Music Arrangement Quotes

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. [...] Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person, the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We could prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.

Soon after the completion of his college course, his whole nature was kindled into one intense and passionate effervescence of romantic passion. His hour came,—the hour that comes only once; his star rose in the horizon,—that star that rises so often in vain, to be remembered only as a thing of dreams; and it rose for him in vain. To drop the figure,—he saw and won the love of a high-minded and beautiful woman, in one of the northern states, and they were affianced. He returned south to make arrangements for their marriage, when, most unexpectedly, his letters were returned to him by mail, with a short note from her guardian, stating to him that ere this reached him the lady would be the wife of another. Stung to madness, he vainly hoped, as many another has done, to fling the whole thing from his heart by one desperate effort. Too proud to supplicate or seek explanation, he threw himself at once into a whirl of fashionable society, and in a fortnight from the time of the fatal letter was the accepted lover of the reigning belle of the season; and as soon as arrangements could be made, he became the husband of a fine figure, a pair of bright dark eyes, and a hundred thousand dollars; and, of course, everybody thought him a happy fellow. The married couple were enjoying their honeymoon, and entertaining a brilliant circle of friends in their splendid villa, near Lake Pontchartrain, when, one day, a letter was brought to him in that well-remembered writing. It was handed to him while he was in full tide of gay and successful conversation, in a whole room-full of company. He turned deadly pale when he saw the writing, but still preserved his composure, and finished the playful warfare of badinage which he was at the moment carrying on with a lady opposite; and, a short time after, was missed from the circle. In his room,alone, he opened and read the letter, now worse than idle and useless to be read. It was from her, giving a long account of a persecution to which she had been exposed by her guardian's family, to lead her to unite herself with their son: and she related how, for a long time, his letters had ceased to arrive; how she had written time and again, till she became weary and doubtful; how her health had failed under her anxieties, and how, at last, she had discovered the whole fraud which had been practised on them both. The letter ended with expressions of hope and thankfulness, and professions of undying affection, which were more bitter than death to the unhappy young man. He wrote to her immediately: I have received yours,—but too late. I believed all I heard. I was desperate. I am married, and all is over. Only forget,—it is all that remains for either of us." And thus ended the whole romance and ideal of life for Augustine St. Clare. But the real remained,—the real, like the flat, bare, oozy tide-mud, when the blue sparkling wave, with all its company of gliding boats and white-winged ships, its music of oars and chiming waters, has gone down, and there it lies, flat, slimy, bare,—exceedingly real. Of course, in a novel, people's hearts break, and they die, and that is the end of it; and in a story this is very convenient. But in real life we do not die when all that makes life bright dies to us.

For example, highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They're often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there are new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron's husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions -- sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments -- both physical and emotional -- unusually deeply. They tend to notice subtleties that others miss -- another person's shift in mood, say, or a lightbulb burning a touch too brightly.

A comma . . . catches the gentle drift of the mind in thought, turning in on itself and back on itself, reversing, redoubling, and returning along the course of its own sweet river music; while the semicolon brings clauses and thoughts together with all the silent discretion of a hostess arranging guests around her dinner table.

It is more beautiful to trust in God. The beautiful in this world is all from his hand, declaring the perfection of taste; he is the author of all form; he clothes the lily, he colours the rose, he distils the dewdrop, he makes the music of nature; in a word, he organized us for this life, and imposed its conditions; and they are such guaranty to me that, trustful as a little child, I leave to him the organization of my Soul, and every arrangement for the life after death. I know he loves me.

Music is made out of nothing but some fairly simple rules . . . The notes themselves amount to almost nothing. But why some particular arrangement of these notes should have such a profound effect on our emotions is a mystery beyond even the hope of comprehension.

I had become a kind of information magpie, gathering to myself all manner of shiny scraps of fact and hokum and books and art-history and politics and music and film, and developing, too, a certain skill in manipulating and arranging these pitiful shards so that they glittered and caught the light. Fool's gold, or priceless nuggets mined from my singular childhood's rich bohemian seam? I leave it to others to decide.

I recall one particular sunset. It lent an ember to my bicycle hell. Overhead, above the black music of telegraph wires, a number of long, dark-violet clouds lined with flamingo pink hung motionless in a fan-shaped arrangement; the whole thing was like some prodigious ovation in terms of color and form! It was dying, however, and everything else was darkening, too; but just above the horizon, in a lucid, turquoise space, beneath a black stratus, the eye found a vista that only a fool could mistake for the square parts of this or any other sunset. It occupied a very small sector of the enormous sky and had the peculiar neatness of something seen through the wrong end of a telescope. There it lay in wait, a brilliant convolutions, anachronistic in their creaminess and extremely remote; remote but perfect in every detail; fantastically reduced but faultlessly shaped; my marvelous tomorrow ready to be delivered to me.

Same old notes, Blanche thinks at one point, but arranged into unfamiliar music.

trees [-] Inside their wooden samurai armor they are geisha beauties, each one a ‘person-of-the-arts,’ limbs dancing, arranging flowers, carrying the wind’s music, the calligraphy of their roots pure poetry, rhyming earth and berth.

At the end of our visit, Fleisher agreed to play something on my piano, a beautiful old 1894 Bechstein concert grand that I had grown up with, my father's piano. Fleisher sat at the piano and carefully, tenderly, stretched each finger in turn, and then, with arms and hands almost flat, he started to play. He played a piano transcription of Bach's "Sheep May Safely Graze," as arranged for piano by Egon Petri. Never in its 112 years, I thought, had this piano been played by such a master-I had the feeling that Fleisher has sized up the piano's character and perhaps its idiosyncrasies within seconds, that he had matched his playing to the instrument, to bring out its greatest potential, its particularity. Fleisher seemed to distill the beauty, drop by drop, like an alchemist, into flowing notes of an almost unbearable beauty-and, after this, there was nothing more to be said.

On the platform in the opposite corner of the bar, the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn’t much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements – not a fistful of notes crammed higgledy-piggledy into thirty measures. And yet… And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force – one that was a little unruly and prone to say the first thing that popped into its head, but generally of good humor and friendly intent. In addition, it seemed decidedly unconcerned with where it had been or where it was going – exhibiting somehow simultaneously the confidence of the master and the inexperience of the apprentice. Was there any wonder that such an art had failed to originate in Europe?

Surreal realized Daemon’s madness was confined to emotions, to people, to that single tragedy he couldn’t face. It was as if Titian had never died, as if Surreal hadn’t spent three years whoring in back alleys before Daemon found her again and arranged for a proper education in a Red Moon house. He thought she was still a child, and he continued to fret about Titian’s absence. But when she mentioned a book she was reading, he made a dry observation about her eclectic taste and proceeded to tell her about other books that might be of interest. It was the same with music, with art. They posed no threat to him, had no time frame, weren’t part of the nightmare of Jaenelle bleeding on that Dark Altar.

Who am I?’ you mean.” He smiled at the question and gave what was at first glance a most oblique answer. “Do you know what a fugue is?” “Are you changing the subject?” “No.” I thought in silence for some distance before his answer arranged itself sensibly in my mind. “I see. Two discrete sections of a fugue may not appear related, unless the listener has received the entire work, at which time the music’s internal logic makes clear the relationship.” “A conversation with you is most invigorating, Russell.

Passersby looked at us curiously. In the porch, Mr. Whitman held the church door open for us. “Hurry up, please,” he said. “We don’t want to attract attention.” No, sure, there was nothing likely to attract attention in two black limousines parking in North Audley Street in broad daylight so that men in suits could carry the Lost Ark out of the trunk of one of the cars, over the sidewalk, and into the church. Although from a distance the chest carrying it could have been a small coffin . . . The thought gave me goose bumps. “I hope at least you remembered your pistol,” I whispered to Gideon. “You have a funny idea of what goes on at a soiree,” he said, in a normal tone of voice, arranging the scarf around my shoulders. “Did anyone check what’s in your bag? We don’t want your mobile ringing in the middle of a musical performance.” I couldn’t keep from laughing at the idea, because just then my ringtone was a croaking frog. “There won’t be anyone there who could call me except you,” I pointed out. “And I don’t even know your number. Please may I take a look inside your bag?” “It’s called a reticule,” I said, shrugging and handing him the little bag. “Smelling salts, handkerchief, perfume, powder . . . excellent,” said Gideon. “All just as it should be. Come along.” He gave me the reticule back, took my hand, and led me through the church porch. Mr. Whitman bolted the door again behind us. Gideon forgot to let go of my hand once we were inside the church, which was just as well, because otherwise I’d have panicked at the last moment and run away.

Adam, we hear, walked in easy fellowship with God in the cool of the evening and spoke to him as to a friend. This ordering of Adam to God meant that our first parent was effortlessly caught up in adoration. The term "adoration" comes from the Latin ado ratio, which in turn is derived from "ad ora" (to the mouth). To adore, therefore, is to be mouth to mouth with God, properly aligned to the divine source, breathing in God's life. When one is in the stance of adoration, the whole of one's life - mind, will, emotions, imagination, sexuality - becomes ordered and harmonized, much as the elements of a rose window arrange themselves musically around a central point.

Tarot is a lyrical language of the soul's encounter with the Universe. It arises freely, and like the most dignified dance, allows us to express ourselves in motion to the music of the divine. The re-arrangement and reading of the deck is as sacred as the most religious ritual or act of love. Treasure it. Trust it. Let it divine you.

Highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They're often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there are new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron's husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art. They feel exceptionally strong emotions -sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments -both physical and emotional -unusually deeply. They tend to notice subtleties that others miss - another person's shift in mood, say, or a lightbulb burning a touch too brightly.

I'm not sure why it makes me feel weird to know that people are playing something I had a hand in creating, but it does. It feels too public somehow, like this thing that I do on my own to stay sane doesn't belong completely to me anymore, or something.

Music is made out of nothing but some fairly simple rules. Yet it's true that no one made them up. The rules. The notes themselves amount to almost nothing. But why some particular arrangement of these notes should have such a profound effect on our emotions is a mystery beyond even the hope of comprehension. Music is not a language. it has no reference to anything other than itself

Instructions for Dad. I don't want to go into a fridge at an undertaker's. I want you to keep me at home until the funeral. Please can someone sit with me in case I got lonely? I promise not to scare you. I want to be buried in my butterfly dress, my lilac bra and knicker set and my black zip boots (all still in the suitcase that I packed for Sicily). I also want to wear the bracelet Adam gave me. Don't put make-up on me. It looks stupid on dead people. I do NOT want to be cremated. Cremations pollute the atmosphere with dioxins,k hydrochloric acid, hydrofluoric acid, sulphur dioxide and carbon dioxide. They also have those spooky curtains in crematoriums. I want a biodegradable willow coffin and a woodland burial. The people at the Natural Death Centre helped me pick a site not for from where we live, and they'll help you with all the arrangements. I want a native tree planted on or near my grave. I'd like an oak, but I don't mind a sweet chestnut or even a willow. I want a wooden plaque with my name on. I want wild plants and flowers growing on my grave. I want the service to be simple. Tell Zoey to bring Lauren (if she's born by then). Invite Philippa and her husband Andy (if he wants to come), also James from the hospital (though he might be busy). I don't want anyone who doesn't know my saying anything about me. THe Natural Death Centre people will stay with you, but should also stay out of it. I want the people I love to get up and speak about me, and even if you cry it'll be OK. I want you to say honest things. Say I was a monster if you like, say how I made you all run around after me. If you can think of anything good, say that too! Write it down first, because apparently people often forget what they mean to say at funerals. Don't under any circumstances read that poem by Auden. It's been done to death (ha, ha) and it's too sad. Get someone to read Sonnet 12 by Shakespeare. Music- "Blackbird" by the Beatles. "Plainsong" by The Cure. "Live Like You Were Dying" by Tim McGraw. "All the Trees of the Field Will Clap Their Hands" by Sufian Stevens. There may not be time for all of them, but make sure you play the last one. Zoey helped me choose them and she's got them all on her iPod (it's got speakers if you need to borrow it). Afterwards, go to a pub for lunch. I've got £260 in my savings account and I really want you to use it for that. Really, I mean it-lunch is on me. Make sure you have pudding-sticky toffee, chocolate fudge cake, ice-cream sundae, something really bad for you. Get drunk too if you like (but don't scare Cal). Spend all the money. And after that, when days have gone by, keep an eye out for me. I might write on the steam in the mirror when you're having a bath, or play with the leaves on the apple tree when you're out in the garden. I might slip into a dream. Visit my grave when you can, but don't kick yourself if you can't, or if you move house and it's suddenly too far away. It looks pretty there in the summer (check out the website). You could bring a picnic and sit with me. I'd like that. OK. That's it. I love you. Tessa xxx

Just the minute another person is drawn into some one's life, there begin to arise undreamed-of complexities, and from such a simple beginning as sexual desire we find built up such alarming yet familiar phenomena as fetes, divertissements, telephone conversations, arrangements, plans, sacrifices, train arrivals, meetings, appointments, tardiness, delays, marriages, dinners, small pets and animals, calumny, children, music lessons, yellow shades for the windows, evasions, lethargy, cigarettes, candies, repetition of stories and anecdotes, infidelity, ineptitude, incompatibility, bronchial trouble, and many others, all of which are entirely foreign to the original urge and way off the subject.

Here’s how it works for Stephen King: There are certain things I do if I sit down to write. I have a glass of water or a cup of tea. There’s a certain time I sit down, from 8:00 to 8:30, somewhere within that half hour every morning. I have my vitamin pill and my music, sit in the same seat, and the papers are all arranged in the same places. The cumulative purpose of doing these things the same way every day seems to be a way of saying to the mind, you’re going to be dreaming soon.1

Without Al, Mary Frances discovered what she did alone. She liked to cook for herself, to assemble a meal of things he would never consider worth a mealtime- shad roe and toast, soft-set eggs, hearts of celery and palm with a quick yellow mayonnaise, a glass of wine, an open book in her lap, and the radio on. The elements that mattered most were the simple ones: butter, salt, a thick plate of white china and a delicate glass, the music faint, the feel of paper in her hand, and the knowledge that there was more, always more book to read, more wine if she liked it, some cold fruit in the refrigerator when she was hungry again, and the hours upon hours to satisfy herself.

He then expounded a remarkable theory, which had occurred to him while he was playing the clarinet during one of the power cuts that the French electricity board arranges at regular intervals. Electricity, he said, is a matter of science and logic. Classical music is a matter of art and logic. Vous voyez? Already one sees a common factor. And when you listen to the disciplined and logical progression of some of Mozart's work, the conclusion is inescapable: Mozart would have made a formidable electrician.

In 1865 English chemist John Newlands discovered that when the chemical elements are arranged according to atomic weight, those with similar properties occur at every eighth element, like notes of music. This discovery became known as the Law of Octaves, and it helped lead to the development of the Periodic Law of chemical elements still used today.

I design saxophone music in blocks, like Stonehenge. I also arrange notes in other shapes, like sound sculptures.

The flowers, the candles, the easy swing of the music, his daughter's perfectly made-up face, her artfully arranged hair, the swell of her pregnancy - it all cried out for love, for pride, for fatherly tenderness, even if Daphne would not look at him, even if she had walled herself up with her happiness and left him outside. He did not know how to make her forgive him. He would have to wait.

I am still vaguely haunted by our hitchhiker’s remark about how he’d “never rode in a convertible before.” Here’s this poor geek living in a world of convertibles zipping past him on the highways all the time, and he’s never even ridden in one. It made me feel like King Farouk. I was tempted to have my attorney pull into the next airport and arrange some kind of simple, common-law contract whereby we could just give the car to this unfortunate bastard. Just say: “Here, sign this and the car’s yours.” Give him the keys and then use the credit card to zap off on a jet to some place like Miami and rent another huge fireapple-red convertible for a drug-addled, top-speed run across the water all the way out to the last stop in Key West … and then trade the car off for a boat. Keep moving. But this manic notion passed quickly. There was no point in getting this harmless kid locked up—and, besides, I had plans for this car. I was looking forward to flashing around Las Vegas in the bugger. Maybe do a bit of serious drag-racing on the Strip: Pull up to that big stoplight in front of the Flamingo and start screaming at the traffic: “Alright, you chickenshit wimps! You pansies! When this goddamn light flips green, I’m gonna stomp down on this thing and blow every one of you gutless punks off the road!” Right. Challenge the bastards on their own turf. Come screeching up to the crosswalk, bucking and skidding with a bottle of rum in one hand and jamming the horn to drown out the music … glazed eyes insanely dilated behind tiny black, gold-rimmed greaser shades, screaming gibberish … a genuinely dangerous drunk, reeking of ether and terminal psychosis. Revving the engine up to a terrible high-pitched chattering whine, waiting for the light to change … How often does a chance like that come around? To jangle the bastards right down to the core of their spleens. Old elephants limp off to the hills to die; old Americans go out to the highway and drive themselves to death with huge cars.

Nico unsheathed his sword. “You know the Underworld? Would you like me to arrange a visit?” Bryce laughed. His front teeth were two different shades of yellow. “Do you think you can frighten me? I’m a descendant of Orcus, the god of broken vows and eternal punishment. I’ve heard the screams in the Fields of Punishment firsthand. They’re music to my ears. Soon, I’ll be adding one more damned soul to the chorus.

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom . . . He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well-known decorators who themselves exert an influence on the buying groups . . . Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

Bradley Headstone, in his decent black coat and waistcoat, and decent white shirt, and decent formal black tie, and decent pantaloons of pepper and salt, with his decent silver watch in his pocket and its decent hair-guard round his neck, looked a thoroughly decent young man of six-and-twenty. He was never seen in any other dress, and yet there was a certain stiffness in his manner of wearing this, as if there were a want of adaptation between him and it, recalling some mechanics in their holiday clothes. He had acquired mechanically a great store of teacher's knowledge. He could do mental arithmetic mechanically, sing at sight mechanically, blow various wind instruments mechanically, even play the great church organ mechanically. From his early childhood up, his mind had been a place of mechanical stowage. The arrangement of his wholesale warehouse, so that it might be always ready to meet the demands of retail dealers history here, geography there, astronomy to the right, political economy to the left—natural history, the physical sciences, figures, music, the lower mathematics, and what not, all in their several places—this care had imparted to his countenance a look of care; while the habit of questioning and being questioned had given him a suspicious manner, or a manner that would be better described as one of lying in wait. There was a kind of settled trouble in the face. It was the face belonging to a naturally slow or inattentive intellect that had toiled hard to get what it had won, and that had to hold it now that it was gotten. He always seemed to be uneasy lest anything should be missing from his mental warehouse, and taking stock to assure himself.

The imagination circuit is taught to respond to the most minimal of cues. A book is an arrangement of twenty-six phonetic symbols, ten numerals, and about eight punctuation marks, and people can cast their eyes over these and envision the eruption of Mount Vesuvius or the Battle of Waterloo. But it's no longer necessary for teachers and parents to build these circuits. Now there are professionally produced shows with great actors, very convincing sets, sound, music. Now there's the information highway. We don't need the circuits any more than we need to know how to ride horses. Those of us who had imagination circuits built can look in someone's face and see stories there; to everyone else, a face will just be a face.

„Die Musik wird aus dem Rauschen geboren: das erste menschliche Lallen, die erste Information im Chaos. Aus seiner Quelle entsprungen, lässt dieser Strom der Arrangements und Kombinationen, der in Melodien und Harmonien zur Sprache hinabfließt, die Negentropie anwachsen.[...]

Now a theist, he thought he should behave like one, even if it meant him during "the fussy, time-wasting, botheration of it all! the bells, the crowds, the umbrellas, the notices, the bustle, the perpetual arranging and organizing," and, worst of all, the hymns and organ music.

Imagine if one of the shirtless, pantless aborigines had spoken to the audience between songs instead? “Our white handlers have been performing their managerial duties for decades … centuries now. This is a traditional Australian cultural arrangement…” Would I have been the only one applauding?

Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has ever seen.

Too often we sit back and speak platitudes of the nitty-gritty bits of writing; the editing, the story structure, the verbal sparring vs. banter, the character development, the world-building become more important to us than the tune rhythm of the tale. And when you lose the music of the story, all the footwork in the world is not going to make up for the loss of continuity and heart. We need to take a step back in our souls and conjure the image of what this story is: the notes and beats and things woven into it's fullness. See, that's what is so easy to lose sight of as we write. We forget that, in a way, this story is a full story in itself. We tend to try to build the story piece by piece, line upon line, precept upon precept, but that--as any true writer knows--is not entirely practical. A story does have its own identity. To some extent, the story exists in your mind as a whole. Its own being. To chance sounding sappy: Your story is a full piece of music waiting for you to dance it into existence. Don't make the mistake of leaving out all the music. It is tempting to want to have everything arranged to perfection so that little editing will be done. But if you are keeping in mind the way your story needs to run--feeling it and dwelling in the beauty of its passion and color and vibe--the footwork will take care of itself. Certainly it will require practice and your technicalities will need a little work--everyone's does. But you will have captured the essence and blood of the tale, and really that's the prettiest part of a dance.

Music is made out of nothing but some fairly simple rules. Yet it’s true that no one made them up. The rules. The notes themselves amount to almost nothing. But why some particular arrangement of these notes should have such a profound effect on our emotions is a mystery beyond even the hope of comprehension. Music

One might have supposed one’s self at an opera in listening to the voices in my aviary. There were duets and trios, and quartetts and choruses, all arranged as in one piece of music. Did I want silence from the birds? I had but to draw a curtain over the aviary, and their song hushed as they found themselves left in the dark.

When other entrepreneurs created jukeboxes by arranging for a phonograph to play popular music at the drop of a coin, Edison objected to this debasement, which apparently detracted from serious office use of his invention. Only after about 20 years did Edison reluctantly concede that the main use of his phonograph was to record and play music.

highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They’re often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews).

It is a curious fact that the delicate acoustic arrangements of a music hall can be impaired by the music of inefficient, discordant orchestras, and for this reason poor musical performances have been forbidden in some places. If a poor performance could affect adversely the acoustics of a hall, would not an able performance tend to improve them?

It became more difficult to breathe. I looked around. My body was now included among the objects arranged on the floor. I lay there between the music box and the harmonica, my two legs protruding at odd angles, my hands crossed on my chest, my eyes lowered. In the same way he had wound the spring on the music box or blown into the harmonica, I imagined R would now caress my body in order to call forth memories.

There is a certain climax in life, at which, notwithstanding all our freedom, and however much we may have denied all directing reason and goodness in the beautiful chaos of existence, we are once more in great danger of intellectual bondage, and have to face our hardest test. For now the thought of a personal Providence first presents itself before us with its most persuasive force, and has the best of advocates, apparentness, in its favor, now when it is obvious that all and everything that happens to us always turns out for the best. (...) We want to leave the Gods alone and (...) wish to content ourselves with the assumption that our own practical and theoretical skillfulness in explaining and suitably arranging events has now reached its highest point. (...) We do not want either to think too highly of this dexterity of our wisdom, when the wonderful harmony which results from playing on our instrument sometimes surprises us too much: a harmony which sounds too well for us to dare to ascribe it to ourselves. In fact, now and then there is one who plays with us beloved Chance: he leads our hand occasionally, and even the all wisest Providence could not devise any finer music than that of which our foolish hand is then capable.

So where does music come from? No one knows. A platonic theory of music just muddies the water. Music is made out of nothing but some fairly simple rules. Yet it’s true that no one made them up. The rules. The notes themselves amount to almost nothing. But why some particular arrangement of these notes should have such a profound effect on our emotions is a mystery beyond even the hope of comprehension. Music is not a language.

In that moment, I realized that life, much like Schubert's Sonata, is a symphony—a complex arrangement of moments, emotions, and connections. It is in the subtle interplay of these elements that we find meaning and purpose. And as I listened, observed, and allowed myself to be enveloped by the world unfolding before me, I felt a sense of belonging—a reminder that even in the depths of my solitude, I was part of something greater.

Some of these twenty-seven attributes were familiar from Kagan and others' work. For example, highly sensitive people rend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They're often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say or performing at a music recital) or judged for general worthiness (dating, job interviews).

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom. He appeals perhaps to the home instinct which is fundamental. He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition . . . key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

We may now briefly enumerate the elements of style.  We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words.  We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure.  From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised.  We need not wonder, then, if perfect sentences are rare, and perfect pages rarer. -ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE

I realize it’s frowned on to choose a mate based on something superficial like the music they love. But superficiality has been good to me. In the animal kingdom, Renée and I would have recognized each other’s scents; for us, it was a matter of having the same favorite Meat Puppets album. Music was a physical bond between us, and the fact that she still owned her childhood 45 of Andy Gibb’s “I Just Want to Be Your Everything” was tantamount to an arranged marriage. The idea that we might not belong together never really crossed my mind.

invention is often the mother of necessity, rather than vice versa. A good example is the history of Thomas Edison’s phonograph, the most original invention of the greatest inventor of modern times. When Edison built his first phonograph in 1877, he published an article proposing ten uses to which his invention might be put. They included preserving the last words of dying people, recording books for blind people to hear, announcing clock time, and teaching spelling. Reproduction of music was not high on Edison’s list of priorities. A few years later Edison told his assistant that his invention had no commercial value. Within another few years he changed his mind and did enter business to sell phonographs—but for use as office dictating machines. When other entrepreneurs created jukeboxes by arranging for a phonograph to play popular music at the drop of a coin, Edison objected to this debasement, which apparently detracted from serious office use of his invention. Only after about 20 years did Edison reluctantly concede that the main use of his phonograph was to record and play music.

The artist reconstructs the world to his plan. The symphonies of nature know no rests. The world is never quiet; even its silence eternally resounds with the same notes, in vibrations that escape our ears. As for those that we perceive, they carry sounds to us, occasionally a chord, never a melody. Music exists, however, in which symphonies are completed, where melody gives its form to sounds that by themselves have none, and where, finally, a particular arrangement of notes extracts from natural disorder a unity that is satisfying to the mind and the heart.

Don Chrisantos Michael Wanzala "Don CM Wanzala" (born April 13), popularly known as Don Santo (stylized as DON SANTO) is a Kenyan singer, rapper, songwriter, arranger, actor, author, content producer, Photo-Videographer, Creative Director (Blame It On Don), entrepreneur, record executive and Leader of the Klassik Nation and chairman and president of Global Media Ltd, based in Nairobi City in Kenya. ​ The genius of DON SANTO rests in his willingness to break from traditional formula and constantly push the envelope. He flips the method of the moment with undeniable swagger and bold African sensibility. As a songwriter, Santo revisits simple, but profound aspects of the human experience – love, lust, desire, joy, and pain that define classical art and drama. He applies his concept to rich, full vocals that exude his intended effect. It is this uncanny ability to compose classics and deliver electrifying live performances that define everything that is essential DON SANTO. In 2015, Santo won the East Africa Music Awards in the Artist of the year Category while his song "Sina Makosa" won the Song of The year. A believer in GOD, FAMILY & GOOD LIFE (Klassikanity).

Since you bring up the Buddha, let’s talk about that example. The story of the Buddha’s childhood is that he was born as a prince and that, at the time of his birth, a prophet told his father that the infant would grow up to be either a world ruler or a world teacher. The good king was interested in his own profession, and the last thing he wanted was that his son should become a teacher of any kind. So he arranged to have the child brought up in an especially beautiful palace where he should experience nothing the least bit ugly or unpleasant that might turn his mind to serious thoughts. Beautiful young women played music and took care of the child. And there were beautiful gardens, lotus ponds, and all.

Whenever, then, anything in nature seems to us ridiculous, absurd or evil, it is because we have but a partial knowledge of things, and are in the main ignorant of the order and coherence of nature as a whole, and because we want everything to be arranged according to the dictates of our own reason; although in fact, what our reason pronounces bad is not bad as regards the order and laws of universal nature, but only as regards the laws of our own nature taken separately.45 . . . As for the terms good and bad, they indicate nothing positive considered in themselves . . . . For one and the same thing can at the same time be good, bad, and indifferent. For example, music is good to the melancholy, bad to mourners, and indifferent to the dead.

Cultural artifacts like clothing, music, or speech are aspects of indigenous culture that are generally not considered by teachers to be related to education, but are one of the first things a teacher identifies when interacting with neoindigenous students. The wrong clothing or speech will get neoindigenous students labeled as unwilling to learn and directly impact their academic lives much in the way that it affects the indigenous. For example, if one were to ask the average person in the United States, Australia, or New Zealand to describe the indigenous peoples in their respective countries, the responses would probably be very similar, and include exoticized references to scanty clothing, “odd” living arrangements, “strange” speech, “weird” customs, and “primitive” art and music.

Music is carried by the vibrations of molecules of air, like waves upon an ocean. It perhaps uniquely captures and conveys the interior landscape of one human mind to another, holding our tears and sweat, pain and pleasure, packaged as paeans and preludes and etudes and nocturnes. It is the texturization of the deliquescence of time, the ebb and flow of mood and meaning. It ruminates, vacillates, contemplates, and stimulates. In music we organize and fantasize, arranging the elements of music-melody, rhythm, and harmony-into meaningful shapes and patterns. Its rhythms move our hands, feet and bodies to the pulses of the universe. Its harmonies breathe with the exploratory intricacies and curiosities of relationship and proportion, consonance, dissonance, assonance, and resonance. Its melodies flitter into flights of fancy, weaving woe and wonder.

There is a musical instrument, one that is in fact little more than a toy, that we in Viron used to call Molpe’s dulcimer. Strings are arranged in a certain way and drawn tight above a chamber of thin wood that swells the sound when they are strummed by the wind. Horn made several for his young siblings before we went into the tunnels; when I made them, I dreamed of making a better one someday, one constructed with all the knowledge and care that a great craftsman would bring to the task, a fitting tribute to Molpe. I have never built it, as you will have guessed already. I have the craft now, perhaps; but I have never had the musical knowledge the task would require, and I never will. If I had built it, it might have sounded something like that, because I would have made it sound as much like a human voice as I could; and if I were the great craftsman I once dreamed of becoming, I would have come very near—and yet not near enough. That is how it was with the Mother’s voice. It was lovely and uncanny, like Molpe’s dulcimer; and although it was not in truth very remote as well as I could judge, there was that in it that sounded very far away indeed. I have since thought that the distance was perhaps of time, that we heard a song on that warm, calm evening that was not merely hundreds but thousands of years old, sung as it had been sung when the Short Sun of Blue was yet young, and floating to us across that lonely sea with a pain of loss and longing that my poor words cannot express. No, not even if I could whisper them aloud to you of the future, and certainly not as I am constrained to speak to you now with Oreb’s laboring black wingfeather. Nor with a quill from any other bird that ever flew. *

I saw the power this respect holds in traditional cultures on our family sabbatical to Thailand and Bali. My daughter Caroline studied Balinese dance for two months with a wonderful teacher, and he proposed to stage a farewell recital for her at his school, which is also his home. When we arrived, they set up the stage, got the music ready, and then started to dress Caroline. They took a very long time dressing a six-year-old whose average attention span is about five minutes. First they draped her in a silk sarong, with a beautiful chain around her waist. Then they wrapped embroidered silk fifteen times around her chest. They put on gold armbands and bracelets. They arranged her hair and put golden flowers in it. They put on more makeup than a six-year-old could dream of. Meanwhile, I sat there getting impatient, the proud father eager to take pictures. It was getting dark. “When are they going to finish dressing her and get on with the recital?” Thirty minutes, forty-five minutes. Finally the teacher’s wife came out and took off her own golden necklace and put it around my daughter’s neck. Caroline was thrilled. When I let go of my impatience, I realized what a wonderful thing was happening. In Bali, whether a dancer is six or twenty-six, she is equally honored and respected. She is an artist who performs not for the audience but for the gods. The level of respect that Caroline was given as an artist allowed her to dance beautifully. Imagine how you would feel if you were given that respect as a child. We need to learn respect for ourselves, for one another, to value our children through valuing their bodies, their feelings, their minds. Children may be limited in what they can do, but their spirit isn’t limited.

What is life? It is a series of arrangements that each of us makes in order to slow down the deterioration process as much as possible. Everybody faces the same decisions as they advance in age—behavior that was fun when you were younger (excessive drug and alcohol intake, indiscriminate sexual encounters with the powerfully magnetic and questionably sane, residing in shitholes with hygiene-averse scumbags) can’t continue when you get older or else the death march gets accelerated. Mature people learn over time how to structure their lives in such a way that the likelihood of dying is minimized. Eventually the menu of fun items that won’t instantly kill you is reduced to a small selection of spicy entrees, then a zesty appetizer or two, then a glass of water and a spoon (because forks and knives could cut your terrifyingly translucent skin, you decrepit old coot). I

There were stalls nestled around the castle the way the lights were, not in rows but in odd spots, as if the stalls had grown there or alighted on random places like birds. There was one stall with ringing chimes that was set halfway up a ruined wall, so the customers had to climb sliding pieces of slate to get to it. There were more stalls set in the grassy hollows among the stones and nestled into the corners of the walls. One woman had actually turned a ruined wall into her stall, brightly colored jars arranged on the jagged, protruding shards of stone. All through the fragments of a lost castle lit by magic moved the people of the Goblin Market. There was a man hanging up knives alongside wind chimes, which made dangerous and beautiful music as they rang together in the sea breeze. There was a boy who looked about twelve stirring something in a cauldron with a rich-smelling cloud handing over it, and bark cups ranged along his stall.

Pythagoras, as everyone knows, said that 'all things are numbers'. This statement, interpreted in a modern way, is logically nonsense, but what he meant was not exactly nonsense. He discovered the importance of numbers in music, and the connection which he established between music and arithmetic survives in the mathematical terms 'harmonic mean' and 'harmonic progression'. He thought of numbers as shapes, as they appear on dice or playing cards. We still speak of squares and cubes of numbers, which are terms that we owe to him. He also spoke of oblong numbers, triangular numbers, pyramidal numbers, and so on. These were the numbers of pebbles (or, as we should more naturally say, shot) required to make the shapes in question. He presumably thought of the world as atomic, and of bodies as built up of molecules composed of atoms arranged in various shapes. In this way he hoped to make arithmetic the fundamental study in physics as in aesthetics.

Let us beware of thinking that the world is a living being. Where should it expand? On what should it feed? How could it grow and multiply? We have some notion of the nature of the organic; and we should not reinterpret the exceedingly derivative, late, rare, accidental, that we perceive only on the crust of the earth and make of it something essential, universal, and eternal, which is what those people do who call the universe an organism. This nauseates me. Let us even beware of believing that the universe is a machine: it is certainly not constructed for one purpose, and calling it a 'machine' does it far too much honor. Let us beware of positing generally and everywhere anything as elegant as the cyclical movements of our neighboring stars; even a glance into the Milky Way raises doubts whether there are not far coarser and more contradictory movements there, as well as stars with eternally linear paths, etc. The astral order in which we live is an exception; this order and the relative duration that depends on it have again made possible an exception of exceptions: the formation of the organic. The total character of the world, however, is in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. Judged from the point of view of our reason, unsuccessful attempts are by all odds the rule, the exceptions are not the secret aim, and the whole musical box repeats eternally its tune which may never be called a melody—and ultimately even the phrase 'unsuccessful attempt' is too anthropomorphic and reproachful. But how could we reproach or praise the universe? Let us beware of attributing to it heartlessness and unreason or their opposites: it is neither perfect nor beautiful, nor noble, nor does it wish to become any of these things; it does not by any means strive to imitate man. None of our aesthetic and moral judgments apply to it. Nor does it have any instinct for self-preservation or any other instinct; and it does not observe any laws either. Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses. Once you know that there are no purposes, you also know that there is no accident; for it is only beside a world of purposes that the word 'accident' has meaning. Let us beware of saying that death is opposed to life. The living is merely a type of what is dead, and a very rare type. Let us beware of thinking that the world eternally creates new things. There are no eternally enduring substances; matter is as much of an error as the God of the Eleatics. But when shall we ever be done with our caution and care? When will all these shadows of God cease to darken our minds? When will we complete our de-deification of nature? When may we begin to 'naturalize' humanity in terms of a pure, newly discovered, newly redeemed nature?

Jason, it’s a pleasure.” Instead of being in awe or “fangirling” over one of the best catchers in the country, my dad acts normal and doesn’t even mention the fact that Jason is a major league baseball player. “Going up north with my daughter?” “Yes, sir.” Jason sticks his hands in his back pockets and all I can focus on is the way his pecs press against the soft fabric of his shirt. “A-plus driver here in case you were wondering. No tickets, I enjoy a comfortable position of ten and two on the steering wheel, and I already established the rule in the car that it’s my playlist we’re listening to so there’s no fighting over music. Also, since it’s my off season, I took a siesta earlier today so I was fresh and alive for the drive tonight. I packed snacks, the tank is full, and there is water in reusable water bottles in the center console for each of us. Oh, and gum, in case I need something to chew if this one falls asleep.” He thumbs toward me. “I know how to use my fists if a bear comes near us, but I’m also not an idiot and know if it’s brown, hit the ground, if it’s black, fight that bastard back.” Oh my God, why is he so adorable? “I plan on teaching your daughter how to cook a proper meal this weekend, something she can make for you and your wife when you’re in town.” “Now this I like.” My dad chuckles. Chuckles. At Jason. I think I’m in an alternate universe. “I saw this great place that serves apparently the best pancakes in Illinois, so Sunday morning, I’d like to go there. I’d also like to hike, and when it comes to the sleeping arrangements, I was informed there are two bedrooms, and I plan on using one of them alone. No worries there.” Oh, I’m worried . . . that he plans on using the other one. “Well, looks like you’ve covered everything. This is a solid gentleman, Dottie.” I know. I really know. “Are you good? Am I allowed to leave now?” “I don’t know.” My dad scratches the side of his jaw. “Just from how charismatic this man is and his plans, I’m thinking I should take your place instead.” “I’m up for a bro weekend,” Jason says, his banter and decorum so easy. No wonder he’s loved so much. “Then I wouldn’t have to see the deep eye-roll your daughter gives me on a constant basis.” My dad leans in and says, “She gets that from me, but I will say this, I can’t possibly see myself eye-rolling with you. Do you have extra clothes packed for me?” “Do you mind sharing underwear with another man? Because I’m game.” My dad’s head falls back as he laughs. “I’ve never rubbed another man’s underwear on my junk, but never say never.” “Ohhh-kay, you two are done.” I reach up and press a kiss to my dad’s cheek. “We are leaving.” I take Jason by the arm and direct him back to the car. From over his shoulder, he mouths to my dad to call him, which my dad replies with a thumbs up. Ridiculous. Hilarious. When we’re saddled up in the car, I let out a long breath and shift my head to the side so I can look at him. Sincerely I say, “Sorry about that.” With the biggest smile on his face, his hand lands on my thigh. He gives it a good squeeze and says, “Don’t apologize, that was fucking awesome.

A lovely home atmosphere is one of the flowers of the world, than which there is nothing more tender, nothing more delicate, nothing more calculated to make strong and just the natures cradled and nourished within it. Those who have never experienced such a beneficent influence will not understand wherefore the tear springs glistening to the eyelids at some strange breath in lovely music. The mystic chords which bind and thrill the heart of the nation, they will never know. Hurstwood’s residence could scarcely be said to be infused with this home spirit. It lacked that toleration and regard without which the home is nothing. There was fine furniture, arranged as soothingly as the artistic perception of the occupants warranted. There were soft rugs, rich, upholstered chairs and divans, a grand piano, a marble carving of some unknown Venus by some unknown artist, and a number of small bronzes gathered from heaven knows where, but generally sold by the large furniture houses along with everything else which goes to make the “perfectly appointed house.

All human creativity is an echo of God’s creativity. When God makes man, he forms him in the dirt, breathes life into him, and sends him out in the world. We’ve been playing in the dirt ever since. Just as God took something he’d made, shaped it, breathed life and meaning into it, and transformed it into something new, so we set about our own business, taking creation, shaping it, and giving it new meaning and purpose. Clay becomes sculpture. Trees become houses. Sounds are arranged in time to become music. Oils, pigments, and canvas are arranged to become paintings. Various metals, glass, and petroleum products become iPhones. The same is true of stories. There is nothing new under the sun, and our stories—no matter how fresh and new they might feel—are all a way of “playing in the dirt,” wrestling with creation, reimagining it, working with it, and making it new. Our stories have a way of fitting into the bigger story of redemption that overshadows all of life and all of history. Because that bigger story is the dirt box in which all the other stories play.

She named the people who embodied these attributes “highly sensitive.” Some of these twenty-seven attributes were familiar from Kagan and others’ work. For example, highly sensitive people tend to be keen observers who look before they leap. They arrange their lives in ways that limit surprises. They’re often sensitive to sights, sounds, smells, pain, coffee. They have difficulty when being observed (at work, say, or performing at a music recital) or judged for general worthiness (dating, job interviews). But there were also new insights. The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive (just as Aron’s husband had described her). They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions—sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments—both physical and emotional—unusually deeply. They tend to notice subtleties that others miss—another person’s shift in mood, say, or a lightbulb burning a touch too brightly.

He sat beside his brother and glanced at the notes. “The broken pew in the chapel has been repaired—you can cross that off the list. The keg of caviar arrived yesterday. It’s in the icehouse. I don’t know whether the extra camp chairs are here yet. I’ll ask Sims.” He paused to drink half his coffee in one swallow. “Where’s Kathleen? Still abed?” “Are you joking? She’s been awake for hours. At the moment she’s with the housekeeper, showing deliverymen where to set the flower arrangements.” A fond smile crossed Devon’s lips as he rolled the pencil against the tabletop with the flat of his hand. “You know my wife—every detail has to be perfect.” “It’s like staging a production at St. James’s Music Hall. Without, sadly, the chorus girls in pink tights.” West drained the rest of his coffee. “My God, will this day never end?” “It’s only six o’clock in the morning,” Devon pointed out. They both sighed. “I’ve never thanked you properly for marrying Kathleen at the registrar’s office,” West commented. “I want you to know how much I enjoyed it.” “You weren’t there.” “That’s why I enjoyed it.” Devon’s lips twitched. “I was glad not to have to wait,” he said. “But had there been more time, I wouldn’t have minded going through a more elaborate ceremony for Kathleen’s sake.” “Please. Shovel that manure in someone else’s direction.

What did E.S. like about dreams? Their similarity to life and their dissimilarity; their salutary effect on body and soul; their unrestricted choice and arrangement of themes and contents; their bottomless depths and eerie heights; their eroticism; their freedom; their openness to guidance by will and suggestion (a perfumed handkerchief under one's pillow, soft music on the radio or gramophone, etc.); their resemblance to death and their power to confer intimations of eternity; their resemblance to madness without the consequences of madness; their cruelty and their gentleness; their power to pry the deepest secrets out of us; their blissful silence, to which cries are not unknown; their telepathic and spiritist faculty of communication with those dead or far away; their coded language, which we manage to understand and translate; their ability to condense the mythical figures of Icarus, Ahasuerus, Jonah, Noah, etc., into images; their monochrome and polychrome quality; their resemblance to the womb and to the jaws of a shark; their faculty of transforming unknown places, people, and landscapes into known ones, and vice versa; their power to diagnose certain ailments and traumas before it is too late; the difficulty of determining how long they last; the fact that they can be mistaken for reality; their power to preserve images and distant memories; their disrespect for chronology and the classical unities of time and action.

I blinked at her. She was as composed as a mediaeval saint, wearing an expression of Eastern inscrutability. “Yes, child. The less you and I discuss about that particular episode, the better. Ask me again when you’re about to be married, and then we shall have a frank discussion.” “I shan’t marry,” she informed me coolly. “Never?” “Never. I mean to find some purposeful work. A husband would get in my way.” She was serious as the grave, but I knew better than to smile. “Perhaps you will. But life has a habit of changing your mind for you. Still, better you put that remarkable brain of yours to good use than feed it nothing more demanding than flower-arranging and playing the piano. Unless those are particular passions of yours,” I added hastily. She rolled her eyes. “I loathe music, and flowers make me sneeze.” “There you go. I was never very good at the feminine accomplishments, either.” “Perhaps it’s a family failing,” she suggested kindly. ----- "That is a perfectly exceptional child,” Brisbane said when she was gone. “I think she must be what you were like as a little girl.” “I was never so—” I began. But then I thought about Perdita. A little odd, mistress of her own interests, curious, with a penchant for speaking her mind. “Yes, I suppose rather.” He smiled and put down his cup. He slapped his thighs, and I went to him, sliding onto his lap, my head fitting comfortably into the hollow of his neck. “I am very happy you are mine,” I told him. Brisbane produced his customary phrase for such occasions. “Show me.” And so I did.

With a scowl, he turned from the window, but it was too late. The sight of Lady Celia crossing the courtyard dressed in some rich fabric had already stirred his blood. She never wore such fetching clothes; generally her lithe figure was shrouded in smocks to protect her workaday gowns from powder smudges while she practiced her target shooting. But this morning, in that lemon-colored gown, with her hair finely arranged and a jeweled bracelet on her delicate wrist, she was summer on a dreary winter day, sunshine in the bleak of night, music in the still silence of a deserted concert hall. And he was a fool. "I can see how you might find her maddening," Masters said in a low voice. Jackson stiffened. "Your wife?" he said, deliberately being obtuse. "Lady Celia." Hell and blazes. He'd obviously let his feelings show. He'd spent his childhood learning to keep them hidden so the other children wouldn't see how their epithets wounded him, and he'd refined that talent as an investigator who knew the value of an unemotional demeanor. He drew on that talent as he faced the barrister. "Anyone would find her maddening. She's reckless and spoiled and liable to give her husband grief at every turn." When she wasn't tempting him to madness. Masters raised an eyebrow. "Yet you often watch her. Have you any interest there?" Jackson forced a shrug. "Certainly not. You'll have to find another way to inherit your new bride's fortune." He'd hoped to prick Masters's pride and thus change the subject, but Masters laughed. "You, marry my sister-in-law? That, I'd like to see. Aside from the fact that her grandmother would never approve, Lady Celia hates you." She did indeed. The chit had taken an instant dislike to him when he'd interfered in an impromptu shooting match she'd been participating in with her brother and his friends at a public park. That should have set him on his guard right then. A pity it hadn't. Because even if she didn't despise him and weren't miles above him in rank, she'd never make him a good wife. She was young and indulged, not the sort of female to make do on a Bow Street Runner's salary. But she'll be an heiress once she marries. He gritted his teeth. That only made matters worse. She would assume he was marrying her for her inheritance. So would everyone else. And his pride chafed at that. Dirty bastard. Son of shame. Whoreson. Love-brat. He'd been called them all as a boy. Later, as he'd moved up at Bow Street, those who resented his rapid advancement had called him a baseborn upstart. He wasn't about to add money-grubbing fortune hunter to the list. "Besides," Masters went on, "you may not realize this, since you haven't been around much these past few weeks, but Minerva claims that Celia has her eye on three very eligible potential suitors." Jackson's startled gaze shot to him. Suitors? The word who was on his lips when the door opened and Stoneville entered. The rest of the family followed, leaving Jackson to force a smile and exchange pleasantries as they settled into seats about the table, but his mind kept running over Masters's words. Lady Celia had suitors. Eligible ones. Good-that was good. He needn't worry about himself around her anymore. She was now out of his reach, thank God. Not that she was ever in his reach, but- "Have you got any news?" Stoneville asked. Jackson started. "Yes." He took a steadying breath and forced his mine to the matter at hand.

Many a time when I sat in the balcony, or hanging garden, on which my window opened, I have watched her rising in the air on her radiant wings, and in a few moments groups of infants below, catching sight of her, would soar upward with joyous sounds of greeting; clustering and sporting around her, so that she seemed a very centre of innocent delight. When I have walked with her amidst the rocks and valleys without the city, the elk-deer would scent or see her from afar, come bounding up, eager for the caress of her hand, or follow her footsteps, till dismissed by some musical whisper that the creature had learned to comprehend. It is the fashion among the virgin Gy-ei to wear on their foreheads a circlet, or coronet, with gems resembling opals, arranged in four points or rays like stars. These are lustreless in ordinary use, but if touched by the vril wand they take a clear lambent flame, which illuminates, yet not burns. This serves as an ornament in their festivities, and as a lamp, if, in their wanderings beyond their artificial lights, they have to traverse the dark. There are times, when I have seen Zee’s thoughtful majesty of face lighted up by this crowning halo, that I could scarcely believe her to be a creature of mortal birth, and bent my head before her as the vision of a being among the celestial orders. But never once did my heart feel for this lofty type of the noblest womanhood a sentiment of human love. Is it that, among the race I belong to, man’s pride so far influences his passions that woman loses to him her special charm of woman if he feels her to be in all things eminently superior to himself? But by what strange infatuation could this peerless daughter of a race which, in the supremacy of its powers and the felicity of its conditions, ranked all other races in the category of barbarians, have deigned to honour me with her preference?

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

Good luck. For most of my generation, it would just go to student debt and cocktails. If anything came to me (an impossibility), I would dump it into a poorly managed career in edgy luxury items. You can’t make opera money on perfume that smells like cunts and gasoline. At any rate, I didn’t usually make an appearance beyond the gala. Or, I hadn’t until recently. But Joseph Eisner had promised me a fortune, and now he wouldn’t take my calls. He did, however, like his chamber music. It had been an acquired taste for me. In my distant undergraduate past, when circumstance sat me in front of an ensemble, I spent the first five minutes of each concert deciding which musician I would fuck if I had the chance, and the rest shifting minutely in my seat. I still couldn’t stand Chanel. And while I had learned to appreciate—indeed, enjoy—chamber ensembles, orchestras, and on occasion even the opera, I retained my former habit as a dirty amusement to add some private savor to the proceedings. Tonight, it was the violist, weaving and bobbing his way through Dvořák’s Terzetto in C Major like a sinuous dancer. I prefer the romantics—fewer hair-raising harmonies than modern fare, and certainly more engaging than funereal baroque. The intriguing arrangement of the terzetto kept me engaged, in that slightly detached and floating manner engendered by instrumental performance. Moreover, the woman to my left, one row ahead, was wearing Salome by Papillon. The simple fact of anyone wearing such a scent in public pleased me. So few people dared wear anything at all these days, and when they did, it was inevitably staid: an inoffensive classic or antiseptic citrus-and-powder. But this perfume was one I might have worn myself. Jasmine, yes, but more indolic than your average floral. People sometimes say it smells like dirty panties. As the trio wrapped up for intermission, I took a steadying breath of musk and straightened my lapels. The music was only a means to an end, after all.

As humans we spend our time seeking big, meaningful experiences. So the afterlife may surprise you when your body wears out. We expand back into what we really are—which is, by Earth standards, enormous. We stand ten thousand kilometers tall in each of nine dimensions and live with others like us in a celestial commune. When we reawaken in these, our true bodies, we immediately begin to notice that our gargantuan colleagues suffer a deep sense of angst. Our job is the maintenance and upholding of the cosmos. Universal collapse is imminent, and we engineer wormholes to act as structural support. We labor relentlessly on the edge of cosmic disaster. If we don’t execute our jobs flawlessly, the universe will re-collapse. Ours is complex, intricate, and important work. After three centuries of this toil, we have the option to take a vacation. We all choose the same destination: we project ourselves into lower-dimensional creatures. We project ourselves into the tiny, delicate, three-dimensional bodies that we call humans, and we are born onto the resort we call Earth. The idea, on such vacations, is to capture small experiences. On the Earth, we care only about our immediate surroundings. We watch comedy movies. We drink alcohol and enjoy music. We form relationships, fight, break up, and start again. When we’re in a human body, we don’t care about universal collapse—instead, we care only about a meeting of the eyes, a glimpse of bare flesh, the caressing tones of a loved voice, joy, love, light, the orientation of a house plant, the shade of a paint stroke, the arrangement of hair. Those are good vacations that we take on Earth, replete with our little dramas and fusses. The mental relaxation is unspeakably precious to us. And when we’re forced to leave by the wearing out of those delicate little bodies, it is not uncommon to see us lying prostrate in the breeze of the solar winds, tools in hand, looking out into the cosmos, wet-eyed, searching for meaninglessness.

WHY ADDICTION IS NOT A DISEASE In its present-day form, the disease model of addiction asserts that addiction is a chronic, relapsing brain disease. This disease is evidenced by changes in the brain, especially alterations in the striatum, brought about by the repeated uptake of dopamine in response to drugs and other substances. But it’s also shown by changes in the prefrontal cortex, where regions responsible for cognitive control become partially disconnected from the striatum and sometimes lose a portion of their synapses as the addiction progresses. These are big changes. They can’t be brushed aside. And the disease model is the only coherent model of addiction that actually pays attention to the brain changes reported by hundreds of labs in thousands of scientific articles. It certainly explains the neurobiology of addiction better than the “choice” model and other contenders. It may also have some real clinical utility. It makes sense of the helplessness addicts feel and encourages them to expiate their guilt and shame, by validating their belief that they are unable to get better by themselves. And it seems to account for the incredible persistence of addiction, its proneness to relapse. It even demonstrates why “choice” cannot be the whole answer, because choice is governed by motivation, which is governed by dopamine, and the dopamine system is presumably diseased. Then why should we reject the disease model? The main reason is this: Every experience that is repeated enough times because of its motivational appeal will change the wiring of the striatum (and related regions) while adjusting the flow and uptake of dopamine. Yet we wouldn’t want to call the excitement we feel when visiting Paris, meeting a lover, or cheering for our favourite team a disease. Each rewarding experience builds its own network of synapses in and around the striatum (and OFC), and those networks continue to draw dopamine from its reservoir in the midbrain. That’s true of Paris, romance, football, and heroin. As we anticipate and live through these experiences, each network of synapses is strengthened and refined, so the uptake of dopamine gets more selective as rewards are identified and habits established. Prefrontal control is not usually studied when it comes to travel arrangements and football, but we know from the laboratory and from real life that attractive goals frequently override self-restraint. We know that ego fatigue and now appeal, both natural processes, reduce coordination between prefrontal control systems and the motivational core of the brain (as I’ve called it). So even though addictive habits can be more deeply entrenched than many other habits, there is no clear dividing line between addiction and the repeated pursuit of other attractive goals, either in experience or in brain function. London just doesn’t do it for you anymore. It’s got to be Paris. Good food, sex, music . . . they no longer turn your crank. But cocaine sure does.

Let us beware.— Let us beware of thinking that the world is a living being. Where should it expand? On what should it feed? How could it grow and multiply? We have some notion of the nature of the organic; and we should not reinterpret the exceedingly derivative, late, rare, accidental, that we perceive only on the crust of the earth and make of it something essential, universal, and eternal, which is what those people do who call the universe an organism. This nauseates me. Let us even beware of believing that the universe is a machine: it is certainly not constructed for one purpose, and calling it a “machine” does it far too much honor. Let us beware of positing generally and everywhere anything as elegant as the cyclical movements of our neighboring stars; even a glance into the Milky Way raises doubts whether there are not far coarser and more contradictory movements there, as well as stars with eternally linear paths, etc. The astral order in which we live is an exception; this order and the relative duration that depends on it have again made possible an exception of exceptions: the formation of the organic. The total character of the world, however, is in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. Judged from the point of view of our reason, unsuccessful attempts are by all odds the rule, the exceptions are not the secret aim, and the whole musical box repeats eternally its tune2 which may never be called a melody—and ultimately even the phrase “unsuccessful attempt” is too anthropomorphic and reproachful. But how could we reproach or praise the universe? Let us beware of attributing to it heartlessness and unreason or their opposites: it is neither perfect nor beautiful, nor noble, nor does it wish to become any of these things; it does not by any means strive to imitate man. None of our aesthetic and moral judgments apply to it. Nor does it have any instinct for self-preservation or any other instinct; and it does not observe any laws either. Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses. Once you know that there are no purposes, you also know that there is no accident; for it is only beside a world of purposes that the word “accident” has meaning. Let us beware of saying that death is opposed to life. The living is merely a type of what is dead, and a very rare type. Let us beware of thinking that the world eternally creates new things. There are no eternally enduring substances; matter is as much of an error as the God of the Eleatics. But when shall we ever be done with our caution and care? When will all these shadows of God cease to darken our minds? When will we complete our de-deification of nature? When may we begin to “naturalize” humanity in terms of a pure, newly discovered, newly redeemed nature?

You are familiar with The Decline of the West, in which Oswald Spengler takes note of the current decadence of painting, as well as literature and music, and concludes that the end of our cultural epoch has arrived. He is a philosopher, but one descended from the natural sciences. He arranges observations, he records insights and knowledge. He takes a graphic view of history. And if he sees that a line curves downward, he considers the trend a proven fact, so that zero must be reached at a particular time and place. And that moment represents the end, the decline of the West! "But his graphing has no bearing on any of my ideas and plans as architect and politician. I study the reasons why the line curves downward, and I try to remove the causes. But at the same time, I examine the reasons why at an earlier time the line curved upward! And then I set out to restore the conditions of that day, to awake anew the creative wall of that time, and to bring about a new crest in the constantly fluctuating curve of history. "No doubt about it! Our culture has entered on stagnation, it looks like old age. But the reasons for this state do not lie in the fact that it has genuinely passed its manhood, but rather that the upholders of this culture, the Germanic-European peoples, have neglected it and have turned their attention to material tasks, to technology, industry, to hunger for material possessions, to rapacity, and to an economic egocentrism that overwhelms everything else. All their thinking and striving reaches its only climax in account books and in the outward show of the worldly goods they possess. "I am overcome with disgust, a vexing scorn, when I see the way such people live and behave! [ . . . ] But thank God, it is only the top ten thousand who think along these lines. It is true that the whole of the bourgeoisie is already strongly infected and sickly. But bourgeois youth are still healthy and can be shown the way back to nature, to a higher development, to new cultural will, provided only that they do not become enmeshed in the treadmill of meaningless and wholly materialistic contemporary life, only to drown either in the cupidity of business or in the tedium of the middle-class workaday routine or in the corruption of the big city. “If we succeed in replacing the egocentric cupidity of business with a socialist communal wall and a work-affirming responsibility for the common-weal; in abolishing the tedium of middle-class workaday monotony by substituting for it the potential enjoyment of personal liberty, the beauty of nature, the splendor of our own Fatherland and the thousandfold diversity of the rest of the world; and if we put an end to the corruption of omnipresent degeneracy, bred in the warrens of buildings and on the asphalt streets of the cities of millions - then the road is clear to a new life, to a new creative will, to a new flight of the free, healthy spirit and mind. And then, my dear Herr Roselius, your bricks will form themselves into entirely new shapes all by themselves. Temples of life will be built, cathedrals of a higher cult will be raised, and even thousands of years later, the walls will bear witness to the exalted times out of which even more exalted ones were bom!” When Roselius had left Hitler’s room with me, he took my hand and said: “Wagener, I thank you for having made this hour possible. What a man! And how small we feel, concerned as we are with those things that preoccupy us! But now I know' what I have to do! In spite of my sixty years, I have only one goal: to join in the work of helping the young people and the German Volk to find internal and external freedom!

Bailey—now divorced from Currie—continues to arrange and record music under the name International Observer. Currie upholsters furniture using the carcasses of animals who died naturally or were run over by unobservant drivers.

The unifying theme I found while reading each chapter as I arranged them for the book was that we are all connected to the timelessness of music and the passion it arouses in all of us. We strive to be more than we are and to make a worthwhile contribution in the world, in much the same way 2CELLOS are doing through their music. This is perhaps the best quality that makes us CELLOGIRLS.

Braid groups have many important practical applications. For example, they are used to construct efficient and robust public key encryption algorithms.7 Another promising direction is designing quantum computers based on creating complex braids of quantum particles known as anyons. Their trajectories weave around each other, and their overlaps are used to build “logic gates” of the quantum computer.8 There are also applications in biology. Given a braid with n threads, we can number the nails on the two plates from 1 to n from left to right. Then, connect the ends of the threads attached to the nails with the same number on the two plates. This will create what mathematicians call a “link”: a union of loops weaving around each other. In the example shown on this picture, there is only one loop. Mathematicians’ name for it is “knot.” In general, there will be several closed threads. The mathematical theory of links and knots is used in biology: for example, to study bindings of DNA and enzymes.9 We view a DNA molecule as one thread, and the enzyme molecule as another thread. It turns out that when they bind together, highly non-trivial knotting between them may occur, which may alter the DNA. The way they entangle is therefore of great importance. It turns out that the mathematical study of the resulting links sheds new light on the mechanisms of recombination of DNA. In mathematics, braids are also important because of their geometric interpretation. To explain it, consider all possible collections of n points on the plane. We will assume that the points are distinct; that is, for any two points, their positions on the plane must be different. Let’s choose one such collection; namely, n points arranged on a straight line, with the same distance between neighboring points. Think of each point as a little bug. As we turn on the music, these bugs come alive and start moving on the plane. If we view the time as the vertical direction, then the trajectory of each bug will look like a thread. If the positions of the bugs on the plane are distinct at all times – that is, if we assume that the bugs don’t collide – then these threads will never intersect. While the music is playing, they can move around each other, just like the threads of a braid. However, we demand that when we stop the music after a fixed period of time, the bugs must align on a straight line in the same way as at the beginning, but each bug is allowed to end up in a position initially occupied by another bug. Then their collective path will look like a braid with n threads. Thus, braids with n threads may be viewed as paths in the space of collections of n distinct points on the plane.10

By combining applied motivational speeches and creative musical arrangement with the latest and best gimmicks of technology, we listen to the promise that we can and will feel good by finding God (and find God by feeling good). We consume these carefully manufactured divine experiences like any other product, expecting them to be over on the hour so that we still have plenty of time to trot back to our lives of buying, selling, and trying to feel even more good in all the ways we possibly can.

The “song” (he felt the word’s inadequacy, but knew no other word for it) had taken on for him all the significance of a historical, even a revolutionary event. He wondered how its existence had never been celebrated, or indeed mentioned in the newspapers. The music itself seemed to invite, even demand, a revolutionary interpretation. Not just in the sheer immensity of its sounds, the tremendous, earth-shaking importance asserted in its whispers and crashes, but in its progression, the very arrangement of its notes. The song began with trilling ups and downs that surely signified the fermenting, but disorganized, dissatisfaction of the pre-revolutionary proletariat; then, as though from afar, there entered for the first time the major melody, the sad but uplifting theme that came in to give sudden coherence, order, and direction to the impotent turmoil; and eventually, after a few unforeseen deviations, interruptions, and delays that could only signify the War itself, the rising and falling turmoil dropped entirely away, and only the theme remained, stronger and clearer than ever. And

Lundin says, “Denniz was an arrangement genius.” He adds, “like Steve Jobs, he knew what to take out. ‘You can get rid of that, that. Keep it simple.’ ” As Denniz put it, “A great pop song should be interesting, in some way. That means that certain people will hate it immediately and certain people will love it, but only as long as it isn’t boring and meaningless. Then it’s not a pop song any longer; then it’s something else. It’s just music.

The New Dog I. “I’m intensely afraid of almost everything. Grocery bags, potted poinsettias, bunches of uprooted weeds wilting on a hot sidewalk, clothes hangers, deflated rubber balls, being looked in the eye, crutches, an overcoat tossed across the back of a chair (everybody knows empty overcoats house ghosts), children, doorways, music, human hands and the newspaper rustling as my owner, in striped pajamas, drinks coffee and turns its pages. He wants to find out where there’ll be war in the mid-east this week. Afraid even of eating, if someone burps or clinks a glass with a fork, or if my owner turns the kitchen faucet on to wash his hands during my meal I go rigid with fear, my legs buckle, then I slink from the room. I pee copiously if my food bowl is placed on the floor before the other dogs’. I have to be served last or the natural order of things - in which every moment I am about to be sacrificed - (have my heart ripped from my chest by the priest wielding his stone knife or get run out of the pack by snarling, snapping alphas) - the most sacred hierarchy, that fated arrangement, the glue of the universe, will unstick. The evolution will never itself, and life as we know it will subside entirely, until only the simplest animal form remain - jellyfish headless globs of cells, with only microscopic whips for legs and tails. Great swirling arms of gas will arm wrestle for eons to win cosmic dominance. Starless, undifferentiated chaos will reign. II. I alone of little escaped a hell of beating, neglect, and snuffling dumpsters for sustenance before this gullible man adopted me. Now my new owner would like me to walk nicely by his side on a leash (without cowering or pulling) and to lie down on a towel when he asks, regardless of whether he has a piece of bologna in his pocket or not. I’m growing fond of that optimistic young man in spite of myself. If only he would heed my warnings I’d pour out my thoughts to him: When panic strikes you like a squall wind and disaster falls on you like a gale, when you are hunted and scorned, wisdom shouts aloud in the streets: What is consciousness? What is sensation? What is mind? What is pain? What about the sorrows of unwatered houseplants? What indoor cloudburst will slake their thirst? What of my littler brothers and sisters, dead at the hands of dirty two legged brutes? Who’s the ghost in the universe behind its existence, necessary to everything that happens? Is it the pajama-clad man offering a strip of bacon in his frightening hand (who’ll take me to the park to play ball if he ever gets dressed)? Is it his quiet, wet-eyed, egg-frying wife? Dear Lord, Is it me?

The sunshine is so healthful,” the lady said. “Isn’t it wonderful how the good God has arranged nature for our benefit. In summer we can come to the sea for a cool swim, in spring we can enjoy the fresh green grass and flowers, in autumn the rain makes music for us, and in winter He sends the snow. He has made all things in wisdom.

Bach's simple and basic themes ultimately engage and appeal to my adolescent side while the seemingly complex arrangements, though perhaps patronizingly in some cases, also reflect my juvenile perception of what looks and sounds 'grown-up,' intelligent, refined and sophisticated. There were few composers and musicians in my youth that I could say understood me and really got me, almost all were classical. J. S. Bach was one one of them.

No more whist, I beg you,” Aunt Saffronia said after dinner. “Let us have some music.” “Indeed,” said Captain East. “I believe, Miss Erstwhile, that you promised me a song.” Jane was quite certain that she had never promised any such thing, but it seemed a fitting remark to make, and so Jane rose and made her graceful way to the piano. “If you insist, Colonel Andrews, but I must beg you forgive me at the same time. And you too, Mr. Nobley, as I know you are particular to music played well and no doubt a harsh critic when a piece is ill executed.” “I believe,” said Mr. Nobley, “that I have never been witness to a young lady about to play without her excusing her skill beforehand, only to perform perfectly thereafter. The excuse is no doubt intended as a prelude that sets up the song for deeper enjoyment.” “Then I pray I do not disappoint.” She smiled expressly at Captain East, who sat forward, forearms resting on knees, eager. With professional suavity, Jane arranged her skirt, spread out the music, poised her fingers, and then with one hand played the black keys, singing along with the notes, “Peter, Peter, pumpkin-eater, had a wife and couldn’t keep her, put her in a pumpkin shell, and there he kept her very well.” She rose and curtsied to the room. Captain East smiled broadly. Mr. Nobley coughed. (Laughed?) Jane sat back on the lounge and picked up her discarded volume of sixteenth-century poetry. “That was…” said Aunt Saffronia to the silence. “Well, I hope the weather’s clear tomorrow,” Miss Charming said in her brassiest accent. “How I’ve longed for a game of croquet, what-what.

CONCERT CHECKLIST 1. Secure a date on the calendar. Be sure it is listed on the official school calendar to protect it. 2. Reserve a performance venue for the concert and for final rehearsals. 3. Have tickets printed if they are to be used. 4. Plan the printed program and get it to the printer by the deadline date. 5. Plan the publicity. The following types of publicity can be utilized to draw a sizable concert audience: Radio releases Television releases Newspaper releases Online listings School announcements Notices to other schools and/or organizations in the area Posters for public placement 6. Send complimentary tickets to: Civic leaders Board of Education Superintendent People who have helped in some way Key supporters Key people to stimulate their interest 7. Have the president of the choir send personal letters of invitation to people that are special to the music program (newspaper editor, Board of Education, Superintendent, civic club presidents, supporters etc.). 8. Appoint a stage manager. He should be someone who can control the stage lighting, pull curtains, shut off air circulation fans that are noisy, and see that the stage is ready for the concert. 9. Arrange for ushers. 10. Check wearing apparel. Be sure that all singers have the correct accessories (same type and color of shoes, no gaudy jewelry for girls, etc.). 11. Post on bulletin board and tell students the time they will meet for a pre-concert warm-up. High school students will perform best if they meet together at least forty-five minutes before the concert.

Ah, my dear,” Princess Elestra said to me in her fluting voice--that very same voice I remembered so well from my escape from Athanarel the year before. “How delighted we are to have you join us here. Delighted! I understand there will be a ball in your honor tomorrow, hosted by my nephew Russav.” She nodded toward the other side of the room, where the newly arrived Duke of Savona stood in the center of a small group. “He seldom bestirs himself this way, so you must take it as a compliment to you!” “Thank you,” I murmured, my heart now drumming. I was glad to move aside and let Branaric take my place. I didn’t hear what he said, but he made them both laugh; then he too moved aside, and the Prince and Princess presented us to the red-haired woman, who was indeed the Marquise of Merindar. She nodded politely but did not speak, nor did she betray the slightest sign of interest in us. We were then introduced to the ambassadors from Denlieff, Hundruith, and Charas al Kherval. This last one, of course, drew my interest, though I did my best to observe her covertly. A tall woman of middle age, her manner was polite, gracious, and utterly opaque. “Family party, you say?” Branaric’s voice caught at my attention. He rubbed his hands. “Well, you’re related one way or another to half the Court, Danric, so if we’ve enough people to hand, how about some music?” “If you like,” said Shevraeth. He’d appeared quietly, without causing any stir. “It can be arranged.” The Marquis was dressed in sober colors, his hair braided and gemmed for a formal occasion; though as tall as the flamboyantly dressed Duke of Savona, he was slender next to his cousin. He remained very much in the background, talking quietly with this or that person. The focus of the reception was on the Prince and Princess, and on Bran and me, and, in a strange way, on the ambassador from Charas al Kherval. I sensed that something important was going on below the surface of the polite chitchat, but I couldn’t discern what--and then suddenly it was time to go in to dinner. With a graceful bow, the Prince held out his arm to me, moving with slow deliberation. If it hurt him to walk, he showed no sign, and his back was straight and his manner attentive. The Princess went in with Branaric, Shevraeth with the Marquise, Savona with the Empress’s ambassador, and Nimiar with the southern ambassador. The others trailed in order of rank. I managed all right with the chairs and the high table. After we were served, I stole a few glances at Shevraeth and the Marquise of Merindar. They conversed in what appeared to be amity. It was equally true of all the others. Perfectly controlled, from their fingertips to their serene brows, none of them betrayed any emotion but polite attentiveness. Only my brother stood out, his face changing as he talked, his laugh real when he dropped his fork, his shrug careless. It seemed to me that the others found him a relief, for the smiles he caused were quicker, the glances brighter--not that he noticed.

I woke to the approved morning fanfare. My small apartment contained everything I could want — and how could I possibly want much of anything? Everyone had the same apartment based on the same design; my living arrangements as a single man wouldn’t change until a marriage approval came from the Temples, and then my wife and I — whoever she might be — would move into a new apartment, identical to what all married couples had, until we started a family, and then we would move into the approved couple-with-family apartment design. At my bedside was that month’s approved novel. Everyone was reading it, and I dutifully went through a chapter a night. The story resembled the previous month’s novel, but the character names were different; therefore, it was an entirely new story. I put on my standard uniform as a mid-level excavator; I was pleased to display the Red Star on my right breast.

PARTNERS IN CRIME HOW THE CLINTONS WENT FROM DEAD BROKE TO FILTHY RICH And the money kept rolling in from every side. —Song from the musical Evita The quotation above refers to the Juan and Evita Peron Foundation, established in 1948 by Evita Peron for the purpose of helping Argentina’s poor. Evita professed to be a champion of the campesinos—the wretched workers who lived in shanties on the outskirts of Buenos Aires—and they trusted Evita. She had, after all, risen up herself from poverty and obscurity. Her fame was the result of her marriage to the general who became the military leader of the country, Juan Peron. Long before the Clintons, Argentina had its own power couple that claimed to do good and ended up doing very well for themselves. There are, obviously, differences between the Clintons and the Perons. Despite her personal popularity, Evita remained an appendage of her husband, seeking but never obtaining political office. At one point, Evita had her eye on an official position, but the political establishment vigorously opposed her, and her husband never supported her in this effort. Hillary, by contrast, was elected senator and now, having deployed her husband on the campaign trail, seeks election to the nation’s highest office previously held by him. The Perons also had a foundation that took in millions of pesos—the equivalent of $200 million—from multiple foreign sources, Argentine businesses, as well as contributions from various individuals and civic groups. With its 14,000 employees, the foundation was better equipped and more influential than many agencies within the Argentinian government. Evita and her cronies were experts at shaking down anyone who wanted something from the government; donations became a kind of tax that opened up access to the Peron administration. Trade unions sent large contributions because they saw Evita and her husband as champions of their cause. In 1950, the government arranged that a portion of all lottery, movie, and casino revenues should go to the foundation. While the foundation made symbolic, highly publicized gestures of helping the poor, in reality only a fraction of the money went to the underprivileged. Most of it seems to have ended up in foreign bank accounts controlled by the Perons, who became hugely wealthy through their public office profiteering. When Evita died in 1954 and the foundation was shut down, Argentines discovered stashes of undistributed food and clothing. No one from the foundation had bothered to give it away, so it sat unused for years. Helping the poor, after all, wasn’t the real reason Evita set up her foundation. No, she had a different set of priorities. Like so many Third World potentates, the Perons used social justice and provision for the poor as a pretext to amass vast wealth for themselves. The Clintons have done the same thing in America; indeed, Hillary may be America’s version of Evita Peron.

As soon as we had the music arranged on our stands, Conductor Li tapped his baton on the lectern and called us to attention. "Quiet please, comrades! And as we play just think of the Long March," he said. "I will be at the front, like Chairman Mao. I will beat the time. Try to keep up. If you get lost, skip a few pages. Hopefully, the rest of us will pass your way eventually... The first movement sounded like nothing less than a full-scale military retreat. We were ambushed by missing pages of score, by an impulsive feint by the cellists and double basses, and by a flautist who turned two pages rather than one and played along happily in no man's land for a dozen or so bars until he was rapped on the head with the end of a clarinet

Vincent’s gaze locked on Lydia’s glittering golden eyes, the flush of her cheeks, and her lush parted lips. He savored the musical passion of her voice. She was like a beacon warding off the darkness in his soul. “Would you paint her?” he blurted, realizing he must have a way to look upon Lydia after she was taken from him. Sir Thomas blinked. “Well, between her lessons, my duties at the Academy, and the upcoming exhibition—” Vincent silenced him, naming a figure that made the poor chap nearly choke on his wine. Lydia gasped, myriad emotions playing across her beloved face. “I believe that could be arranged.” Lawrence coughed, regaining composure.

Alternatives to time-out Isolating children for a period of time has become a popular discipline strategy advocated by many child psychologists and pediatricians. However, newly adopted toddlers seem to be more upset than helped by time-outs. Time-outs are intended to provide an opportunity for both parents and children to calm down and change their behaviors, but it isn’t effective for children who do not have self-calming strategies. Isolation can be traumatic for a toddler who is struggling with grief and/or attachment, and so perceives time-out as further rejection. If the child becomes angrier or more withdrawn as a result of being timed-out, try another strategy. One alternative is for parents to impose a brief time-out on themselves by temporarily withdrawing their attention from their child. For example, the parent whose child is throwing toys stops playing, looks away, and firmly tells the child, “I can’t continue playing until you stop throwing your toys.” Sitting passively next to the child may be effective, especially if the child previously was engaged in an enjoyable activity with the parent. Another alternative to parent enforced time-outs is self-determined time-outs, where the child is provided the opportunity to withdraw from a conflict voluntarily or at least have some input into the time-out arrangement. The parent could say, “I understand that you got very upset when you had to go to your room yesterday after you hit Sara. Can you think of a different place you would like to go to calm down if you feel like getting in a fight?” If the child suggests going out on the porch, the next time a battle seems to be brewing, Mom or Dad can say, “Do you need to go outside to the porch and calm down before we talk more?” Some children eventually reach the level of self-control where they remove themselves from a volatile situation without encouragement from Mom or Dad. These types of negotiations usually work better with older preschoolers or school-age children than they do with toddlers because of the reasoning skills involved. As an alternative to being timed-out, toddlers also can be timed-in while in the safety of a parent’s lap. Holding allows parents to talk to their child about why she’s being removed from an activity. For example, the toddler who has thrown her truck at the cat could be picked up and held for a few minutes while being told, “I can’t let you throw your toys at Misty. That hurts her, and in our family we don’t hurt animals. We’ll sit here together until you’re able to calm down.” Calming strategies could incorporate music, back rubs, or encouraging the child to breathe slowly. Objects that children are misusing should also be removed. For example, in the situation just discussed, the truck could be timed-out to a high shelf. If parents still decide to physically remove their child for a time-out, it should never be done in a way or place that frightens a toddler. Toddlers who have been frightened in the past by closed doors, dark rooms, or a particular room such as a bathroom should never be subjected to those settings. I know toddlers who, in their terror, have literally trashed the furniture and broken windows when they were locked in their rooms for a time-out. If parents feel a time-out is essential, it should be very brief, and in a location where the child can be supervised.

true art, be it painting or novel or drama or music, selects and arranges.

severely traumatized people may get more out of simply helping to arrange chairs before a meeting or joining others in tapping out a musical rhythm on the chair seats than they would from sitting in those same chairs and discussing the failures in their life.

The year before, at an evening party, he had heard a piece of music played on the piano and violin. At first he had appreciated only the material quality of the sounds which those instruments secreted. And it had been a source of keen pleasure when, below the delicate line of the violin-part, slender but robust, compact and commanding, he had suddenly become aware of the mass of the piano-part beginning to surge upward in plashing waves of sound, multiform but indivisible, smooth yet restless, like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight. But then at a certain moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he had tried to grasp the phrase or harmony—he did not know which—that had just been played and that had opened and expanded his soul, as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating one's nostrils. Perhaps it was owing to his own ignorance of music that he had received so confused an impression, one that are nonetheless the only purely musical impressions, limited in their extent, entirely original, and irreducible to any other kind. An impression of this order, vanishing in an instant, is, so to speak, an impression sine materia. Doubtless the notes which we hear at such moments tend to spread out before our eyes over surfaces of varying dimensions, to trace arabesques, to give us the sensation of breadth or tenuity, stability or caprice. But the notes themselves have vanished before these sensations have developed sufficiently to escape submersion under those which the succeeding or even simultaneous notes have already begun to awaken in us. And this impression would continue to envelop in its liquidity, its ceaseless overlapping, the motifs which from time to time emerge, barely discernible, to plunge again and disappear and drown, recognised only by the particular kind of pleasure which they instill, impossible to describe, to recollect, to name, ineffable—did not our memory, like a labourer who toils at the laying down of firm foundations beneath the tumult of the waves, by fashioning for us facsimiles of those fugitive phrases, did not enable us to compare and to contrast them with those that follow. And so, scarcely had the exquisite sensation which Swann had experienced died away, before his memory had furnished him with an immediate transcript, sketchy, it is true, and provisional, which he had been able to glance at while the piece continued, so that, when the same impression suddenly returned, it was no longer impossible to grasp. He could picture to himself its extent, its symmetrical arrangement, its notation, its expressive value; he had before him something that was no longer pure music, but rather design, architecture, thought, and which allowed the actual music to be recalled. This time he had distinguished quite clearly a phrase which emerged for a few moments above the waves of sound. It had at once suggested to him a world of inexpressible delights, of whose existence, before hearing it, he had never dreamed, into which he felt that nothing else could initiate him; and he had been filled with love for it, as with a new and strange desire.

His apartment is not only beautiful, it is unusual. Some pieces of high-tech furniture are arranged in each room with very few decorative items, but the backlit glass panels covered in intricate patterns of trapped air bubbles create the illusion of movement and provide a sense of comfort. These panels – all completely different, but each beautiful in their own way – serve as internal walls that divide up a huge space into separate rooms. The otherworldly music, quiet and barely perceptible, suits this ‘apartment of the future’ perfectly, the relaxing background sounds adding the finishing touch. The external walls are all floor-to-ceiling windows covered in a translucent white cloth so delicate that the slightest breeze lifts them like sails, revealing an enormous terrace with a pool surrounded by plants. My nose picks up the subtle aroma of either citrus fruits or vanilla – probably also some super-advanced system to ensure a consistent fragrance.