirit of reverence ... more than a speaker does.

Country music was the most segregated kind of music in America, where even whites played jazz and even blacks sang in the opera. Something like country music was what lynch mobs must have enjoyed while stringing up their black victims. Country music was not necessarily lynching music, but no other music could be imagined as lynching’s accompaniment. Beethoven’s Ninth was the opus for Nazis, concentration camp commanders, and possibly President Truman as he contemplated atomizing Hiroshima, classical music the refined score for the high-minded extermination of brutish hordes. Country music was set to the more humble beat of the red-blooded, bloodthirsty American heartland. It was for fear of being beaten to this beat that black soldiers avoided the Saigon bars where their white comrades kept the jukeboxes humming with Hank Williams and his kind, sonic signposts that said, in essence, No Niggers.

But sometimes, to enable her to bear her life, she needed the accompaniment of an inward music and she could not always compose it for herself.

Ahhhh... I see. I think. Perhaps I don't. It may be easier to grasp if you presented it in a musical format. A lyrical song or two, accompanied by a whimsical dance to interpret the words.

I was sure the old man knew nothing about the beatitudes, ecstasies, dazzling reverberations of sexual encounters. Cut out the poetry was his message. Clinical sex, deprived of all the warmth of love—the orchestration of all the senses, touch, hearing, sight, palate; all the euphoric accompaniments, back-ground music, moods, atmosphere, variations—forced him to resort to literary aphrodisiacs.

You yearn to stay in this in-between place, where the beauty of the times you have freshly bade farewell to is still alive and vivid in your mind – almost real – and the reality of your new circumstances has yet to fully sink in. You listen to the familiar melodies that had accompanied you on your journey, and allow the music to evoke landscapes and scenes in your mind. The songs caress your sub-consciousness and fill your being with an airy joy. You are both here and elsewhere. Or perhaps you are everywhere and nowhere.

Is the beauty of the Whole really enhanced by our agony? And is the Whole really beautiful? And what is beauty? Throughout all his existence man has been striving to hear the music of the spheres, and has seemed to himself once and again to catch some phrase of it, or even a hint of the whole form of it. Yet he can never be sure that he has truly heard it, nor even that there is any such perfect music at all to be heard. Inevitably so, for if it exists, it is not for him in his littleness. But one thing is certain. Man himself, at the very least, is music, a brave theme that makes music also of its vast accompaniment, its matrix of storms and stars. Man himself in his degree is eternally a beauty in the eternal form of things. It is very good to have been man. And so we may go forward together with laughter in our hearts, and peace, thankful for the past, and for our own courage. For we shall make after all a fair conclusion to this brief music that is man.

They understood, as few have understood before or since, how fleeting life is and how pointless to try to hold on to things or people. They pursued the wondrous deed, the heroic gesture: fighting, fucking, drinking, art - poetry for intense emotion, the music that accompanied the heroic drinking with which each day ended, bewitching ornament for one's person and possessions.

While they waited, Ronan decided to finally take up the task of teaching Adam how to drive a stick shift. For several minutes, it seemed to be going well, as the BMW had an easy clutch, Ronan was brief and to the point with his instruction, and Adam was a quick study with no ego to get in the way. From a safe vantage point beside the building, Gansey and Noah huddled and watched as Adam began to make ever quicker circles around the parking lot. Every so often their hoots were audible through the open windows of the BMW. Then—it had to happen eventually—Adam stalled the car. It was a pretty magnificent beast, as far as stalls went, with lots of noise and death spasms on the part of the car. From the passenger seat, Ronan began to swear at Adam. It was a long, involved swear, using every forbidden word possible, often in compound-word form. As Adam stared at his lap, penitent, he mused that there was something musical about Ronan when he swore, a careful and loving precision to the way he fit the words together, a black-painted poetry. It was far less hateful sounding than when he didn’t swear. Ronan finished with, “For the love of . . . Parrish, take some care, this is not your mother’s 1971 Honda Civic.” Adam lifted his head and said, “They didn’t start making the Civic until ’73.” There was a flash of fangs from the passenger seat, but before Ronan truly had time to strike, they both heard Gansey call warmly, “Jane! I thought you’d never show up. Ronan is tutoring Adam in the ways of manual transmissions.” Blue, her hair pulled every which way by the wind, stuck her head in the driver’s side window. The scent of wildflowers accompanied her presence. As Adam catalogued the scent in the mental file of things that made Blue attractive, she said brightly, “Looks like it’s going well. Is that what that smell is?” Without replying, Ronan climbed out of the car and slammed the door. Noah appeared beside Blue. He looked joyful and adoring, like a Labrador retriever. Noah had decided almost immediately that he would do anything for Blue, a fact that would’ve needled Adam if it had been anyone other than Noah. Blue permitted Noah to pet the crazy tufts of her hair, something Adam would have also liked to do, but felt would mean something far different coming from him.

Things you can buy with half a million dollars: a car that looks more like a space creature than a car. A designer platinum purse to carry a small dog. A small dog. A performance by your favorite musical artist for your birthday. A diamond-encrusted bottle of Dominican rum. A mansion. A yacht. A hundred acres of land. Houses, but not homes. All four years of college or beautician school & certificate. Five hundred flights to the Dominican Republic. A half million Dollar Store chess sets, with their accompanying boxes. A hundred thousand copies of Shakespeare's The Tempest. Apparently a father.

Mira, I'm about to be naked," Blue said as he whipped off his belt and tossed it on the floor. "So watch out. Well, in my underwear." "I've seen you in your bathing suit," Mira said. "It's the same thing." "It is not the same thing," Blue said. "When it's accompanied by seventies porn music, it's an X-rated strip show." Blue yanked off his shirt. "Freddie, you're kind of slow on the uptake. Eine kleine porn music, please.

What does not kill us makes us hotter!

Besides this I place another equally obvious confirmation of my view that opera is based on the same principles as our Alexandrian culture. Opera is the birth of the theoretical man, the critical layman, not of the artist: one of the most surprising facts in the history of all the arts. It was the demand of throughly unmusical hearers that before everything else the words must be understood, so that according to them a rebirth of music is to be expected only when some mode of singing has been discovered in which textword lords it over counterpoint like master over servant: For the words, it is argued, are as much nobler than the accompanying harmonic system as the soul is nobler than the body.

A history of nightlife!--what an interesting concept. A history of a people, told not through their daily travails and successive political upheavals, but via the changes in their nightly celebrations and unwindings. History is, in this telling, accompanied by a bottle of Malbec, some fine Argentine steak, tango music, dancing, and gossip. It unfolds through and alongside illicit activities that take place in the multitude of discos, dance parlors, and clubs. Its direction, the way people live, is determined on half-lit streets, in bars, and in smoky late-night restaurants. This history is inscribed in songs, on menus, via half-remembered conversations, love affairs, drunken fights, and years of drug abuse.

It's too bad GIFs are silent, because I recorded some original saxophone music to accompany my newest masterpiece. It sounds like ducks quacking on the moon, and if you've got an empty elevator that needs space to be filled, it's now FOR SALE.

Not speaking and speaking are both human ways of being in the world, and there are kinds and grades of each. There is the dumb silence of slumber or apathy; the sober silence that goes with a solemn animal face; the fertile silence of awareness, pasturing the soul, whence emerge new thoughts; the alive silence of alert perception, ready to say, “This… this…”; the musical silence that accompanies absorbed activity; the silence of listening to another speak, catching the drift and helping him be clear; the noisy silence of resentment and self-recrimination, loud and subvocal speech but sullen to say it; baffled silence; the silence of peaceful accord with other persons or communion with the cosmos.

I stared at him, baffled. But at that moment Gideon began to play, and I entirely forgot what I had been going to ask the count. Oh, my god! Maybe it was the punch—but wow! That violin was really sexy! Even the way Gideon raised it and tucked it under his chin! He didn’t have to do more than that to carry me away with him. His long lashes cast shadows on his cheeks, and a lock of hair fell over his face as he began passing the bow over the strings. The first notes filling the room almost took my breath away, they made such tender, melting music, and suddenly I was close to tears. Until now, violins had been way down on my list of favorite instruments, and I really liked them only for accompanying certain moments in films. But this was just incredibly wonderful—well, all of it was: the bittersweet melody and boy enticing it out of the instrument. All the people in the room listened with bated breath, and Gideon played on, immersed in the music as if there were no one else there. I didn’t notice that I was crying until the count touched my cheek and caught a tear gently with his finger. Then I jumped in alarm. He was smiling down at me, and I saw a warm glow in his dark brown eyes. “Nothing to be ashamed of,” he said quietly. “If it were otherwise, I’d have been very disappointed.

Sometimes, I recall the little things in life that make the journey more joyful, like the cheerful guy playing the accordion in Paris, on the way to Versailles. Of course everyone has their own perspective, but I believe that music does indeed provide more substance to life, so I dare imagine that one day I could walk through life as in a movie scene, with a soundtrack accompanying and enriching my every emotion, slowly dancing a tango towards one of those "and then they lived happily ever after" endings.

Years and years ago, I read a great interview with Jam and Lewis, the R&B producers, in which they described what it was like to be members of Prince's band. They'd sit down, and Prince would tell them what he wanted them to play, and they'd explain that they couldn't--they weren't quick enough, or good enough. And Prince would push them and push them until they mastered it, and then just when they were feeling pleased with themselves for accomplishing something they didn't know they had the capacity for, he'd tell them the dance steps he needed to accompany the music. This story has stuck with me, I think, because it seems like an encapsulation of the very best and most exciting kind of creative process.

The fact was, I wanted the same thing again and again. And so I yielded, bought the good, took them home, cooked, ate, accompanied usually by music, preferably a public radio station that played music I liked. And I am here to tell you, the pleasure never diminished I was happy every time. - Beverly Lowery

At this juncture, the entire planet is locked, figuratively, in a room with the sociocultural equivalent of Hannibal Lecter. An individual of consummate taste and refinement, imbued with indelible grace and charm, he distracts his victims with the brilliance of his intellect, even while honing his blade. He is thus able to dine alone upon their livers, his feast invariably candlelit, accompanied by lofty music and a fine wine. Over and over the ritual is repeated, always hidden, always denied in order that it may be continued. So perfect is Lecter's pathology that, from the depths of his scorn for the inferiors upon whom he feeds, he advances himself as their sage and therapist, he who is incomparably endowed with the ability to explain their innermost meanings, he professes to be their savior. His success depends upon being embraced and exalted by those upon whom he preys. Ultimately, so long as Lecter is able to retain his mask of omnipotent gentility, he can never be stopped. The spirit of Hannibal Lecter is thus at the core of an expansionist European 'civilization' which has reached out to engulf the planet.

There is much more to playing the clavier than playing written music. Do you realize with accompanying there is often nothing written out but the bass line--the left hand? There might be a few notations as to a suggested harmony, but it is up to me to fill in the music, at the proper volume, style, and harmony for the soloist--often instantly. I've heard it said that Bach questioned wether the soloist or the accompanist deserves the greatest glory.

Pacuvius, who by long occupancy made Syria his own,8 used to hold a regular burial sacrifice in his own honour, with wine and the usual funeral feasting, and then would have himself carried from the dining-room to his chamber, while eunuchs applauded and sang in Greek to a musical accompaniment: "He has lived his life, he has lived his life!

Weir heard something different in the sounds. Once, during a period of calm, he sat on the firestep waiting for Stephen to return from an inspection and listened to the music of the tins. The empty ones were sonorous, the fuller ones provided an ascending scale. Those filled to the brim produced only a fat percussive beat unless they overbalanced, when the cascade would give a loud variation. Within earshot there were scores of tins in different states of fullness and with varying resonance. Then he heard the wire moving in the wind. It set up a moaning background noise that would occasionally gust into prominence, then lapse again to mere accompaniment. He had to work hard to discern, or perhaps imagine, a melody in this tin music, but it was better in his ears than the awful sound of shellfire.

Mary's Song Blue homespun and the bend of my breast keep warm this small hot naked star fallen to my arms. (Rest... you who have had so far to come.) Now nearness satisfies the body of God sweetly. Quiet he lies whose vigor hurled a universe. He sleeps whose eyelids have not closed before. His breath (so slight it seems no breath at all) once ruffled the dark deeps to sprout a world. Charmed by doves' voices, the whisper of straw, he dreams, hearing no music from his other spheres. Breath, mouth, ears, eyes he is curtailed who overflowed all skies, all years. Older than eternity, now he is new. Now native to earth as I am, nailed to my poor planet, caught that I might be free, blind in my womb to know my darkness ended, brought to this birth for me to be new-born, and for him to see me mended I must seen him torn.

Grace to me is a little bit of extra help when you're feeling stuck or doomed or, probably, hopefully, out of good ideas on how to save yourself, and how to salvage the situation or the friendship or the whatever it is,” Anne Lamott once told me. “I wish it was accompanied by harp music so you could know that's what was happening, but for me it's that extra pause or that extra breath or that extra minute's patience against all odds.” On that first trip to Ireland, grace—the kick-in-the-pants, clarifying, cosmic-pause-button kind of grace—didn't just have a harp. It had an entire soundtrack...

He clutched the harmonica to his chest and cried into his pillow. He could have sworn he heard music...the Brahms...first as a child's lullaby, then a mournful lament, and finally, a staccato march, accompanied by the ominous sound of jackboots.

Allow me to come with you,’ he said, accompanying her to the door, and again showing by his behaviour how much he was impressed with her. His influence over her had vanished with the musical chords, and she turned her back upon him. ‘May I come?’ he repeated. ‘No, no. The distance is not a quarter of a mile — it is really not necessary, thank you,’ she said quietly. And

Music, as everyone experiences, provides an unquestionable justification and a fulfilling pleasure for the activities it accompanies: the soldier who hears the marching band is enthralled and reassured; the religious man is exalted in his prayer by the sound of the organ in the church; and the lover is carried away and his conscience stilled by the romantic guitar. Armed with music, man can damn rational doubt.

Man himself, at the very least, is music, a brave theme that makes music also of its vast accompaniment, its matrix of storms and stars. Man himself in his degree is eternally a beauty in the eternal form of things. It is very good to have been man. And so we may go forward together with laughter in our hearts, and peace, thankful for the past, and for our own courage. For we shall make after all a fair conclusion to this brief music that is man.

Oh Kay you are like a key that opens the door of my heart. Your charm crushes me. Like a clinking machete slicing my flesh thinly cutting my heart. Let you hit my neck with the longing that you create without compassion and mercy. Kay oh Kay there's no one like you in this world. Because for you, I'm a little kid who can cry for a stuffed toy. Wherever you sing, the rhythm of the music will accompany you. And let the dance floor come to you, twisting and lifting you in a dance that makes everyone crazy. Kay oh Kay you are my sickle machete. You are the dagger that stabbed my soul, you stoned me with the sweet needle of your innocent smile. You're the sweet mouth that sighs that moans that laughs that makes my soul restless. Kay oh Kay. Your sweet spit drips like the most sugary honey on my thirsty mind. I desire you from the most sordid nests, the most abominable paths and the most perverted thoughts. I want to taste the most delicious nectar of your flowers. Oh how you taint me with your fire. You trapped me with your innocence. With your nakedness that leads me astray. How you give hope that I do not have. You won a heart I didn't fight for. Kay oh Kay you are the only answer I never questioned. A destination I never expected but greeted me with joy. You are the reality that I never dreamed of but came true by itself. How do I accept you as you accept me with all the charm of your madness. Kay oh Kay my sunshine moon. You are my river and sea. Only you my eyes are fixed, only you my heart trembles. You let me be the key that enters the darkest hole of your soul. It is not in your majesty that my dreams wander, but in your intoxicating beauty. You have imprisoned my most wretched soul. Oh Kay you are my kitchen knife, my axe, my saw, my hammer, my screwdriver. You enslaved me in this unbreakable lust. I serve you like a stupid servant. A deaf and blind goat that only serves one master. You are the master of all this passion and madness. Everything I know about you is a lie. How did you deign to allow me to love someone other than you? Kay oh Kay, if truly adoring you will give me the true meaning of a poem, then how can you give me true love that you never had?

At one edge of the base, pressed between the fenceline and the sea, shimmered the pale archways and columns, the madrone and wind-shaped cypresses of the clifftop campus of College of the Surf. Against the somber military blankness at its back, here was a lively beachhead of drugs, sex, and rock and roll, the strains of subversive music day and night, accompanied by tambourines and harmonicas, reaching like fog through the fence, up the dry gulches and past the sentinel antennas, the white dishes and masts, the steel equipment sheds, finding the ears of sentries attentuated but ominous, like hostile-native sounds in a movie about white men fighting savage tribes.

The feast lasted nine days, the last three becoming a continuous circle dance accompanied by songs and music. Noemi always stayed on the belvedere among the banquet remains. ... No, she didn't dance, she didn't laugh, but it was enough for her to see people enjoying themselves, because she too hoped to take part in the festival of life.

I know nothing of music,’ Barnby had, in turn, once remarked, ‘but Hugh Moreland’s accompaniment to that film sounded to me like a lot of owls quarrelling in a bicycle factory.

When you die you will not bring any possessions, but you will be accompanied by the song up into heaven…

The crackly, unobtrusive music of the fire was now accompanied by a barely audible chorus of bee-wings emerging from the hives.

Accompaniment is a humble way of being a helpful part of another’s journey, as they go about making their own kind of music.

the music is provided by a choir of children accompanied by the lone fiddler

If you can imagine a man having a vasectomy without anaesthetic to a background accompaniment of frantic sitar-playing, you will have some idea of what popular Turkish music is like.

All poetry is oral, delivered by the voice, not read, and, so far as we are told, not written either. And all poetry is musical. The poet delivers it to the accompaniment of some instrument

Music had always had the ability to help ease my suffering. I sang a great deal at home. I sang to myself and to Lord Imery. Sometimes, I played the harp to accompany myself. Learning such a graceful instrument had filled my heart with pride. I loved the feeling of adding something beautiful to a room. I looked down at my shaking hands. There were no melodies left in those withered fingers.

All that is left in the world is an enormous machine, made of white steel. It has innumerable flexible arms, made of steel. Long, thin arms. At the end of each arm is an eye, the eyelashes stiff with mascara. When I look more closely I see that only some of the arms have these eyes–others have lights. The arms that carry the eyes and the arms that carry the lights are all extraordinarily flexible and very beautiful. But they grey sky, which is the background, terrifies me. . . . And the arms wave to an accompaniment of music and of song. Like this: 'Hotcha–hotcha–hotcha. . . .' And I know the music; I can sing the song. . . .

The morning was, therefore, a mixture of a plenitude of densities, from the presence of the placid birds, to the mundane premonition, to the spring of small glisters which accompanied that autumnal rain. The music, in a simple whistle, recreated a new universe with the parish and all the hearts that were witness to it- padre, pigeons, swallows, the world!- were clothed in a new carnivalesque colouring: a celebration from within.

one of those wild, grotesque songs common among the negroes, in a rich, clear voice, accompanying his singing with many comic evolutions of the hands, feet, and whole body, all in perfect time to the music. “Bravo!” said Haley, throwing him a quarter of an orange. “Now, Jim, walk like old Uncle Cudjoe, when he has the rheumatism,” said his master. Instantly the flexible limbs of the child assumed the appearance of deformity and distortion, as, with his back humped up, and his master’s stick in his hand, he hobbled about the room, his childish face drawn into a doleful pucker, and spitting from right to left, in imitation of an old man. Both gentlemen laughed uproariously.

Little is to be expected of that day, if it can be called a day, to which we are not awakened by our Genius, but by the mechanical nudgings of some servitor, are not awakened by our own newly acquired force and aspirations from within, accompanied by the undulations of celestial music, instead of factory bells, and a fragrance filling the air--to a higher life than we fell asleep from; and thus the darkness bear its fruit, and prove itself to be good, no less than the light.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

Life noise has become an atmospheric accompaniment that we have grown inured to, resulting in the outcome that all too often we are poor listeners, to speech or music. There are constant reminders in the workplace as to just how often most people are not paying particular attention to what is being said. People frequently simply don’t listen. They have lost the art of concentrated hearing—so fundamental to real human connection. Music alone restores the capacity to concentrate and liberate your brain to really listen and enjoy the process of engaged hearing.

At his age, it can be overwhelming and painful to harbor a thought accompanied by too much nostalgia. Not that he wanted to. Mabel, in her final years, had stopped listening to music. The songs of her teenage years brought her back to people and feelings of that time - people she could never see again and sensations that were no longer coming. It was too much for her. There are people who can manage such things. There are those of us who can no longer walk, but can close our eyes and remember a summer hike through a field, or the feeling of cool grass beneath our feet, and smile. Who still have the courage to embrace the past, and give it life and a voice in the present. But Mabel was not one of those people. Maybe she lacked that very form of courage. Or maybe her humanity was so complete, so expansive, that she would be crushed by her capacity to imagine the love that was gone.

I was aware of an unexpected drift towards intimacy, although this sudden sense of knowing her all at once much better was not simultaneously accompanied by any clear portrayal in my own mind of the kind of person she might really be. Perhaps intimacy of any sort, love or friendship, impedes all exactness of definition.

All sorts of pieces of music are constantly being described as ‘sexy’, but that doesn’t necessarily mean that you’d want them to accompany lovemaking. Most of them, in fact, are sexual substitutes, rather than sexual accompaniments – music for people who aren’t getting any (or won’t be until they get home) rather than people who are.

The trombone and side-drums in the chamber music of Stravinsky will do well enough in a very smart house-party where all the conversation is carried on in an esoteric family slang and the guests are expected to enjoy booby-traps. Very different is the outlook of some of our younger masters such as Hindemith, Jarnach, and others, whose renunciation of beauty was in itself a youthfully romantic gesture, and was accompanied by endless pains in securing adequate performance. The work of masterly performers can indeed alone save the new ideas from being swamped in a universal dullness which no external smartness can long distinguish from that commemorated in the Dunciad.

The Mozart Effect and The Mozart Effect for Children. Pardon the pun, but his works have obviously struck a chord, since millions of the CDs and cassette tapes that accompany his books have also been sold. Strengthen the Mind features music for intelligence and learning, Heal the Body presents music for rest and relaxation, and Unlock the Creative Spirit focuses on music for imagination and creativity. Don chose other musical selections especially for the needs of pregnant mothers, infants, and children. The director of the coronary-care unit at Baltimore Hospital states that listening to classical music for half an hour produces the same effect as ten milligrams of Valium.

The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. Little is to be expected of that day, if it can be called a day, to which we are not awakened by our Genius, but by the mechanical nudgings of some servitor, are not awakened by our own newly acquired force and aspirations from within, accompanied by the undulations of celestial music, instead of factory bells, and a fragrance filling the air—to a higher life than we fell asleep from; and thus the darkness bear its fruit, and prove itself to be good, no less than the light.

My goal was not simply to do well, or hold my own. It was to make a mark at St. Mark’s. I did it for Poetry. I did it for Rimbaud, and I did it for Gregory. I wanted to infuse the written word with the immediacy and frontal attack of rock and roll. Todd suggested that I be aggressive, and he gave me a pair of black snakeskin boots to wear. Sam suggested I add music. I thought about all the musicians who had come through the Chelsea, but then I remembered Lenny Kaye had said he played electric guitar. I went to see him. “You play guitar, right?” “Yeah, I like to play guitar.” “Well, could you play a car crash with an electric guitar?” “Yeah, I could do that,” he said without hesitation, and agreed to accompany me.

VOC’s military campaigns in Indonesia were financed by upstanding Dutch burghers who loved their children, gave to charity, and enjoyed good music and fine art, but had no regard for the suffering of the inhabitants of Java, Sumatra and Malacca. Countless other crimes and misdemeanours accompanied the growth of the modern economy in other parts of the planet.

I'd finally reached the end of myself, all my self-reliance and denial and pride unraveling into nothingness, leaving only a blank Alison-shaped space behind. It was finished. I was done. But just as I felt myself dissolving on the tide of my own self-condemnation, the dark waves receded, and I floated into a celestial calm. I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant. I heard the universe as an oratorio sung by a master choir of stars, accompanied by the orchestra of the planets and the percussion of satellites and moons. The aria they performed was a song to break the heart, full of tragic dissonance and deferred hope, and yet somewhere beneath it all was a peircing refrain of glory, glory, glory. And I sensed that not only the grand movements of the cosmos, but everything that had happened in my life, was a part of that song. Even the hurts that seemed most senseless, the mistakes I would have done anything to erase - nothing could make those things good, but good could still come out of them all the same, and in the end the oratorio would be no less beautiful for it. I realized then that even though I was a tiny speck in an infinite cosmos, a blip on the timeline of eternity, I was not without purpose. And as long as I had a part in the music of the spheres, even if it was only a single grace not, I was not worthless. Nor was I alone. God help me, I prayed as I gathered up my raw and weary sense, flung them into the wormhole - And at last, found what I'd been looking for.

Jan Garbarek about Keith Jarrett: “What people don’t consider is all his wonderful ways of accompanying his own melodies. That is only that version. But I’ve played with him so many nights and they were all different!... The way he voiced things and the inner lines he played behind the melody, and his own compositions were often radically different, but no less beautiful… It’s hard to believe!

All perfect accomplishment in art or life is accompanied by the curious sensation that it is happening of itself - that it is not forced, studied, or contrived. Thos is not to say that everything which is felt to happen of itself is a perfect accomplishment; the marvel of human spontaneity is that it has developed the means of self-discipline - which becomes repressive only when it is felt that the controlling agent is separate from the action. But the sensation that the action is happening of itself, neither from an agent nor to a witness, is the authentic sensation of life as pure process, in which there is neither mover nor moved. Process without source or destination, verb without subject or object - this is not deprivation, a the word "without" suggests, but the "musical" sensation of arriving at every moment in which the melody and rhythm unfold.

...And all the while, accompanying my every step, The Photographer is sounding in my head, purling incessantly through my clamped-on Walkman; it's a good piece, Glass's homage to Muybridge, minimalism used to maximal effect: with its repeating rhythms, endlessly rechurning, the music resembles a wave that doesn't move, a standing wave; that's what you listen to, the change and unchange of the wave, not any emergent melody: listening not above, but within;

As soon as all the prizes had been given out, the band began to play a lively dance number. Rod Havelock, who had been watching closely, came up to claim Nancy and was only a second ahead of Al. “I guess I’d better get my dances in early,” the assistant purser teased. “I see I have a handsome rival.” Nancy laughed as they glided off. “I’m glad you did, because I must ask you a question. We are planning to open the mystery trunk tonight after this party is over. Will you come and help us investigate it?” “You bet I will,” Rod replied. “I can tell you now that the dancing will end at eleven o’clock sharp. Shall we say eleven-fifteen in your room?” “Perfect,” Nancy agreed. At this moment the music ended. Others came up to talk to the couple, and presently AI made his way toward Nancy. “May I have the next dance?” he asked. The whole evening was a joyful one for Nancy and her friends. They were claimed for every dance. Al asked the girl detective if she would accompany him to the lavish table of food that had been set up on the deck outside. She went along and they found Bess, George, and Nelda there with Bruce, Chipper, and Tubby. “Hey, have some of those delicious meatballs!” Tubby recommended. “Now, Tub, I thought you were staying away from all this fattening stuff?” Chipper teased. “Well, I had to try a little of each!” Tubby defended himself. When the music began to play again, Al asked Nancy to dance. “Sure, I’d like to,” she said. “I’m glad you would,” Al commented. “Next to football, dancing is my favorite pastime.

It was all of this: The beat and the heat and the neat repeat of the notes which poured from the congohelium—metal never made for music, matter and anti-matter locked in a fine magnetic grid to ward off the outermost perils of space. Now a piece of it was deep in the body of Old Earth, counting out strange cadences. The churn and the burn and the hot return of music riding the living rock, accompanying itself in an air-carried echo. The surge and the urge of an erotic dirge which moaned, groaned through the heavy stone.

ultimately, most of us would choose a rich and meaningful life over an empty, happy one, if such a thing is even possible. “Misery serves a purpose,” says psychologist David Myers. He’s right. Misery alerts us to dangers. It’s what spurs our imagination. As Iceland proves, misery has its own tasty appeal. A headline on the BBC’s website caught my eye the other day. It read: “Dirt Exposure Boosts Happiness.” Researchers at Bristol University in Britain treated lung-cancer patients with “friendly” bacteria found in soil, otherwise known as dirt. The patients reported feeling happier and had an improved quality of life. The research, while far from conclusive, points to an essential truth: We thrive on messiness. “The good life . . . cannot be mere indulgence. It must contain a measure of grit and truth,” observed geographer Yi-Fu Tuan. Tuan is the great unheralded geographer of our time and a man whose writing has accompanied me throughout my journeys. He called one chapter of his autobiography “Salvation by Geography.” The title is tongue-in-cheek, but only slightly, for geography can be our salvation. We are shaped by our environment and, if you take this Taoist belief one step further, you might say we are our environment. Out there. In here. No difference. Viewed that way, life seems a lot less lonely. The word “utopia” has two meanings. It means both “good place” and “nowhere.” That’s the way it should be. The happiest places, I think, are the ones that reside just this side of paradise. The perfect person would be insufferable to live with; likewise, we wouldn’t want to live in the perfect place, either. “A lifetime of happiness! No man could bear it: It would be hell on Earth,” wrote George Bernard Shaw, in his play Man and Superman. Ruut Veenhoven, keeper of the database, got it right when he said: “Happiness requires livable conditions, but not paradise.” We humans are imminently adaptable. We survived an Ice Age. We can survive anything. We find happiness in a variety of places and, as the residents of frumpy Slough demonstrated, places can change. Any atlas of bliss must be etched in pencil. My passport is tucked into my desk drawer again. I am relearning the pleasures of home. The simple joys of waking up in the same bed each morning. The pleasant realization that familiarity breeds contentment and not only contempt. Every now and then, though, my travels resurface and in unexpected ways. My iPod crashed the other day. I lost my entire music collection, nearly two thousand songs. In the past, I would have gone through the roof with rage. This time, though, my anger dissipated like a summer thunderstorm and, to my surprise, I found the Thai words mai pen lai on my lips. Never mind. Let it go. I am more aware of the corrosive nature of envy and try my best to squelch it before it grows. I don’t take my failures quite so hard anymore. I see beauty in a dark winter sky. I can recognize a genuine smile from twenty yards. I have a newfound appreciation for fresh fruits and vegetables. Of all the places I visited, of all the people I met, one keeps coming back to me again and again: Karma Ura,

But what was lacking, what was different, I asked myself, listening to the talk? And to answer that question I had to think myself out of the room, back into the past, before the war indeed, and to set before my eyes the model of another luncheon party held in rooms not very far distant from these; but different. Everything was different. Meanwhile the talk went on among the guests, who were many and young, some of this sex, some of that; it went on swimmingly, it went on agreeably, freely, amusingly. And as it went on I set it against the background of that other talk, and as I matched the two together I had no doubt that one was the descendant, the legitimate heir of the other. Nothing was changed; nothing was different save only - here I listened with all my ears not entirely to what was being said, but to the murmur or current behind it. Yes - that was it - the change was there. Before the war at a luncheon party like this people would have said precisely the same things but they would have sounded different, because in those days they were accompanied by a sort of humming noise, not articulate, but musical, exciting, which changed the value of the words themselves. Could one set that humming noise to words? Perhaps with the help of the poets one could. ... The very reason why the poetry excites one to such abandonment, such rapture, is that it celebrates some feeling that one used to have (at luncheon parties before the war perhaps), so that one responds easily, familiarly, without having to check the feeling, or to compare it with any that one has now.

the club had provided for music was a lone pianist who had no idea what kind of piece might accompany such an exotic dance. Bloom thought a moment, hummed a tune, then plinked it out on the keyboard one note at a time: Over the next century this tune and its variations would be deployed in a succession of mostly cheesy movies, typically as an accompaniment to the sinuous emergence of a cobra from a basket. It would also drive the schoolyard lyric, “And they wear no pants in the southern part of France.” Bloom regretted his failure to copyright the tune. The royalties would have run into the millions.

I often paint a detailed picture in my mind of what I would like the end of my life to look like. I think of saying goodbye to Clara and other people I love, then I picture an empty house, perhaps a large, rambling rural mansion somewhere near the marshes where I grew up; I imagine a bath upstairs, which I can fill with warm water; and I think of music playing all through this big house, Crescent, maybe, or Ascension, filling the spaces not taken up by my solitude, reaching me in the bath, so that when I slip across the one-way border, I do so to the accompaniment of modal harmonies heard from far away.

After all, across the population there are slight differences in brain function, and sometimes these translate directly into different ways of experiencing the world. And each individual believes his way is reality. To get a sense of this, imagine a world of magenta Tuesdays, tastes that have shapes, and wavy green symphonies. One in a hundred otherwise normal people experience the world this way, because of a condition called synesthesia (meaning “joined sensation”).5 In synesthetes, stimulation of a sense triggers an anomalous sensory experience: one may hear colors, taste shapes, or systematically experience other sensory blendings. For example, a voice or music may not only be heard but also seen, tasted, or felt as a touch. Synesthesia is a fusion of different sensory perceptions: the feel of sandpaper might evoke an F-sharp, the taste of chicken might be accompanied by a feeling of pinpoints on the fingertips, or a symphony might be experienced in blues and golds. Synesthetes are so accustomed to the effects that they are surprised to find that others do not share their experiences. These synesthetic experiences are not abnormal in any pathological sense; they are simply unusual in a statistical sense.

Gregori stepped away from the huddled mass of tourists, putting distance between himself and the guide. He walked completely erect,his head high, his long hair flowing around him. His hands were loose at his sides, and his body was relaxed, rippling with power. "Hear me now, ancient one." His voice was soft and musical, filling the silence with beauty and purity. "You have lived long in this world, and you weary of the emptiness. I have come in anwer to your call." "Gregori.The Dark One." The evil voice hissed and growled the words in answer. The ugliness tore at sensitive nerve endings like nails on a chalkboard. Some of the tourists actually covered their ears. "How dare you enter my city and interfere where you have no right?" "I am justice,evil one. I have come to set your free from the bounaries holding you to this place." Gregori's voice was so soft and hypnotic that those listening edged out from their sanctuaries.It beckoned and pulled, so that none could resist his every desire. The black shape above their head roiled like a witch's cauldron. A jagged bolt of lightning slammed to earth straight toward the huddled group. Gregori raised a hand and redirected the force of energy away from the tourists and Savannah. A smile edged the cruel set of his mouth. "You think to mock me with display,ancient one? Do not attempt to anger what you do not understand.You came to me.I did not hunt you.You seek to threaten my lifemate and those I count as my friends.I can do no other than carry the justice of our people to you." Gregori's voice was so reasonable, so perfect and pure,drawing obedience from the most recalcitrant of criminals. The guide made a sound,somewhere between disbelief and fear.Gregori silenced him with a wave of his hand, needing no distractions. But the noise had been enough for the ancient one to break the spell Gregori's voice was weaving around him. The dark stain above their heads thrashed wildly, as if ridding itself ot ever-tightening bonds before slamming a series of lightning strikes at the helpless mortals on the ground. Screams and moans accompanied the whispered prayers, but Gregori stood his ground, unflinching. He merely redirected the whips of energy and light, sent them streaking back into the black mass above their heads.A hideous snarl,a screech of defiance and hatred,was the only warning before it hailed. Hufe golfball-sized blocks of bright-red ice rained down toward them. It was thick and horrible to see, the shower of frozen blood from the skies. But it stopped abruptly, as if an unseen force held it hovering inches from their heads. Gregori remained unchanged, impassive, his face a blank mask as he shielded the tourists and sent the hail hurtling back at their attacker.From out of the cemetery a few blocks from them, an army of the dead rose up. Wolves howled and raced along beside the skeletons as they moved to intercept the Carpathian hunter. Savannah. He said her name once, a soft brush in her mind. I've got it, she sent back instantly.Gregori had his hands full dealing with the abominations the vampire was throwing at him; he did't need to waste his energy protecting the general public from the apparition. She moved out into the open, a small, fragile figure, concentrating on the incoming threat. To those dwelling in the houses along the block and those driving in their cars, she masked the pack of wolves as dogs racing down the street.The stick=like skeletons, grotesque and bizarre, were merely a fast-moving group of people. She held the illusion until they were within a few feet of Gregori.Dropping the illusion, she fed every ounce of her energy and power to Gregori so he could meet the attack.

The final product of the camps, one which the Nazis carefully shaped, was death. What the SS shaped was mass death without a murmur of protest; death accepted placidly by victims and killers alike; death carried out not as any kind of exception, not as an act of purposeful vengeance or hatred, but as casual, smiling, even homey routine, often against a background of colorful flower beds and to the accompaniment of lilting operetta music. It was to be death as a confirmation of all that had preceded it, death as a last demonstration of absolute power and absolute unreason, death as the final triumph of Nazism over man and over the human spirit.

M. Vinteuil...carried politeness and consideration for others to such scrupulous lengths, always putting himself in their place, that he was afraid of boring them, or of appearing egotistical, if he carried out or even allowed them to suspect what were his own desires. On the day when my parents had gone to pay him a visit, I had accompanied them, but they had allowed me to remain outside, and as M. Vinteuil's house, Montjouvain, stood at the foot of a bushy hillock where I went to hide, I had found myself on a level with his drawing-room, upstairs, and only a few feet away from its window. When the servant came in to tell him that my parents had arrived, I had seen M. Vinteuil hurriedly place a sheet of music in a prominent position on the piano. But as soon as they entered the room he had snatched it away and put it in a corner. He was afraid, no doubt, of letting them suppose that he was glad to see them only because it gave him a chance of playing them some of his compositions. And every time that my mother, in the course of her visit, had returned to the subject he had hurriedly protested: 'I can't think who put that on the piano; it's not the proper place for it at all,' and had turned the conversation aside to other topics, precisely because they were of less interest to himself.

His performance was also intensely visual, with his volatile movements in front of the piano, and his cries and wild vocal accompaniment to his playing, all of which spoke eloquently of his extraordinary passion for the instrument and the music he coaxed, tickled and sometimes pounded out of him. Many critics were put off by all this, thinking it was a mere outward show- and therefore insincere. In fact it is an essential part of music-making for Jarrett, his way of achieving his state of grace… the ecstasy of inspiration. Miles Davis understood that immediately, and so did most other musicians. Jack DeJohonette says: “The one thing that struck me about Keith, that made him stand out from other players, was that he really has a love affair with the piano, it’s a relationship with that instrument… Keith’s hands are actually quire small but because of that he can do things that a person like myself, or other pianists with normal hand spans, can’t do… it enables him to overlap certain chord sequences and do rhythmic things and contrapuntal lines and get these effects of like, four people playing the piano… But I’ve never seen anybody just have such a rapport with their instrument and know its limitations but also push them to the limits, transcend the instrument – which is what I try and do with the drums as well.

One time I went to Vancouver to talk to the students there, and they had a party with a real hot rock-type band playing down in the basement. The band was very nice: they had an extra cowbell lying around, and they encouraged me to play it. So I started to play a little bit, and since their music was very rhythmic (and the cowbell is just an accompaniment—you can’t screw it up) I really got hot. After the party was over, the guy who organized the party told me that the bandleader said, “Geez! Who was that guy who came down and played on the cowbell! He can really knock out a rhythm on that thing! And by the way, that big shot this party was supposed to be for—you know, he never came down here; I never did see who it was!

Of all the old festivals, however, that of Christmas awakens the strongest and most heartfelt associations. There is a tone of solemn and sacred feeling that blends with our conviviality, and lifts the spirit to a state of hallowed and elevated enjoyment. The services of the church about this season are extremely tender and inspiring. They dwell on the beautiful story of the origin of our faith, and the pastoral scenes that accompanied its announcement. They gradually increase in fervor and pathos during the season of Advent, until they break forth in full jubilee on the morning that brought peace and goodwill to men. I do not know a grander effect of music on the moral feelings than to hear the full choir and the pealing organ performing a Christmas anthem in a cathedral, and filling every part of the vast pile with triumphant harmony.

Music of the Grid: A Poem in Two Equations _________________________ The masses of particles sound the frequencies with which space vibrates, when played. This Music of the Grid betters the old mystic mainstay, "Music of the Spheres," both in fantasy and in realism. LET US COMBINE Einstein's second law m=E/C^2 (1) with another fundamental equation, the Planck-Einstein-Schrodinger formula E = hv The Planck-Einstein-Schrodinger formula relates the energy E of a quantum-mechanical state to the frequency v at which its wave function vibrates. Here h is Planck's constant. Planck introduced it in his revolutionary hypothesis (1899) that launched quantum theory: that atoms emit or absorb light of frequency v only in packets of energy E = hv. Einstein went a big step further with his photon hypothesis (1905): that light of frequency v is always organized into packets with energy E = hv. Finally Schrodinger made it the basis of his basic equation for wave functions-the Schrodinger equation (1926). This gave birth to the modern, universal interpretation: the wave function of any state with energy E vibrates at a frequency v given by v = E/h. By combining Einstein with Schrodinger we arrive at a marvelous bit of poetry: (*) v = mc^2/h (*) The ancients had a concept called "Music of the Spheres" that inspired many scientists (notably Johannes Kepler) and even more mystics. Because periodic motion (vibration) of musical instruments causes their sustained tones, the idea goes, the periodic motions of the planets, as they fulfill their orbits, must be accompanied by a sort of music. Though picturesque and soundscape-esque, this inspiring anticipation of multimedia never became a very precise or fruitful scientific idea. It was never more than a vague metaphor, so it remains shrouded in equation marks: "Music of the Spheres." Our equation (*) is a more fantastic yet more realistic embodiment of the same inspiration. Rather than plucking a string, blowing through a reed, banging on a drumhead, or clanging a gong, we play the instrument that is empty space by plunking down different combinations of quarks, gluons, electrons, photons,... (that is, the Bits that represent these Its) and let them settle until they reach equilibrium with the spontaneous activity of Grid. Neither planets nor any material constructions compromise the pure ideality of our instrument. It settles into one of its possible vibratory motions, with different frequencies v, depending on how we do the plunking, and with what. These vibrations represent particles of different mass m, according to (*). The masses of particles sound the Music of the Grid.

image and the concept, but merely endures them as accompaniments. The poems of the lyrist can express nothing that did not already lie hidden in that vast universality and absoluteness in the music that compelled him to figurative speech. Language can never adequately render the cosmic symbolism of music, because music stands in symbolic relation to the primordial contradiction and primordial pain in the heart of the primal unity, and therefore symbolizes a sphere which is beyond and prior to all phenomena. Rather, all phenomena, compared with it, are merely symbols: hence language, as the organ and symbol of phenomena, can never by any means disclose the innermost heart of music; language, in its attempt to imitate it, can only be in superficial contact with music; while all the eloquence of lyric poetry cannot bring the deepest significance of the latter one step nearer to us.

The morning, which is the most memorable season of the day, is the awakening hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. Little is to be expected of that day, if it can be called a day, to which we are not awakened by our Genius, but by the mechanical nudgings of some servitor, are not awakened by our own newly acquired force and aspirations from within, accompanied by the undulations of celestial music, instead of factory bells, and a fragrance filling the air—to a higher life than we fell asleep from; and thus the darkness bear its fruit, and prove itself to be good, no less than the light. That man who does not believe that each day contains an earlier, more sacred, and auroral hour than he has yet profaned, has despaired of life, and is pursuing a descending and darkening way.

In attunement, it is the infant who leads and the mother who follows. “Where their roles differ is in the timing of their responses,” writes John Bowlby, one of the century’s great psychiatric researchers. The infant initiates the interaction or withdraws from it according to his own rhythms, Bowlby found, while the “mother regulates her behaviour so that it meshes with his... Thus she lets him call the tune and by a skillful interweaving of her own responses with his creates a dialogue.” The tense or depressed mothering adult will not be able to accompany the infant into relaxed, happy spaces. He may also not fully pick up signs of the infant’s emotional distress, or may not be able to respond to them as effectively as he would wish. The ADD child’s difficulty reading social cues likely originates from her relationship cues not being read by the nurturing adult, who was distracted by stress. In the attunement interaction, not only does the mother follow the child, but she also permits the child to temporarily interrupt contact. When the interaction reaches a certain stage of intensity for the infant, he will look away to avoid an uncomfortably high level of arousal. Another interaction will then begin. A mother who is anxious may react with alarm when the infant breaks off contact, may try to stimulate him, to draw him back into the interaction. Then the infant’s nervous system is not allowed to “cool down,” and the attunement relationship is hampered. Infants whose caregivers were too stressed, for whatever reason, to give them the necessary attunement contact will grow up with a chronic tendency to feel alone with their emotions, to have a sense — rightly or wrongly — that no one can share how they feel, that no one can “understand.” Attunement is the quintessential component of a larger process, called attachment. Attachment is simply our need to be close to somebody. It represents the absolute need of the utterly and helplessly vulnerable human infant for secure closeness with at least one nourishing, protective and constantly available parenting figure. Essential for survival, the drive for attachment is part of the very nature of warm-blooded animals in infancy, especially. of mammals. In human beings, attachment is a driving force of behavior for longer than in any other animal. For most of us it is present throughout our lives, although we may transfer our attachment need from one person — our parent — to another — say, a spouse or even a child. We may also attempt to satisfy the lack of the human contact we crave by various other means, such as addictions, for example, or perhaps fanatical religiosity or the virtual reality of the Internet. Much of popular culture, from novels to movies to rock or country music, expresses nothing but the joys or the sorrows flowing from satisfactions or disappointments in our attachment relationships. Most parents extend to their children some mixture of loving and hurtful behavior, of wise parenting and unskillful, clumsy parenting. The proportions vary from family to family, from parent to parent. Those ADD children whose needs for warm parental contact are most frustrated grow up to be adults with the most severe cases of ADD. Already at only a few months of age, an infant will register by facial expression his dejection at the mother’s unconscious emotional withdrawal, despite the mother’s continued physical presence. “(The infant) takes delight in Mommy’s attention,” writes Stanley Greenspan, “and knows when that source of delight is missing. If Mom becomes preoccupied or distracted while playing with the baby, sadness or dismay settles in on the little face.

The iPod, like the Walkman cassette player before it,C allows us to listen to our music wherever we want. Previously, recording technology had unlinked music from the concert hall, the café, and the saloon, but now music can always be carried with us. Michael Bull, who has written frequently about the impact of the Walkman and the iPod, points out that we often use these devices to “aestheticize urban space.”4 We carry our own soundtrack with us wherever we go, and the world around us is overlaid with our music. Our whole life becomes a movie, and we can alter the score for it over and over again: one minute it’s a tragedy and the next it’s an action film. Energetic, dreamy, or ominous and dark: everyone has their own private movie going on in their heads, and no two are the same. That said, the twentieth-century philosopher Theodor Adorno, ever the complainer, called this situation “accompanied solitude,” a situation where we might be alone, but we have the

As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music, having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.

The scientific world-picture vouchsafe a very complete understanding of all that happens—it makes it just a little too understandable. It allows you to imagine the total display as that of a mechanical clock-work, which for all that science knows could go on just the same as it does, without there being consciousness, will, endeavour, pain and delight and responsibility connected with it—though they actually are. And the reason for this disconcerting situation is just this, that, for the purpose of constructing the picture of the external world, we have used the greatly simplifying device of cutting our own personality out, removing it; hence it it gone, it has evaporated, it is ostensibly not needed. In particular, and most importantly, this is the reason why the scientific world-view contains of itself no ethical values, no aesthetical values, not a word about our own ultimate scope or destination, and no God, if you please. Whence came I, whither go I? Science cannot tell us a word about why music delights us, of why and how an old song can move us to tears. Science, we believe, can, in principle, describe in full detail all that happens in the latter case in our sensorium and 'motorium' from the moment the waves of compression and dilation reach our ear to the moment when certain glands secrete a salty fluid that emerges from our eyes. But of the feelings of delight and sorrow that accompany the process science is completely ignorant—and therefore reticent. Science is reticent too when it is a question of the great Unity—the One of Parmenides—of which we all somehow form part, to which we belong. The most popular name for it in our time is God—with a capital 'G'. Science is, very usually, branded as being atheistic. After what we said, this is not astonishing. If its world-picture does not even contain blue, yellow, bitter, sweet—beauty, delight and sorrow—, if personality is cut out of it by agreement, how should it contain the most sublime idea that presents itself to human mind?

was no one else there to comfort her. There was only him. The real him. She stepped forward and laid her head against his chest. Samantha: I’ll never forget the moment when Perry and Celeste walked into the trivia night. There was like this ripple across the room. Everyone just stopped and stared. 23. Isn’t this FANTASTIC!” cried Madeline to Chloe as they took their really very excellent seats in front of the giant ice rink. “You can feel the cold from the ice! Brrr! Oh! Can you hear the music? I wonder where the princesses—” Chloe had reached over and placed one hand gently over her mother’s mouth. “Shhh.” Madeline knew she was talking too much because she was feeling anxious and ever so slightly guilty. Today needed to be stupendous to make it worth the rift she’d created between herself and Renata. Eight kindergarten children, who would otherwise be attending Amabella’s party, were here watching Disney On Ice because of Madeline. Madeline looked past Chloe at Ziggy, who was nursing a giant stuffed toy on his lap. Ziggy was the reason they were here today, she reminded herself. Poor Ziggy wouldn’t have been at the party. Dear little fatherless Ziggy. Who was possibly a secret psychopathic bully . . . but still! “Are you taking care of Harry the Hippo this weekend, Ziggy?” she said brightly. Harry the Hippo was the class toy. Every weekend it went home with a different child, along with a scrapbook that had to be returned with a little story about the weekend, accompanied by photos. Ziggy nodded mutely. A child of few words. Jane leaned forward, discreetly chewing gum as always. “It’s quite stressful having Harry to stay. We have to give Harry a good time. Last weekend he went on a roller coaster— Ow!” Jane recoiled as one of the twins, who was sitting next to her and fighting his brother, elbowed her in the back of the head. “Josh!” said Celeste sharply. “Max! Just stop it!” Madeline wondered if Celeste was OK today. She looked pale and tired, with purplish shadows under her eyes, although on Celeste they looked like an artful makeup effect that everyone should try. The lights in the auditorium began to dim, and then went to black. Chloe clutched Madeline’s arm. The music began to pound, so loud that Madeline could feel the vibrations. The ice rink filled with an

In good truth he had started in London with some vague idea that as his life in it would not be of long continuance, the pace at which he elected to travel would be of little consequence; but the years since his first entry into the Metropolis were now piled one on top of another, his youth was behind him, his chances of longevity, spite of the way he had striven to injure his constitution, quite as good as ever. He had come to that period of existence, to that narrow strip of tableland, whence the ascent of youth and the descent of age are equally discernible - when, simply because he has lived for so many years, it strikes a man as possible he may have to live for just as many more, with the ability for hard work gone, with the boon companions scattered, with the capacity for enjoying convivial meetings a mere memory, with small means perhaps, with no bright hopes, with the pomp and the circumstance and the fairy carriages, and the glamour which youth flings over earthly objects, faded away like the pageant of yesterday, while the dreary ceremony of living has to be gone through today and tomorrow and the morrow after, as though the gay cavalcade and the martial music, and the glittering helmets and the prancing steeds were still accompanying the wayfarer to his journey's end. Ah! my friends, there comes a moment when we must all leave the coach with its four bright bays, its pleasant outside freight, its cheery company, its guard who blows the horn so merrily through villages and along lonely country roads. Long before we reach that final stage, where the black business claims us for its own speecial property, we have to bid goodbye to all easy, thoughtless journeying and betake ourselves, with what zest we may, to traversing the common of reality. There is no royal road across it that ever I heard of. From the king on his throne to the laborer who vaguely imagines what manner of being a king is, we have all to tramp across that desert at one period of our lives, at all events; and that period is usually when, as I have said, a man starts to find the hopes, and the strength, and the buoyancy of youth left behind, while years and years of life lie stretching out before him. The coach he has travelled by drops him here. There is no appeal, there is no help; therefore, let him take off his hat and wish the new passengers good speed without either envy or repining. Behld, he has had his turn, and let whosoever will, mount on the box-seat of life again, and tip the coachman and handle the ribbons - he shall take that journey no more, no more for ever. ("The Banshee's Warning")

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

remember the evening as a wonderful blur of warm emotion, tinged in bitter. Fiddles, lutes, and drums, everyone played and danced and sang as they wished. I dare say we rivaled any faerie revel you can bring to mind. I got presents. Trip gave me a belt knife with a leather grip, claiming that all boys should have something they can hurt themselves with. Shandi gave me a lovely cloak she had made, scattered with little pockets for a boy’s treasures. My parents gave me a lute, a beautiful thing of smooth dark wood. I had to play a song of course, and Ben sang with me. I slipped a little on the strings of the unfamiliar instrument, and Ben wandered off looking for notes once or twice, but it was nice. Ben opened up a small keg of mead he had been saving for “just such an occasion.” I remember it tasting the way I felt, sweet and bitter and sullen. Several people had collaborated to write “The Ballad of Ben, Brewer Supreme.” My father recited it as gravely as if it were the Modegan royal lineage while accompanying himself on a half harp. Everyone laughed until they hurt, and Ben twice as much as everyone else. At some point in the night, my mother swept me up and danced around in a great spinning circle. Her laughter sang out like music trailing in the wind. Her hair and skirt spun around me as she twirled. She smelled comforting, the way only mothers do. That smell, and the quick laughing kiss she gave me did more to ease the dull ache of Ben’s leaving than all the entertainments combined.

But the Hermetic Teachings go much further than do those of modern science. They teach that all manifestation of thought, emotion, reason, will or desire, or any mental state or condition, are accompanied by vibrations, a portion of which are thrown off and which tend to affect the minds of other persons by "induction." This is the principle which produces the phenomena of "telepathy"; mental influence, and other forms of the action and power of mind over mind, with which the general public is rapidly becoming acquainted, owing to the wide dissemination of occult knowledge by the various schools, cults and teachers along these lines at this time. Every thought, emotion or mental state has its corresponding rate and mode of vibration. And by an effort of the will of the person, or of other persons, these mental states may be reproduced, just as a musical tone may be reproduced by causing an instrument to vibrate at a certain rate — just as color may be reproduced in the same way. By a knowledge of the Principle of Vibration, as applied to Mental Phenomena, one may polarize his mind at any degree he wishes, thus gaining a perfect control over his mental states, moods, etc. In the same way he may affect the minds of others, producing the desired mental states in them. In short, he may be able to produce on the Mental Plane that which science produces on the Physical Plane — namely, "Vibrations at Will." This power of course may be acquired only by the proper instruction, exercises, practice, etc., the science being that of Mental Transmutation, one of the branches of the Hermetic Art.

Lloyd moved to the blackboard and wrote ‘Maneater, Hall and Oates’ at the bottom of a long list of songs and artists. The blackboard in the kitchen had once been installed as a way of communication for the house. It had turned into a list of Songs That You Would Never See In The Same Light Again. This was basically a list of songs that our serial killing landlord had blared at one time or another at top volume to cover the sound of his heavy electric power tools. It was a litany of 70’s and 80’s music. Blondie, Heart of Glass was on the list. So was Duran Duran’s ‘Hungry like the Wolf’. Sam had jokingly given him an Einstürzende Neubauten CD on the premise that his tools would blend right in to the music, and he’d returned it the next day, saying it was too suspicious-sounding and made him very nervous for some reason. The next weekend, we had gone right back to the 80’s with the Missing Persons and Dead or Alive. I tried not to think about why he was playing the music, but it was a little hard not to think about. The strange thumps sometimes suggested that he’d gotten a live one downstairs and was merrily bashing in their skull in the name of his psoriasis to the tune of ‘It’s My Life’ by Talk Talk. Other times I listened in horror as my favorite Thomas Dolby songs were accompanied by an annoying high-pitched buzzsaw whine that altered as if it had entered some sort of solid tissue. He never borrowed music from us again – he claimed our music was too disturbing and dark, and shunned our offerings of Ministry and Nine Inch Nails in favor of some­thing nice and happy by Abba. You’ve never had a restless night from imagining someone deboning a human body while blaring ‘Waterloo’ or ‘Fernando’. It’s not fun.

Like noiseless nautilus shells, their light prows sped through the sea; but only slowly they neared the foe. As they neared him, the ocean grew still more smooth; seemed drawing a carpet over its waves; seemed a noon-meadow, so serenely it spread. At length the breathless hunter came so nigh his seemingly unsuspecting prey, that his entire dazzling hump was distinctly visible, sliding along the sea as if an isolated thing, and continually set in a revolving ring of finest, fleecy, greenish foam. He saw the vast, involved wrinkles of the slightly projecting head beyond. Before it, far out on the soft Turkish-rugged waters, went the glistening white shadow from his broad, milky forehead, a musical rippling playfully accompanying the shade; and behind, the blue waters interchangeably flowed over into the moving valley of his steady wake; and on either hand bright bubbles arose and danced by his side. But these were broken again by the light toes of hundreds of gay fowl softly feathering the sea, alternate with their fitful flight; and like to some flag-staff rising from the painted hull of an argosy, the tall but shattered pole of a recent lance projected from the white whale's back; and at intervals one of the cloud of soft-toed fowls hovering, and to and fro skimming like a canopy over the fish, silently perched and rocked on this pole, the long tail feathers streaming like pennons. A gentle joyousness—a mighty mildness of repose in swiftness, invested the gliding whale. Not the white bull Jupiter swimming away with ravished Europa clinging to his graceful horns; his lovely, leering eyes sideways intent upon the maid; with smooth bewitching fleetness, rippling straight for the nuptial bower in Crete; not Jove, not that great majesty Supreme! did surpass the glorified White Whale as he so divinely swam.

Precisely that. I'd give anything to hear them in concert, and I'd give even a bit more not to hear them when the orchestra is playing. I'm afraid I am a hopeless realist. Great singers are not great actors. To hear Barillo sing a love passage with the voice of an angel, and to hear Tetralani reply like another angel, and to hear it all accompanied by a perfect orgy of glowing and colorful music - is ravishing, most ravishing. I do not admit it. I assert it. But the whole effect is spoiled when I look at them - at Tetralani, five feet ten in her stocking feet and weighing a hundred and ninety pounds, and at Barillo, a scant five feet four, greasy-featured, with the chest of a squat, undersized blacksmith, and at the pair of them, attitudinizing, clasping their breasts, flinging their arms in the air like demented creatures in an asylum; (...) But even the conventions must be real. Trees, painted on flat cardboard and stuck up on each side of the stage, we accept as a forest. It is a real enough convention. But, on the other hand, we would not accept a sea scene as a forest. We can't do it. It violates our senses. Nor would you, or, rather, should you, accept the ravings and writhings and agonized contortions of those two lunatics to-night as a convincing portrayal of love. (...) I merely maintain my right as an individual. I have just been telling you what I think, in order to explain why the elephantine gambols of Madame Tetralani spoil the orchestra for me. The world's judges of music may all be right. But I am I, and I won't subordinate my taste to the unanimous judgment of mankind. If I don't like a thing, I don't like it, that's all; and there is no reason under the sun why I should ape a liking for it just because the majority of my fellow-creatures like it, or make believe they like it. I can't follow the fashions in the things I like or dislike.

The concentrated structure of musical form, based on dramatic climaxes, gradually breaks up in romanticism and gives way again to the cumulative composition of the older music. Sonata form falls to pieces and is replaced more and more often by other, less severe and less schematically moulded forms—by small-scale lyrical and descriptive genres, such as the Fantasy and the Rhapsody, the Arabesque and the Étude, the Intermezzo and the Impromptu, the Improvisation and the Variation. Even extensive works are often made up of such miniature forms, which no longer constitute, from the structural point of view, the acts of a drama, but the scenes of a revue. A classical sonata or symphony was the world in parvo: a microcosm. A succession of musical pictures, such as Schumann’s Carnaval or Liszt’s Années de Pèlerinage, is like a painter’s sketch-book; it may contain magnificent lyrical-impressionistic details, but it abandons the attempt to create a total impression and an organic unity from the very beginning. [...] This change of form is accompanied by the literary inclinations of the composers and their bias towards programme music. The intermingling of forms also makes itself felt in music and is expressed most conspicuously in the fact that the romantic composers are often very gifted and important writers. In the painting and poetry of the period the disintegration of form does not proceed anything like so quickly, nor is it so far-reaching as in music. The explanation of the difference is partly that the cyclical ‘medieval’ structure had long since been overcome in the other arts, whereas it remained predominant in music until the middle of the eighteenth century, and only began to yield to formal unity after the death of Bach. In music it was therefore much easier to revert to it than, for example, in painting where it was completely out of date. The romantics’ historical interest in old music and the revival of Bach’s prestige had, however, only a subordinate part in the dissolution of strict sonata form, the real reason is to be sought in a change of taste which was in essentials sociologically conditioned.

Convinced that struggle was the crucible of character, Rockefeller faced a delicate task in raising his children. He wanted to accumulate wealth while inculcating in them the values of his threadbare boyhood. The first step in saving them from extravagance was keeping them ignorant of their father’s affluence. Until they were adults, Rockefeller’s children never visited his office or refineries, and even then they were accompanied by company officials, never Father. At home, Rockefeller created a make-believe market economy, calling Cettie the “general manager” and requiring the children to keep careful account books.16They earned pocket money by performing chores and received two cents for killing flies, ten cents for sharpening pencils, five cents per hour for practicing their musical instruments, and a dollar for repairing vases. They were given two cents per day for abstaining from candy and a dime bonus for each consecutive day of abstinence. Each toiled in a separate patch of the vegetable garden, earning a penny for every ten weeds they pulled up. John Jr. got fifteen cents an hour for chopping wood and ten cents per day for superintending paths. Rockefeller took pride in training his children as miniature household workers. Years later, riding on a train with his thirteen-year-old daughter, he told a traveling companion, “This little girl is earning money already. You never could imagine how she does it. I have learned what my gas bills should average when the gas is managed with care, and I have told her that she can have for pin money all that she will save every month on this amount, so she goes around every night and keeps the gas turned down where it is not needed.”17 Rockefeller never tired of preaching economy and whenever a package arrived at home, he made a point of saving the paper and string. Cettie was equally vigilant. When the children clamored for bicycles, John suggested buying one for each child. “No,” said Cettie, “we will buy just one for all of them.” “But, my dear,” John protested, “tricycles do not cost much.” “That is true,” she replied. “It is not the cost. But if they have just one they will learn to give up to one another.”18 So the children shared a single bicycle. Amazingly enough, the four children probably grew up with a level of creature comforts not that far above what Rockefeller had known as a boy.

On a break from the tour, I went south to Bali, a place the choreographer Toni Basil, whom Eno and I had met during the Bush Of Ghosts sessions, had recommended as being transporting and all about performance. I rented a small motorcycle and headed up into the hills, away from the beach resort. I soon discovered that if one saw offerings of flowers and fruit being brought to a village temple compound in the afternoon, one could be pretty certain that some sort of ritual performance would follow there at night. Sure enough, night after night I would catch dances accompanied by gamelan orchestras and shadow-puppet excerpts from the Hindu Ramayana--epic and sometimes ritual performances that blended religious and theatrical elements. (A gamelan is a small orchestra made up mainly of tuned metallic gongs and xylophone-like instruments--the interplay between the parts is beautiful and intricate.) In these latter events some participants would often fall into a trance, but even in trance there were prescribed procedures. It wasn't all thrashing chaos, as a Westerner might expect, but a deeper kind of dance. As In Japanese theater, the performers often wore masks and extreme makeup; their movements, too, were stylized and "unnatural." It began to sink in that this kind of "presentational" theater has more in common with certain kinds of pop-music performance that traditional Western theater did. I was struck by other peripheral aspects of these performances. The audiences, mostly local villagers of all ages, weren't paying attention half the time. People would wander in and out, go get a snack from a cart or leave to smoke a bidi cigarette, and then return to watch some more. This was more like the behavior of audiences in music clubs than in Western theaters, where they were expected to sit quietly and only leave or converse once the show was over. The Balinese "shows" were completely integrated into people's daily lives, or so it seemed to me. There was no attempt to formally separate the ritual and the show from the audience. Everything seemed to flow into everything else. The food, the music, and the dance were all just another part of daily activity. I remembered a story about John Cage, who, when in Japan, asked someone what their religion was. The reply was that they didn't have a strict religion--they danced. Japanese do, of course, have Buddhist and Shinto rituals for weddings, funerals, and marriages, but a weekly thing like going to church or temple doesn't exist. The "religion" is so integrated into the culture that it appears in daily gestures and routines, unsegregated for ordinary life. I was beginning to see that theatricality wasn't necessarily a bad thing. It was part of life in much of the world, and not necessarily phony either.