Music Sayings Quotes

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Atticus said to Jem one day, "I’d rather you shot at tin cans in the backyard, but I know you’ll go after birds. Shoot all the blue jays you want, if you can hit ‘em, but remember it’s a sin to kill a mockingbird." That was the only time I ever heard Atticus say it was a sin to do something, and I asked Miss Maudie about it. "Your father’s right," she said. "Mockingbirds don’t do one thing except make music for us to enjoy. They don’t eat up people’s gardens, don’t nest in corn cribs, they don’t do one thing but sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.
Harper Lee (To Kill a Mockingbird)
Things evolve into other things. Emotions do the same. Forever. Your best ally in all of these shifting seas is your faith in the fact that you are exactly where you are supposed to be. Stay put. Stay soft. Stay gentle and kind. Listen to your instincts. Meditate. Pray. Laugh as much as humanly possible. Pain is ok too. Say thank you for all of it. Feel proud that you have spent most of your life's energy on cultivating a strong connection to your own soul and the will of your heart. It is leading you somewhere deeply satisfying, but never perfect.
Sara Bareilles (Sounds Like Me: My Life (So Far) in Song)
After lunch, he rose and gave me the tips of his fingers, saying he would like to show me over his flat; but I snatched away my hand and gave a cry. What I had touched was cold and, at the same time, bony; and I remembered that his hands smelt of death. ‘Oh, forgive me!’ he moaned. And he opened a door before me. ‘This is my bedroom, if you care to see it. It is rather curious.’ His manners, his words, his attitude gave me confidence and I went in without hesitation. I felt as if I were entering the room of a dead person. The walls were all hung with black, but, instead of the white trimmings that usually set off that funereal upholstery, there was an enormous stave of music with the notes of the DIES IRAE, many times repeated. In the middle of the room was a canopy, from which hung curtains of red brocaded stuff, and, under the canopy, an open coffin. 'That is where I sleep,’ said Erik. 'One has to get used to everything in life, even to eternity.’ The sight upset me so much that I turned away my head” - Chapter 12: Apollo’s Lyre
Gaston Leroux (The Phantom of the Opera)
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.
Dan Brown
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