Music Notation Quotes

Poems are rough notations for the music we are.

Because Music is a language that lives in the spiritual realms, we can hear it, we can notate it and create it, but we cannot hold it in our hands

There is no pattern the human mind can devise that does not exist already within the bounds of nature...Everything we do, see, write, notate, all are an echo of the deep seams of the universe. Music is the invisible world made visible through sound.

Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.

My husband is my most ruthless critic... sometimes he will say, 'It's been said better before.' Of course it has. It's all been said better before. If I thought I had to say it better than anybody else, I'd never start. Better or worse is immaterial. The thing is that it has to be said; by me; ontologically. We each have to say it, to say it our own way. Not of our own will, but as it comes out through us. Good or bad, great or little: that isn't what human creation is about. It is that we have to try; to put it down in pigment, or words, or musical notations, or we die.

Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.

I needed another basis for musical structure. This I found in sound's duration parameter, sound's only parameter which is present even when no sound is intended.

Language is music. Written words are musical notation. The music of a piece of fiction establishes the way in which it is to be read, and, in the largest sense, what it means. It is essential to remember that characters have a music as well, a pitch and tempo, just as real people do. To make them believable, you must always be aware of what they would or would not say, where stresses would or would not fall.

In the smoky firelight the two old men nodded off like a pair of ancient kings passing the aeons in their tumuli. Made a musical notation of their snores. Elgar is to be played by a bass tuba, Ayrs a bassoon.

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

Early, I indentured myself to the five horizontal lines where black notes were written on a sheet of music. It is a place of world of signs and notations that speaks to me with perfect clarity. It is a place of time signatures, fermatas, ledger lines, grace notes, and demisemiquavers that are the common tongue and heritage of musicians all over the world. . . . It is something I cannot imagine being without. For without music, life is a journey through a desert that has not ever heard the rumor of God. In music’s sweet harmony, I had all the proof I needed of a God who held the earth together between the staffs, where the heavens lay. Here, he marked all the lines and spaces with notes so perfect that they praised all of his creation with their beauty.

The difference between the detailed plans he drew up and the house itself when finished, so filled with raked sea light, is the difference between the body and the soul, between musical notation and a song, between the idea for a drawing and the actual drawing itself.

Jewish Law is like musical notation; it gives meaning to the stuff of life by regulating it in time. The Sabbath is its most sacred interval

Finding patterns and structure in information is how our brains extract meaning from the world, and putting words to music and rhyme are a way of adding extra levels of pattern and structure to language. It’s the reason Homeric bards sang their epic oral poems, the reason that the Torah is marked up with little musical notations, and the reason we teach kids the alphabet in a song and not as twenty-six individual letters. Song is the ultimate structuring device for language.

Unlike musical notation, paint or clay, language is inside every one of us. For free. We are all proficient at it. We already have the palette, the paints and the instruments. We don’t have to go and buy any reserved materials. Poetry is made of the same stuff you are reading now, the same stuff you use to order pizza over the phone, the same stuff you yell at your parents and children, whisper in your lover’s ear and shove into an e-mail, text or birthday card. It is common to us all.

Sometimes he wrote equations, or musical notation, sometimes he wrote in Latin; he refused to tell her what it was about. "Nothing," he said. "I have nothing important or original to say, yet I feel compelled to express myself, so I just write it down and let it go.

It is tempting to look upon England as a sort of musical Australia, an island culture inhabited by, and sustaining, its own insular fauna – musical kangaroos, koalas, and platypuses. That, however, would be very much to exaggerate England's musical isolation or independence. It is also a considerable exaggeration to view the English preference for thirds as something altogether alien or opposed to continental practice, as if only in remote geographical corners (and behind closed doors, among consenting adults) could harmonies unsanctioned by Pythagoras or the Musica enchiriadis be furtively enjoyed.

Typically, preachers in our work-oriented society teach that God rested to provide humanity with a precedent for rest, an example for our good. Seldom have I heard mention of the other meaning for rest, the one used in musical notation. This meaning refers to cessation rather than recovery from weariness. Our enjoyment of music owes much to these brief pauses.

It’s all been said better before. If I thought I had to say it better than anybody else, I’d never start. Better or worse is immaterial. The thing is that it has to be said; by me; ontologically. We each have to say it, to say it our own way. Not of our own will, but as it comes out through us. Good or bad, great or little: that isn’t what human creation is about. It is that we have to try; to put it down in pigment, or words, or musical notations, or we die.

Again as during fetal development, synapses that underlie cognitive and other abilities stick around if they’re used but wither if they’re not. The systematic elimination of unused synapses, and thus unused circuits, presumably results in greater efficiency for the neural networks that are stimulated—the networks that support, in other words, behaviors in which the adolescent is actively engaged. Just as early childhood seems to be a time of exquisite sensitivity to the environment (remember the babies who dedicate auditory circuits only to the sounds of their native language, eliminating those for phonemes that they do not hear), so may adolescence. The teen years are, then, a second chance to consolidate circuits that are used and prune back those that are not—to hard-wire an ability to hit a curve ball, juggle numbers mentally, or turn musical notation into finger movements almost unconsciously. Says Giedd, “Teens have the power to determine their own brain development, to determine which connections survive and which don’t, [by] whether they do art, or music, or sports, or videogames.

That takes such active, intelligent creativity, analyzing the emotions a composer intends in those scratchy notes on a page, learning and perfecting the technique that gives you the skill to bring those skeletal notations to full-fleshed life in your performance. As far as I am concerned, Eliza, that is the greatest act of intelligence a human being is capable of. Music is air made rapturous, achieving the sublime, catching the harmony of the spheres for a fleeting moment so we can hear it. It is the closest we get to God. So, therefore, it is pure brilliance of the soul.

What governs what we choose to notice? The first (which we shall have to qualify later) is whatever seems advantageous or disadvantageous for our survival, our social status, and the security of our egos. The second, again working simultaneously with the first, is the pattern and the logic of all the notation symbols which we have learned from others, from our society and our culture. It is hard indeed to notice anything for which the languages available to us (whether verbal, mathematical, or musical) have no description. This is why we borrow words from foreign languages.

Before leaving the earth altogether, let us as: How does Music stand with respect to its instruments, their pitches, the scales, modes and rows, repeating themselves from octave to octave, the chords, harmonies, and tonalities, the beats, meters, and rhythms, the degrees of amplitude (pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo)? Though the majority go each day to the schools where these matters are taught, they read when time permits of Cape Canaveral, Ghana, and Seoul. And they’ve heard tell of the music synthesizer, magnetic tape. They take for granted the dials on radios and television sets. A tardy art, the art of Music. And why so slow? Is it because, once having learned a notation of pitches and durations, musicians will not give up their Greek? Children have been modern artists for years now. What is it about Music that sends not only the young but adults too as far into the past as they can conveniently go? The module? But our choices never reached around the globe, and in our laziness, when we changed over to the twelve-tone system, we just took the pitches of the previous music as though we were moving into a furnished apartment and had no time to even take the pictures off the walls. What excuse? That nowadays things are happening so quickly that we become thoughtless? Or were we clairvoyant and knew ahead of time that the need for furniture of any kind would disappear? (Whatever you place there in front of you sits established in the air.) The thing that was irrelevant to the structures we formerly made, and this was what kept us breathing, was what took place within them. Their emptiness we took for what it was – a place where anything could happen. That was one of the reasons we were able when circumstances became inviting (chances in consciousness, etc.) to go outside, where breathing is child’s play: no walls, not even the glass ones which, though we could see through them, killed the birds while they were flying.

You have asked too many questions. If you want more, you will have to win them.” He showed no sign of distraction now. As they played, he ignored her attempts to provoke him or make him laugh. “I’ve seen your tricks on others,” he said. “They won’t work with me.” He won. Kestrel waited, nervous, and wondered if the way she felt was how he felt when he lost. His voice came haltingly. “Will you play for me?” “Play for you?” Arin winced. In a more determined tone, he said, “Yes. Something I choose.” “I don’t mind. It’s only…people rarely ask.” He stood from the table, searched the shelves along the wall, and returned with a sheaf of sheet music. She took it. “It’s for the flute,” he said. “It will probably take you time to transpose it for the piano. I can wait. Maybe after our next game--” She fanned the paper impatiently to silence him. “It’s not that hard.” He nodded, then sat in the chair farthest away from the piano, by the glass garden doors. Kestrel was glad for his distance. She settled on the piano’s bench, flipping through the sheet music. The title and notations were in Herrani, the page yellow with age. She propped the paper on the piano’s rack, taking more time than necessary to neaten the sheets. Excitement coursed through her fingers as if she had already plunged her hands into the music, but that feeling was edged with a metallic lace of fear.

Maybe it was because of his ignorance of music that he had been capable of receiving so confused an impression, the kind of impression that is, however, perhaps the only one which is purely musical, immaterial, entirely original, irreducible to any other order of impression. An impression of this kind is, for an instant, so to speak, sine materia. No doubt the notes we hear then tend already, depending on their loudness and their quantity, to spread out before our eyes over surfaces of varying dimensions, to trace arabesques, to give us sensations of breadth, tenuousness, stability, whimsy. But the notes vanish before these sensations are sufficiently formed in us not to be submerged by those already excited by the succeeding or even simultaneous notes. And this impression would continue to envelop with its liquidity and its “mellowness” the motifs that at times emerge from it, barely discernible, immediately to dive under and disappear, known only by the particular pleasure they give, impossible to describe, to recall, to name, ineffable—if memory, like a laborer working to put down lasting foundations in the midst of the waves, by fabricating for us facsimiles of these fleeting phrases, did not allow us to compare them to those that follow them and to differentiate them. And so, scarcely had the delicious sensation which Swann had felt died away than his memory at once furnished him with a transcription that was summary and temporary but at which he could glance while the piece continued, so that already, when the same impression suddenly returned, it was no longer impossible to grasp. He could picture to himself its extent, its symmetrical groupings, its notation, its expressive value; he had before him this thing which is no longer pure music, which is drawing, architecture, thought, and which allows us to recall the music. This time he had clearly distinguished one phrase rising for a few moments above the waves of sound. It had immediately proposed to him particular sensual pleasures which he had never imagined before hearing it, which he felt could be introduced to him by nothing else, and he had experienced for it something like an unfamiliar love.

Place—A

But the Oriental musician has a rough notation which he uses only as a reminder of a melody. He learns music, not by reading notes, but by listening to the performance of a teacher, getting the “feel” of it, and copying him, and this enables him to acquire rhythmic and tonal sophistications matched only by those Western jazz artists who use the same approach.

South Carolina’s fourth-grade music exam, administered via computer, asks: “When singing a melody together with a friend, what dynamic level should you sing? A) Louder than your friend B) Not too loud and not too soft C) Softer than your friend or D) the same as your friend.” (The correct answer is D.) Students are then shown a measure of sheet music and asked to identify which of four electronic recordings matches the notation.

Clouds of linnets bounce, half-midges, half musical notation, along the hedges surrounding my old home, and all is out of sorts as far as that notion of home lies because my father isn't here.

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.

After the funeral, they went to a private club in Chelsea, where they drank and jammed the night away together—greats and nobodies alike. The slightly acrimonious, sardonic Mickey, a fan of folk and world music, would have been pleased. [...] Yurik played, too, his own composition, which he had been working on for the entire year. In memory of Mickey. For it was Mickey, who had lived so easily, so lightly, and had died so painfully, who had instilled in Yurik the consciousness that, in the highest sense, music had no authorship. It was a gift, and an ability to read the divine book, to transpose a universal sound that needed no notation into the language of paltry musical instruments, invented for the convenience and purpose of transmitting supremely important messages—messages that could not be conveyed in any other way ... And the best ears, the best hearts and souls of this spiritual dimension called music, listened to Yurik's song that evening. And heard it.

The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.

Modernism sent fissures through a whole bundle of myths: that a narrative must have a beginning, a middle and an end, and romance be between a hero and heroine; that art should be representative and music follow familiar notations. The modernist movement questioned orthodoxies: that God made the world in seven days, that Christ was the Son of God, parented by a virgin and a ghost, that there were tangible domains of heaven and hell, that kings were in their palaces by divine right, that man was king of all species, and that war was an acceptable way of resolving conflict between nations.

Both mathematical notation and musical notation point to universes quite different from the one in which ordinary language functions so well. But, in each too, there is genius in the very notation that has developed for giving representation to ideas that seem to lie beyond ordinary language. There are times in mathematics when the similarities in notation is the first clue to a deeper relationship. Similarly musical notation not only created a structure within which Western music could develop but also shows something other than just the sounds being made. It indicates how the various elements stand in relation to one another, how sound creates a space, it shows how different musical voices move against and through each other.

I'll be successful, maybe not immediately but Absolutely and Definitely...

If these are ‘talents’ – the ability to sing, or to quickly comprehend and reproduce musical notation – what kind of a thing is ‘talent’? A commodity? A gift? A prize? A reward? For what?

He didn’t know what to do with his hands as he looked down at the sleeping general. Arin thrust them into his pockets before they went for the throat. He reminded himself why he had come. He ripped open the man’s jacket. Arin reached for the inside breast pocket, located exactly where the man had tried to touch his chest as he had lain bleeding on the road. Arin’s fingers met paper. He pulled it out, its texture suede-soft from having been handled so much. It had been unfolded and folded many times. It was sheet music. At first, Arin didn’t understand what he looked at. Kestrel’s handwriting. Herrani script. Musical notation in crisp black. His own name leaped off the page. Dear Arin. Then he recognized the music as the sonata Kestrel had been studying when he’d entered her music room at the imperial palace in late spring. It had been the last time he’d seen her before the tundra. He had thought it would be the last time he would ever see her. Arin hastened from the tent. He couldn’t read the letter here. But he didn’t know if he could read it anywhere, if any place would be private enough, because being alone meant he’d still be with himself, and he hated to remember how he’d left Kestrel that day, and what had befallen her after. He was desperate to read it. He couldn’t bear to read it. He resented that her father had kept it. He wondered what it meant that her father had kept it. Arin was only vaguely aware of having stumbled through the noisy camp and into the woods. The thought of reading the letter felt like a violation, like he’d be reading a letter meant for someone else. Yet it had been addressed to him. Dear Arin. Arin read.

The personality of the learning brain that emerges from all this work on external and internal cues is of a shifty-eyed dinner companion. It is tracking the main conversation (the homework assignment, the music notation, the hard facts) and occasionally becoming engaged in it. At the same time, it’s also periodically having a quick look around, taking in the room, sketching in sights and sounds and smells, as well as noting its internal reactions, its feelings and sensations. These features—the background music, a flickering candle, a pang of hunger—help our companion recall points made during the conversation later on, especially when the topic is a new one.

As the willow studied the Count, he noted that the arches over her eyebrows were very much like the marcato notation in music - that accent which instructs one to play a phrase a little more loudly. This, no doubt, accounted for the willow's preference for issuing commands and the resulting huskiness of her voice. But as the Count was coming to this conclusion, the willow was apparently coming to a conclusion of her own, for she now dispensed with any intent to charm.

The basic principle of Western staff notation is that passing time is represented through a series of marks arranged from left to right on the page. Within the five lines of the staff (or stave), notes are arrayed from high to low. So a score is a kind of two-dimensional plot in which the horizontal axis is time and vertical one is pitch;

Good or bad, great or little: that isn't what human creation is about. It is that we have to try; to put it down in pigment, or words, or musical notations, or we die.

As the willow studied the Count, he noted that the arches over her eyebrows were very much like the marcato notation in music—that accent which instructs one to play a phrase a little more loudly.

Similar to the Rodrigo in form, “La Catedral” has a slow, atmospheric introduction, followed by an episodic, rhythmic dance. It is constructed around a simple figure, an arpeggio that Barrios pushes through a series of chord changes: a small gesture, undistinguished in itself, yet full of musical possibilities. I set the music stand aside and play it from memory. The first finger of my left hand holds a bass note while above the theme sways with a tentative rise and fall. My left hand feels secure and steady, the ground on which the music builds. My fingers make swift, pulsing motions that gain weight and mass when the sound is larger, louder. The arpeggio grows increasingly insistent and agitated. I feel every note, not just in my fingers but along my arms to the elbows, where the fingers’ motions begin, and into my shoulders, neck, chest, and back. Everything is connected. My ear, my muscles, my flesh, these notes, and this wood and string—all are parts of a single vibrating structure, communicating their movement to each other. Playing feels different now. For the first time this cathedral is really dancing. It's built on a questioning anxiety. But the structure develops a kind of reassurance, like pleading that becomes a prayer. This feeling is not notated on the page. It is something that takes place within the notes, or between them, and within my body, within the guitar's body. I first played this piece in my third year at the Conservatory, just about the time I bought my church door guitar. With so fine an instrument in my hands, I suddenly heard an unexplored dimension latent in everything I played, as if the guitar knew things I had never dreamed of. It was a moment of great promise for me. The guitar offered a quality of vibration beyond anything I had imagined before, bringing greater forces into motion than just the strings. But in those days I couldn't play it. I was braced too tightly. Playing now feels somehow simpler. I'm not practicing a fantasy of the guitar or of myself, but this instrument, this wood, these strings; I'm playing this music, letting these notes dance. It's easy to forget how simple music is. I'm like a soundboard, whose job is to communicate excitement, to balance tension. Building the instrument and learning to play it involve complicated physics. But music is about vibration, about allowing myself to be moved.

Visconti, like most arrangers, was not used to his orchestration ideas being preempted, or dictated to him as if he were simply an assistant, hired to notate someone else’s musical lines. But there was some flexibility within McCartney’s instructions. “Some ideas he wanted me to strictly adhere to, and some were just sketches that I was asked to improve upon.

Where do you think the notes were before Chopin wrote his nocturnes?” With a nod of confusion I asked, “Where?” She leaned back, exhaling a stream of smoke, as if unraveling a hidden truth. “I believe those notes were always present, suspended in the air, waiting for an artist's embrace. It's as if there's an intangible essence, an elusive sense, that artists possess. They have the ability to pluck those ethereal notes from the unseen and mold them into tangible forms, giving voice to our deepest emotions and translating them into melodies that resonate within us.

Sabbath rhythms are not meant for paper; they are meant to be practiced. “Holy days, rituals, liturgies—all are like musical notations which, in themselves,” one Jewish scholar writes, “cannot convey the nuances and textures of live performance.

but the script he saw written all about him, on the signposts and facades of Alexandria, was musical, all right. It ran complicated scales on the optic nerve. Everywhere, the Arabic alphabet wiggled and popped, enlivening crumbling architecture with outbursts of linguistic jazz, notations from the DNA songbook, energetic markings as primal as grunts and as modern as the abstract electricity of synthesizer feedback.

He held the papers up to the moonlight. There was a little smudging, there, right where the chorus was supposed to come in with a D major triad. But it wasn't so bad. His eyes drifted from the pages to the moon, which shone clearly through his unglazed window. A bright star kept it company. A faint breeze blew, causing the thick leaves of the trees below to make shoe-like clacking noises against the castle wall. It carried with it whatever scents it had picked up on its way from the sea: sandalwood, sand, oranges, dust. Dry things, stuff of the land. Eric looked back at his music, tried to recapture the sound and feel of the ocean that had played in his head before waking, aquamarine and sweet.

The study of music notation and terminology by classes in conservatories and in music departments of colleges and normal schools is a comparative innovation, one reason for the non-existence of such courses in the past being the lack of a suitable text-book, in which might be found in related groups clear and accurate definitions of the really essential terms.

Significantly, rhythm and texture are the two most difficult aspects of music to express in conventional Western musical notation. These qualities, some of the most resonant and important in contemporary popular music, and in some ways the most “African,” were excluded from, or maybe simply outside of, the system by which music was traditionally taught, passed on, notated, discussed, criticized, and—very important—copyrighted.

Lovelace defined as an ‘operation’ the control of material and symbolic entities beyond the second-order language of mathematics (like the idea, discussed in chapter 1, of an algorithmic thinking beyond the boundary of computer science). In a visionary way, Lovelace seemed to suggest that mathematics is not the universal theory par excellence but a particular case of the science of operations. Following this insight, she envisioned the capacity of numerical computers qua universal machines to represent and manipulate numerical relations in the most diverse disciplines and generate, among other things, complex musical artefacts: [The Analytical Engine] might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine … Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.

I’m not sure what right and wrong mean when it comes to us, but I know what it means for music. Someone can play a piece with perfect timing and notation. They can hit every single note, but it still won’t have passion. That part comes from inside.

A small shake of his head. “It’s not right.” I’m not sure what right and wrong mean when it comes to us, but I know what it means for music. Someone can play a piece with perfect timing and notation. They can hit every single note, but it still won’t have passion. That part comes from inside. “Then be wrong with me. Don’t make me do it alone.

Is it enough to live in a universe whose laws spontaneously create life? Or do you prefer ... God?” She paused, looking embarrassed. “Sorry, after all we’ve been through tonight, I know that’s a strange question.” “Well,” Langdon said with a laugh, “I think my answer would benefit from a decent night’s sleep. But no, it’s not strange. People ask me all the time if I believe in God.” “And how do you reply?” “I reply with the truth,” he said. “I tell them that, for me, the question of God lies in understanding the difference between codes and patterns.” Ambra glanced over. “I’m not sure I follow you.” “Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.” Ambra grasped the concept, but not how it related to God. “The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.” Ambra nodded. “So codes always have an intention or awareness behind them.” “Exactly. Codes don’t appear organically; they must be created.” Ambra studied him a long moment. “What about DNA?” A professorial smile appeared on Langdon’s lips. “Bingo,” he said. “The genetic code. That’s the paradox.” Ambra felt a rush of excitement. The genetic code obviously carried data — specific instructions on how to build organisms. By Langdon’s logic, that could mean only one thing. “You think DNA was created by an intelligence!” Langdon held up a hand in mock self-defense. “Easy, tiger!” he said, laughing. “You’re treading on dangerous ground. Let me just say this. Ever since I was a child, I’ve had the gut sense that there’s a consciousness behind the universe. When I witness the precision of mathematics, the reliability of physics, and the symmetries of the cosmos, I don’t feel like I’m observing cold science; I feel as if I’m seeing a living footprint ... the shadow of some greater force that is just beyond our grasp.