Music Tempo Quotes

Thinking of a series of dreams Where the time and the tempo fly And there's no exit in any direction 'Cept the one that you can't see with your eyes

Life is like a long note; it persists without variance, without wavering. There is no cessation in sound or pause in tempo. It continues on, and we must master it or it will master us.

The art of not playing in tempo--one has to learn it. And the art of not playing what is written on the printed paper.

I feel I am in love with you, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.

The dancing vortex of a sacred metaphor clashes horns and halos to make wounded music set to the tempo of a new era in brilliant labor.

I'm in love with New York. It matches my mood. I'm not overwhelmed. It is the suitable scene for my ever ever heightened life. I love the proportions, the amplitude, the brilliance, the polish, the solidity. I look up at Radio City insolently and love it. It's all great, and Babylonian. Broadway at night. Cellophane. The newness. The vitality. True, it is only physical. But it's inspiring. Just bring your own contents, and you create a sparkle of the highest power. I'm not moved, not speechless. I stand straight, tough and I meet the impact. I feel the glow and the dancing in everything. The radio music in the taxis, scientific magic, which can all be used lyrically. That's my last word. Give New York to a poet. He can use it. It can be poetized. Or maybe that's mania of mine, to poetize. I live lightly, smoothly, actively, ears or eyes wide open, alert, oiled! I feel the glow and the dancing in every thing and the tempo is like that of my blood. I'm at once beyond, over and in New York, tasting it fully.

Sex and food and drink and books. You really don’t need much else. Maybe a nice view of the sky. Some shoes that don’t hurt. A bed and roof that won’t leak. Some singing, some music and tempo. A heart full and a soul fed, a head full of dreams and possibilities, what more could you possibly want? What more is there?

If a song is a living, breathing entity, you might think of the tempo as its gait—the rate at which it walks by—or its pulse—the rate at which the heart of the song is beating.

The search for a proper tempo is not confined to the world of music - one must seek it in life as well

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.

I wanted to smell the guitars. It's hard to explain but they have a smell. And the best way I could ever describe it would be to say they smell like potential. Ambition and desire. If such things had a smell.

My life, I resolved, ought to be a perpetual transcending, a progression from stage to stage; I wanted it to pass through one area after the next, leaving each behind, as music moves on from theme to theme, from tempo to tempo, playing each out to the end, completing each and leaving it behind, never tiring, never sleeping, forever wakeful, forever in the present. In connection with the experiences of awakening, I had noticed that such stages and such areas exist, and that each successive period in one’s life bears within itself, as it is approaching its end, a note of fading and eagerness for death. That in turn leads to a shifting to a new area, to awakening and new beginnings.

I feel I am in love with you and it should be Spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and bird-calls like Stravinsky. But the tempo is all mine.

You're a line of music....I could transpose your melody into any key, hum at any tempo, and still know you.

I am adrift. At 21, penniless in a world of plausible excuses, I am alone with my goals. These are difficult years, and if anything loving lay ahead I was already paying a large enough price. At my lowest in these years of signing on, I do not fit in anywhere with the family philosophy, and these days set the tempo of the times- even for the days when the sun re-enters the room. Travestied or not, you must just get through it.

I urge pupils when studying a work and in order to master its most important aspic, the rhythmic structure, or the ordering of the time process, to do just what a conductor does with the score: to place music on the desk and to conduct the work from beginning to end as if it were played by someone else, an imaginary pianist with the conductor trying to impress him with his will, his tempo first of all, plus all the details of his performance.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

Because your heart accelerates with the thrumming of the tympani and the brassy blast of the horn section; it keeps tempo, marks time, this junior-sized metronome in your chest, and your entire body pulsates with the rhythm of the music; you can't help but be carried away by it as you listen and take it all in. You are mesmerized, you are utterly fascinated.

Music is the heartbeat of the world. It is the tempo of our joy, a measure of our sadness, the youthful recollection of our heart's content.

To me, the best that music can be is a medium up-tempo twelve-bar blues in F.

Ablaze with alabaster one must admit as long as there is near music kicking around nowhere more winsome than in the outlandish passage from April to California, Sunday to Jose, March to French and all the wilderness and Septembers in between. Slow ghost thicket, a tempo of someone's own, please please the quintessentially readymade and risen stranger, the tremor in the house, rather than some unfinished crime without dragon or alibi in the drowsy garden. O savage, O brightening Niagara, O briefest, fussy thing in ruffled light, wait, I am a stranger here myself.

[Jimi Hendrix] dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did.

Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen--follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly. "Good music they have here," he remarks, drumming the table with his fingertips. Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored.

I feel I am in love with you, she had written, and it should be spring. I want the sun throbbing on my head like chords of music. I think of a sun like Beethoven, a wind like Debussy, and birdcalls like Stravinsky. But the tempo is all mine.

He paused, then, I behind him, arms locked around the powerful ribs, fingers caressing him. To lie with him, to lie with him, burning forgetful in the delicious animal fire. Locked first upright, thighs ground together, shuddering, mouth to mouth, breast to breast, legs enmeshed, then lying full length, with the good heavy weight of body upon body, arching, undulating, blind, growing together, force fighting force: to kill? To drive into burning dark of oblivion? To lose identity? Not love, this, quite. But something else rather. A refined hedonism. Hedonism: because of the blind sucking mouthing fingering quest for physical gratification. Refined: because of the desire to stimulate another in return, not being quite only concerned for self alone, but mostly so. An easy end to arguments on the mouth: a warm meeting of mouths, tongues quivering, licking, tasting. An easy substitute for bad slashing with angry hating teeth and nails and voice: the curious musical tempo of hands lifting under breasts, caressing throat, shoulders, knees, thighs. And giving up to the corrosive black whirlpool of mutual necessary destruction. - Once there is the first kiss, then the cycle becomes inevitable. Training, conditioning, make a hunger burn in breasts and secrete fluid in vagina, driving blindly for destruction. What is it but destruction? Some mystic desire to beat to sensual annihilation - to snuff out one’s identity on the identity of the other - a mingling and mangling of identities? A death of one? Or both? A devouring and subordination? No, no. A polarization rather - a balance of two integrities, changing, electrically, one with the other, yet with centers of coolness, like stars. And there it is: when asked what role I will plan to fill, I say “What do you mean role? I plan not to step into a part on marrying - but to go on living as an intelligent mature human being, growing and learning as I always have. No shift, no radical change in life habits.” Never will there be a circle, signifying me and my operations, confined solely to home, other womenfolk, and community service, enclosed in the larger worldly circle of my mate, who brings home from his periphery of contact with the world the tales only of vicarious experience to me.

In the freezing darkness, the voices and the music alone wrapped the audience in beauty, emotion, and fantasy. The singing soothed, stirred, and seduced until you were madly in love, and became addicted. That was opera in its purest, most sincere form.

The song was of that dance music subgenre that might as well be called “Look at Me I’m in a Club!” It was music that you heard in the club, about the club, on the subject of being seen in the club—basically up-tempo drunken solipsism, with sporadic sexual depravity.

Cooking is like playing a violin. The bow is a tool used to play, as is the knives and other tools you use to prepare. (a chef's knife is even held in the same manner) Spices are the notes used in the score. The way the food is cooked and prepared is the rhythm and tempo. The ingredients are the violin themselves, ready to be played upon. The finished dish is the music played to its best melody. All of these things must be applied together at the right pace, manner, and time in order to create a flavourful rush of artwork and beauty.

A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, makingsure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N' Roses. my favorite heavy metal band!" I asked the neurosurgeon If he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was, would it be in exactly the same key and tempo as the record? Such a song (unliken"Silent Night") has one canonical version. so we could simply have superimposed a recording of the patients humming with the standard record and compared the results. Unfortunately, even though a tape recorder had been running during the operation, thesurgeon hadn't asked the patient to sing along. ''Why not?" I asked, and he replied: "I hate rock music!' Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man. and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do it." replied the neurosurgeon. "since I cut out that part." "It was part of the epileptic focus?" I asked. "No,'' the surgeon replied, ''I already told you — I hate rock music.

A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That's how music should be written, so that no-one, no matter how philistine, can ruin it.

The flute does not know music: it does not know ‘G’ from ‘B flat;’ it does not know tempo or emphasis, and cannot make music come out of itself: it’s just a hollow bamboo stick with holes in it! It is the musician who has the knowledge and the skill and the intention and the dexterity, and whose breath blows through the instrument and whose fingers manipulate the openings so that beautiful music flows out. When the music is ended, no one congratulates the wooden stick on the music it made: it is the musician who is applauded and thanked for this beautiful gift of music.

She sighed heavily before whispering, “I’m still a bit confused as to what we are waiting for.” “We are waiting for one of the constants in our world, Miss Braun,” Wellington assured her. “At the end of every opera, there is the grand finale, where the music continues its gradual crescendo, the tenor and tempo rising ever so gradually for that pinnacle of dramatic tension, that moment of anticipation—” “Welly, are you talking about opera or about sex?” His next words caught in his throat. For a woman of higher tastes and seeming refinement, this woman could be utterly crass.

Voleva mostrare al mondo i lati opposti della città che non dormiva mai. Voleva raccontare la sua storia attraverso i propri occhi, le proprie lenti. Molte persone avevano cercato di fare lo stesso. Nessuno aveva mostrato il lato davvero oscuro che si celava dietro i musical della classe media e delle celebrità che ammiccavano con falsi sorrisi ai paparazzi. O forse ce n’erano stati altri. Ma a lui non importava. Non voleva farlo per gli altri ma per sé. Comunque non aveva nessuno, a parte Rafe, a cui mostrare le foto. In ogni caso voleva farlo bene. Nonno Kevan aveva immortalato la sua vita con la macchina fotografica; era tempo che Pierce fotografasse la sua.

He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did.

When all else failed, when there seemed to be nothing but nonsense in the world, he held to this: that good music would always be good music, and great music was impregnable. You could play Bach's preludes and fugues at any tempo, with any dynamics, and they would still be great music, proof even against the wretch who brought ten thumbs to the keyboard. And in the same way, you could not play such music cynically.

neuroscientists monitored guitarists playing a short melody together, they found that patterns in the guitarists’ brain activity became synchronized. Similarly, studies of choir singers have shown that singing aligns performers’ heart rates. Music seems to create a sense of unity on a physiological level. Scientists call this phenomenon synchrony and have found that it can elicit some surprising behaviors. In studies where people sang or moved in a coordinated way with others, researchers found that subjects were significantly more likely to help out a partner with their workload or sacrifice their own gain for the benefit of the group. And when participants rocked in chairs at the same tempo, they performed better on a cooperative task than those who rocked at different rhythms. Synchrony shifts our focus away from our own needs toward the needs of the group. In large social gatherings, this can give rise to a euphoric feeling of oneness—dubbed “collective effervescence” by French sociologist Émile Durkheim—which elicits a blissful, selfless absorption within a community.

My life, I resolved, ought to be a perpetual transcending, a progression from stage to stage; I wanted it to pass through one area after the next, leaving each behind, as music moves on from theme to theme, from tempo to tempo, playing each out to the end, completing each and leaving it behind, never tiring, never sleeping, forever wakeful, forever in the present. In connection with the experiences of awakening, I had noticed that such stages and such areas exist, and that each successive period in one’s life bears within itself, as it is approaching its end, a note of fading and eagerness for death.

You can have the perfect message, but it may fall on deaf ears when the listener is not prepared or open to listening. These listening "planes" were first introduced by the American composer Aaron Copland (1900-1990) as they pertain to music . . . 1. The Sensual Plane: You’re aware of the music, but not engaged enough to have an opinion or judge it. 2. The Expressive Plane: You become more engaged by paying attention, finding meaning beyond the music, and noticing how it makes you feel. 3. The Musical Plane: You listen to the music with complete presence, noticing the musical elements of melody, harmony, pitch, tempo, rhythm, and form.

I want to tell you what I think the sex act is. I think it is like a lovely piece of music, conceived quietly in a background of mutual affection and understanding, made possible by instincts which lean toward each other as naturally as the sunflower slowly turning its lovely face to the sun. I think it is an aria of the sex symphony; an aria which begins beautifully certain of its rightness, moves with that certainty to a distinct tempo of feeling, sings itself happily, steadily, working, working, to a screaming, bursting climax of indescribable beauty and rapture and then throbs, spent and grateful in a re-dedication for the next movement of its perfection.

To say it once more: today I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness, very convinced and therefore disdainful of proof, mistrustful even of the propriety of proof, a book for initiates, “music” for those dedicated to music, those who are closely related to begin with on the basis of common and rare aesthetic experiences, “music” meant as a sign of recognition for close relatives in artibus—an arrogant and rhapsodic book that sought to exclude right from the beginning the profanum vulgus of “the educated” even more than “the mass” or “folk.

hope you’ll always live near the ocean. No matter what happened to us, your mother and I had the shore. They say that salt water can heal, and it does, and that the rays of the sun can strengthen your bones—no doubt that’s true—and that the sand makes you slow down and savor your steps. If you close your eyes and listen, the sound of the ocean is the most beautiful music ever written. The tempo of the surf as the tide rolls in matches your breath, the sound of the waves as they crash over the rocks sound like the brushes on a snare. It’s like the opening riff to a great piece of jazz. Sometimes I’m standing out there and I hear the blend and I think Ethel Waters is going to rise out of the surf and start wailing. The ocean is God’s orchestra.

I hope you’ll always live near the ocean. No matter what happened to us, your mother and I had the shore. They say that salt water can heal, and it does, and that the rays of the sun can strengthen your bones—no doubt that’s true—and that the sand makes you slow down and savor your steps. If you close your eyes and listen, the sound of the ocean is the most beautiful music ever written. The tempo of the surf as the tide rolls in matches your breath, the sound of the waves as they crash over the rocks sound like the brushes on a snare. It’s like the opening riff to a great piece of jazz. Sometimes I’m standing out there and I hear the blend and I think Ethel Waters is going to rise out of the surf and start wailing. The ocean is God’s orchestra. I will miss it.

If music is meant to help us engage emotionally with words, then most churches need a broader emotional range in the songs they sing. We need songs of reverence, awe, repentance, and grief as well as songs of joy, celebration, freedom, and confidence. The holiness of God cannot be adequately expressed in a two-minute up-tempo pop song. The jubilant triumph of Christ’s victory over sin can’t be fully communicated in a slow a cappella hymn. There are varied traditions of song throughout history as well as very different hymn-writers: Puritans, psalm singers, pietists, charismatics, modern worship songs. Why do we need to pit them against one another? As long as the lyrics are edifying and faithful to Scripture, why can’t we draw from each tradition to enable a broader range of emotional responses in corporate worship?

We attach to most of our chapels a cultural hall so that our youth may have a place to dance, to perform their talents in musicals and other uplifting entertainment, and we hope our youth leaders as trustees of the building will see to it that only wholesome, uplifting activities are performed in this building. Should you have any reservations whether or not an activity, a style of dancing or tempo of music is in accord with Church standards, may I suggest this guide: Does it uplift and inspire one to higher ideals? Does it develop wholesome relationships between young men and women, or appeal to and arouse their baser instincts? Will it cause one to be a better Latter-day Saint and lead one closer to the Savior? Avoid all activities and dances which bring the world's demoralizing standards into this sacred meeting place.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

Our differences give us purpose—both good and bad. Some see it as an opportunity to strive for what they aren’t, while others take it to belittle those who frighten us. In the vein of my earlier appreciation for dancing, I would imagine a world where music defines us. The fall and rise of the tempo would dictate our moves, and our hearts and minds would sway to the beat. Each person would have a place on the stage, and every voice would be heard. The melodies would bridge our differences while celebrating our similarities. And at the end, we would be better for having danced together. With age come wisdom and the knowledge that we can’t dance through our lives. But I hope I can find a way where my labels of daughter, reporter, wife, and now soon to be divorcée don’t define me. Instead, every new person will represent the chance to grow, and I will feel no shame in taking the first step. With humility may I reap my own power, and at the end of the journey, I hope I learn when to stand small so others can feel tall. AMISHA

He spent a little time with me on the stairs and told me his vision of what he wanted to do with the studio. He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio. “The language of peace. You dig?” I did. I can’t remember if I actually went into the studio, but Jimi never accomplished his dream. In September I went with my sister and Annie to Paris. Sandy Daley had an airline connection and helped us get cheap tickets. Paris had already changed in a year, as had I. It seemed as if the whole of the world was slowly being stripped of innocence. Or maybe I was seeing a little too clearly. As we walked down the boulevard Montparnasse I saw a headline that filled me with sorrow: Jimi Hendrix est mort. 27 ans. I knew what the words meant.

What if we all stood equal in one another’s eyes and felt pride at our reflection? I speak of utopia and chance being ridiculed, but sitting in a village thousands of miles from everything, I will roll the dice. For one day only, maybe we could put aside our differences and come together in our sameness. For one day, we could see that past all the variations, we are all the same with similar hopes, dreams, fears, strengths, and weaknesses. For one day, we could stand together, not apart, and treat others as we would hope to be treated. History teaches us that day will never come. Our differences give us purpose—both good and bad. Some see it as an opportunity to strive for what they aren’t, while others take it to belittle those who frighten us. In the vein of my earlier appreciation for dancing, I would imagine a world where music defines us. The fall and rise of the tempo would dictate our moves, and our hearts and minds would sway to the beat. Each person would have a place on the stage, and every voice would be heard. The melodies would bridge our differences while celebrating our similarities. And at the end, we would be better for having danced together.

Now," he said, turning me to face him. "Let us dance, Elisabeth." The musicians struck up another song, one I didn't recognize. The tempo was slow and in a minor key, seductive and sinister. The Goblin King pulled me into his embrace. He pressed his hand to my lower back, pushing our hips close together. Our hands met palm to palm, fingers intertwined. He was not masked and neither was I. Our eyes met. Despite the closeness of our bodies, it was the touch of our eyes that made me blush. "Mein Herr," I demurred. "I don't think-" "You think too much, Elisabeth," he said. "Too much about propriety, too much about duty, too much about everything but music. For once, don't think." The Goblin King smiled. It was a wicked grin, one that made me feel unsafe and excited at the same time. "Don't think. Feel.

Light shone through a large crack in the wall of the maze ahead of us. A slim, slender silhouette cast a shadow against the passage floors. Der Erlkönig. I did not marvel then that I knew the shape of his body as well as my own reflection. I watched the Goblin King's shadow play his violin, his right arm moving in a smooth, practiced bowing motion. Käthe tried to pull me away, but I did not go with her. I moved closer to the light, and pressed my face to the crack. I had to look, I had to see. I had to watch him play. The Goblin King's back was turned to me. He wore no fancy coat, no embroidered dressing gown. He was simply dressed in trousers and a fine cambric shirt, so fine I could see the play of muscles in his back. He played with precision and with considerable skill. The Goblin King was not Josef; he did not have my brother's clarity of emotion or my brother's transcendence. But the Goblin King had his own voice, full of passion, longing, and reverence, and it was unexpectedly... vibrant. Alive. I could hear the slight fumblings, the stutters and starts in tempo, the accidental jarring note that marked his playing as human, oh so human. This was a man- a young man?- playing a song he liked on the violin. Playing it until it sounded perfect to his imperfect ears. I had stumbled upon something private, something intimate. My cheeks reddened. "Liesl." My sister's voice sliced through the sound of the Goblin King's playing like a guillotine, stopping the music mid-phrase. He glanced over his shoulder, and our eyes met. His mismatched gaze was unguarded, and I felt both ashamed and emboldened. I had seen him unclothed in his bedchamber, but he was even more naked now. Propriety told me I should look away, but I could not, arrested by the sight of his soul bared to me. We stared at each other through the crack in the wall, unable to move. The air between us changed, like a world before a storm: hushed, quiet, waiting, expectant.

Da molti anni non mi chiedo più Quale posto è la mia casa E ho scoperto che la mia casa È insieme a me dovunque vada Cammino senza legami Ho solo il vento che mi insegue E il tempo non mi riguarda Perché il tempo mi appartiene.

... a possibilidade de obter facilmente dados directos e em tempo real do lugar mais afastado e exuberante da terra, embora pareça fascinante e até vertiginosa à primeira vista, não é senão algo de superficial, pois essa velocidade não diminui a nossa ignorância no lugar onde estamos a fazer turismo informático. A disponibilidade técnica do passado musical ou literário não nos diz nada sobre as suas condições de gestação, não no-lo mostra como tradição, nem nos torna seus herdeiros; transforma-nos apenas em espectadores complacentes de fetiches infrutuosos cujo retorno periódico e fantasmático celebramos sem produzir novidade nenhuma." (A Revolução confiscada, Granta 10)

Think of playing an instrument. When first picking up a new piece of music, a musician hammers out the notes slowly and methodically to ensure that they have a firm grasp of what’s on the page. Once their performance is ironed out and accurate, the musician gently increases their tempo, expressing the notes as they are written on the page but at a faster speed.

I don’t want no drummer. I set the tempo.

More sophisticated methods exist, of course. A potentially more powerful method is collaborative filtering. It gathers data about what users have bought in the past and uses AI to predict what people are likely to buy in the future. These methods can use both explicit information, like a customer’s ratings of the options, and implicit information, like whether or not they finished a specific program on Netflix. Most famously, perhaps, collaborative filtering is used by Amazon in generating “People who bought this also bought . . .” listings. Collaborative filtering requires a large set of past user behavior to make predictions. This is the heart of suggestions made by Apple Music, “who to follow” suggestions on Twitter, and matches on Tinder. Yes, Tinder apparently changes the people it will show you based on your swipes. Swiping right will change who you see in the future. It’s important to realize that, in its pure form, collaborative filtering doesn’t use in-depth information about the options themselves. When Apple Music recommends a tune, it knows nothing about the song’s tempo, beat, lyrics, or instrumentation. It simply knows that people who are like you like that song too.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Had music not delivered Richard, too, on more than one occasion, from a life he’d believed himself trapped in? The tempos had changed, but that almost didn’t matter. The point, now as then, was to tune in to something bigger than yourself, and to feel around you others who felt as you did.

Happiness is like a genre of music that nearly everyone knows how to dance to. Happiness has a very simple tempo, catchy phrasing, and memorable lyrics. It's the song at the wedding that makes everyone excited to run to the dance floor.

As the young husband and wife lay in each other’s arms, each contemplating past, present, and future, Clint recognized the music as the adagietto from Gustav Mahler’s fifth symphony. It was one of the most famous movements in the entire symphonic repertoire, but it was also one of the most debated. Mahler ostensibly composed the adagietto as a love song to his wife, Alma, but when played at the much slower tempo preferred by many conductors, the music instead evokes a feeling of profound melancholy. After almost eighty years, musicologists and aficionados still couldn’t agree whether the music was supposed to be happy or sad, whether it was an expression of intense love and devotion or of unmitigated despair. Clint was struck by the irony that this music would be playing at this moment in his life, and his mouth curled into an ambivalent smile. Was he happy? Was he sad? Would he ever again be certain?

TTien shall follow the Conjuration of Diana. Scongiurazione a Diana. You shall make cakes of meal, wine, salt, and honey in the shape of a (crescent or homed) moon, and then put them to bake, and say: Non cuoco ne il pane re il sale, Non cuoco re il vino ne il miele, Cuoco il corpo il sangue e 1' anima, L' anima di Diana, che non possa Avere ne la pace e ne bene, Possa essere sempre in mezzo alle pene Fino che la grazia non mi fari, Che glielo chiesta egliela chiedo di cuore! Se qaesla grazia, o Diana, mi farai, La cena In tua lode in molti la faremo, Mangiaremo, beveremo, Ealleremo, salteremo, Se questa grazia che ti ho chiesta, Se questa grazia tu mi farai, Nel tempo che balliamo, H lume spengnerai, Cosi al 1' amore liberamente la faremo I Conjuration of Diana. I do not bake the bread, nor with it salt, Nor do I cook the honey with the wine; I bake the body and the blood and soul, The soul of (great) Diana, that she shall ARABIA Know neither rest nor peace, and ever be In cruel suffering till she will grant What I request, what I do most desire, I beg it of her from my very heart! And if the grace be granted, O Diana I In honour of thee I will hold this feast. Feast and drain the goblet deep. We will dance and wildly leap, And if thou grant'st the grace which I require, Then when the dance is wildest, all the lamps Shall be extinguished and we'll freely love! And thus shall it be done: all shall sit down to the supper all naked, men and women, and, the feast over, they shall dance, sing, make music, and then love in the darkness, with all the lights extinguished; for it is the Spirit of Diana who extinguishes them, and so they will dance and make music in her praise. And

I made myself listen to the music I loved as I worked. I would not be a coward anymore. If I acted like a lunatic, so be it! In my mind I raged and I vowed that Samuel’s leaving would not make me resort to musical holocaust. I was done with that nonsense! I played Grieg until my fingers were stiff, and I worked with the frenzy of Balakirev’s ‘Islamey’ pounding out of the loud speakers. My dad came inside during that one and turned around and walked right back out again. On day 15, I made a chocolate cake worthy of the record books. It was disgustingly rich and fattening, teetering several stories high, weighing more than I did, laden with thick cream cheese frosting, and sprinkled liberally with chocolate shavings. I sat down to eat it with a big fork and no bib. I dug in with a gusto seen only at those highly competitive hotdog eating contests where the tiny Asian girl kicks all the fat boys’ butts. “JOSIE JO JENSEN!” Louise and Tara stood at the kitchen door, shock and revulsion, and maybe just a little envy in their faces. Brahms ‘Rhapsodie No. 2 in G Minor’ was making my little kitchen shake. Eating cake to Brahms was a new experience for me. I liked it. I dug back in, ignoring them. “Well Mom,” I heard Tara say, “what should we do?!” My Aunt Louise was a very practical woman. “If you can’t beat ’em, join ’em!” She quoted cheerfully. Before I knew it, Tara and Louise both had forks, too. They didn’t seem to need bibs either. We ate, increasing our tempo as the music intensified. “ENOUGH!” My dad stood in the doorway. He was good and mad, too. His sun-browned face was as ruddy as my favorite high heels. “I sent you two in for an intervention! What is this?! Eater’s Anonymous Gone Wild?” “Aww, Daddy. Get a fork,” I replied, barely breaking rhythm. My dad strode over, took the fork from my hand and threw it, tines first, right into the wall. It stuck there, embedded and twanging like a sword at a medieval tournament. He pulled out my chair and grabbed me under the arms, pushing me out of the kitchen. I tried to take one last swipe at my cake, but he let out this inhuman roar, and I abandoned all hope of making myself well and truly sick. “Tara! Aunt Louise!” I shouted frantically. “I want you gone!!! That’s my cake! You can’t have any more without me!” My dad pushed me through the front door and out onto the porch, the screen banging behind him. I sunk to the porch swing, sullenly wiping chocolate crumbs from my mouth. My dad stomped back inside the house and suddenly the music pouring from every nook and cranny stopped abruptly. I heard him tell Louise he’d call her later, and then the kitchen door banged, indicating my aunt’s and Tara’s departure. Good. They would have eaten that whole cake. I saw the way they were shoveling it in.

Billie Holiday Her imperfect life led to her becoming a legendary performer with a continuing influence on American music. Born Eleanora Fagan on April 7, 1015 she became a songwriter and jazz singer with an unmistakable vocal style. Although she had a limited range her delivery, tempo and natural skills, held the attention of a devoted following. Influenced by Louis Armstrong and Bessie Smith her success as a pop singer with the Benny Goodman Band started with "Riffin' the Scotch", which sold 5,000 copies. She continued with Count Basie and Artie Shaw and was recognized throughout the 1930s and the 1940s with songs such as “I’ve Got My Love To Keep Me Warm,” “What a Little Moonlight Can Do” and “God Bless the Child.” Plagued with abusive relationships, drug and alcohol addiction, and even a short prison sentence she still rose to the top of the charts. Her predictable deterioration and eventual death on July 17, 1959 was caused by cirrholis of the liver.

You Never Can Tell" It was a teenage wedding, and the old folks wished them well You could see that Pierre did truly love the mademoiselle And now the young monsieur and madame have rung the chapel bell, "C'est la vie", say the old folks, it goes to show you never can tell They furnished off an apartment with a two room Roebuck sale The coolerator was crammed with TV dinners and ginger ale, But when Pierre found work, the little money comin' worked out well "C'est la vie", say the old folks, it goes to show you never can tell They had a hi-fi phono, boy, did they let it blast Seven hundred little records, all rock, rhythm and jazz But when the sun went down, the rapid tempo of the music fell "C'est la vie", say the old folks, it goes to show you never can tell They bought a souped-up jitney, 'twas a cherry red '53, They drove it down New Orleans to celebrate their anniversary It was there that Pierre was married to the lovely mademoiselle "C'est la vie", say the old folks, it goes to show you never can tell

In general, those from outside the southern culture built a style around exaggerations of southern music, and missed the lonesome hillbilly and blues feel that was its core. In the quest for abandon, they also failed to understand that southern music is lazy music—at any tempo.

It is utterly unfair,” she said, shooing Wrigley away and tossing aside her blanket, “that your country boy smile isn’t illegal.” She pulled her feet from beneath him, but then she swung a leg over him and straddled his lap, still smiling at him while she took his cheeks in her hands and pressed a soft, open-lipped kiss to his mouth. Will’s pulse kicked up the tempo. He gripped her hips and pushed against her, parted his lips to make way for her tongue. Music exploded inside him. Electric guitars, keyboard, fiddle, bongos. No words, just the white-hot melody of their bodies. The intoxicating scent of her shampoo tickled his nose, but the intrigued woman scent was stronger—heady and spicy and everything. He wanted her.

the researchers identified 8 distinct practice strategies that were common to the top pianists, but occurred less frequently in the practice sessions of the others: 1 Playing was hands-together early in practice. 2 Practice was with inflection early on; the initial conceptualization of the music was with inflection. 3 Practice was thoughtful, as evidenced by silent pauses while looking at the music, singing/humming, making notes on the page, or expressing verbal “ah-ha”s. 4 Errors were preempted by stopping in anticipation of mistakes. 5 Errors were addressed immediately when they appeared. 6 The precise location and source of each error was identified accurately, rehearsed, and corrected. 7 Tempo of individual performance trials was varied systematically; logically understandable changes in tempo occurred between trials (e.g. slowed things down to get tricky sections correct). 8 Target passages were repeated until the error was corrected and the passage was stabilized, as evidenced by the error’s absence in subsequent trials.

My point is that the world is more malleable than you think and it’s waiting for you to hammer it into shape” (Bono, “Because We Can”).

The strange stairwell was dim, and Shane could barely see a door at the top. The sound of the violin came through it and rolled out and around him. Shane took a moment to build up his courage, and then walked up the stairs. The music increased in both tempo and volume.

In other cultures, perhaps less alienated from the teachings of wisdom, mankind lived in closer relationship to biological time, the pulses and rhythms of nature, the sun and the moon, the tides, the seasons, the light and darkness, all the measures and meters of the music of the earth and the skies. But even this time, this more natural time, is not in itself human time. Human time is always the time of the consciousness that says and means I, I am… To live in accordance with nature’s time is to allow the nature that is within us to beat with more synchronous rhythms — the body’s tempo, the tempos of organic love and fear and tenderness and anger; and the tempos and rhythms of the mind that searches, that needs to guide and receive the action of the senses, to plan and manage and to remember the gods, the greater forces… To live with these tempos and times more in harmony is to live in the time of earth and nature and to be a more ready receptacle for the consciousness that can truly say I am.

Verse speakers and opera singers could learn a great deal if they listen to all forms of popular music from Billie Holiday to Edith Piaf, where the passion, the feeling, the intonation, the tempo all arise from the word. In Broadway jargon, this is called ‘reading’ a song. I once asked Richard Rodgers, composer of Oklahoma! and countless other musicals, whether he had a stash of melodies in a top drawer, waiting to be used. ‘Of course not!’ he said. ‘I need the words.’ Like every composer of songs, it is the words that are proposed by a lyric that awaken the tune”.

It didn't matter the volume of the music playing in her world, the noise in her head would always slip in its own horrifying tempo.

The basic elements of any sound are loudness, pitch, contour, duration (or rhythm), tempo, timbre, spatial location, and reverberation.

The Lusty Month of May” continues to develop Guenevere as a heroine of operetta in a lighthearted song, which is both naïve and highly suggestive. With the abundance of “tra-las” and an up-tempo chorus joining in the fun, Knapp’s parallels to operetta are more than apt. The clarity, wide range, and versatility of Andrews’s voice only enhance the effect. Andrews never sacrifices vocal precision or tone despite the focus on clever wordplay and a bouncy, allegretto tune. This tune is more virtuosic than “Simple Joys” with additional melodic leaps and the possibility for displays in a higher range. Loewe uses a C♯ diminished chord to denote Guenevere’s lustful feelings, often punctuating lyrics such as “lusty” or “libelous,” in the otherwise carefree milieu of C major. The generally light orchestration favors the string section, similar to “Simple Joys,” and also features a harp. When woodwinds enter, clarinets tend to dominate. At this point, this instrumentation characterizes Guenevere’s musical self and augments her connection to operetta as it reinforces the sense of frivolity. The call-and-response with the chorus further heightens the sense of abandon, which increases throughout the song. Guenevere has not lost her youthful taste for ribaldry during her marriage with Arthur.

An obvious example is quantizing. Since the mid-nineties, most popular music recorded on computers has had tempos and rhythms that have been quantized. This means that the tempo never varies, not even a little bit, and the rhythmic parts tend toward metronomic perfection. In the past, the tempos of recordings would always vary slightly, imperceptibly speeding up or maybe slowing down just a little, or a drum fill might hesitate in order to signal the beginning of a new section. You’d feel a slight push and pull, a tug and then a release, as ensembles of whatever type responded to each other and lurched, ever so slightly, ahead of and behind an imaginary metronomic beat. No more. Now almost all pop recordings are played to a strict tempo, which makes these compositions

O seu cantar não tem tempo de ser musical, é imediatamente triste; é uma espécie de refilanço rouco e agreste. Às vezes, sendo monótono, é descritivo e nostálgico. Nunca porém poético e divagante: é sempre horrivelmente direto. Cantando, a rola não lamenta, como fazem muitos outros pássaros, acusa. Entristece o vale. Torna despropositado o verde dos campos e o azul intenso do céu.

Estamos pendientes de un tiempo no humano, que el hombre ha creado para satisfacer una necesidad rigurosa, que el tiempo dure igual en cada momento, pero cuando el árbol sonaba no había nadie que le dijera que atrasaba o adelantaba. Hemos creado artilugios para expresar algo, nos ha condicionado al uso irrestricto del metrónomo, es una de las cosas llamativas de occidente como perseguimos el tempo musical.

Cassilda: (speaking to herself) We strain our ears for the sound of love, but must all mothers bear the horror of seeing their Children grow from wonderful possibility to grim reality? Stranger: (Stands mutely in the shadows, his hands folding across his chest) Cassilda: If only we could stay a moment behind the veil of time, and live in that moment of indecision. Stranger: (Whispers so Cassilda cannot hear) Existence is decision. (...) [Te Child appears before the closed curtain] 1 Te Child: I am not the Prologue, nor the Afterword; call me the Prototaph. My role is this: to tell you it is now too late to close the book or quit the theatre. You already thought you should have done so earlier, but you stayed. How harmless it all is! No definite principles are involved, no doctrines promulgated in these pristine pages, no convictions outraged…but the blow has fallen, and now it is too late. And shall I tell you where the sin lies? It is yours. You listened to us; and all the say you stay to see the Sign. Now you are ours, or, since the runes also run backwards, we are yours…forever. (...) Along the shore the cloud waves break, The twin suns sink behind the lake, The shadows lengthen In Carcosa. Strange is the night where black stars rise, And strange moons circle through the skies But stranger still is Lost Carcosa. Songs that the Hyades shall sing, Where flap the tatters of the King, Must die unheard in Dim Carcosa. Song of my soul, my voice is dead; Die thou, unsung, as tears unshed Shall dry and die in Lost Carcosa. (...) [As the gong continues to strike, everyone begins to unmask. There are murmurs and gestures of surprise, real or polite, as identities are recognized or revealed. Ten there is a wave of laugher. The music becomes louder and increases in tempo.] Camilla: You, sir, should unmask. Stranger: Indeed? Camilla: Indeed, it’s time. We have all laid aside disguise but you. Stranger: I wear no mask. Camilla: No mask? No mask! Stranger: I, I am the Pallid Mask itself. I, I am the Phantom of Truth. I came from Alar. My star is Aldebaran. Truth is our invention; it is our weapon of war. And see–by this sign we have conquered, and the siege of good and evil is ended… § [On the horizon, the towers of Carcosa begin to glow] Noatalba: (Pointing) Look, look! Carcosa, Carcosa is on fire! (...) The King: Te Phantom of ruth shall be laid. Te scalloped tattersof Te King must hide Haita forever. As for thee, Yhtill– All: No! No, no! Te King: And as for thee, we tell you this; it is a fearful thing to fall into the hands of the living god. (...) Te Stranger falls, and everyone else sinks slowly to the ground after him. Te King can now be seen, although only faintly. He stands in state upon the balcony. He has no face, and is twice as tall as a man. He wears painted shows under his tattered, fantastically colored robes, and a streamer of silk appears to fall from the pointed tip of his hood. Behind his back he holds inverted a torch with a turned and jeweled shaft, which emits smoke, but no light. At times he appears to be winged; at others, haloed. These details are for the costumier; at no point should Te King be sufficiently visible to make themall out. Behind him, Carcosa and the Lake of Hali have vanished. Instead, there appears at his back a huge sculptured shield, in shape suggesting a labrys of onyx, upon which the Yellow Sign is chased in gold. Te rest of the stage darkens gradually, until, at the end, it is lit only by the decomposed body of the Stranger, phosphorescing bluely.]

The nightingale waits for a song to go along,Ily sang. It was a bittersweet aria, whose story Ilaria had mastered sharing with not only her voice, but also with the expressions on her face, the movements of her arms, and the carefully choreographed blocking she performed as she crossed one side of the room to the other. Yet tonight, something was off. Her tone carried more melancholy than usual, and the tempo she led was a beat slower than when they'd practiced. Chia doubted anyone would notice. Ily's pride was in her coloratura, and every moment was still magnificent---each note in the impressive cascades attacked with vim and beauty---as if she were truly a bird chirping. But behind the technical difficulties of the piece, Ily managed to slow her musicality and bring emotion to her voice; that was what cast a spell over everyone who listened.

Bel canto is a concept that takes into account two separate but related matters. First, it is a highly refined method of using the singing voice in which the glottal source, the vocal tract, and the respiratory system interact in such a way as to create the qualities of chiaroscuro, appoggio, register equalization, malleability of pitch and intensity, and a pleasing vibrato. The idiomatic use of this voice includes various forms of vocal onset, legato, portamento, glottal articulation, crescendo, decrescendo, messa di voce, mezza voce, floridity and trills, and tempo rubato. Second, bel canto refers to any style of music that employs this kind of singing in a tasteful and expressive way.

Assim como a cultura europeia medieval não conseguiu conciliar o código de cavalaria e o cristianismo, o mundo moderno não consegue conciliar liberdade e igualdade. Mas isso não é um defeito. Tais contradições são inerentes a toda cultura humana. Na verdade, são aquilo que move a cultura, responsáveis pela criatividade e dinamismo da nossa espécie. Da mesma forma que duas notas musicais discordantes tocadas ao mesmo tempo colocam em movimento uma composição musical, a dissonância em nossos pensamentos, ideias e valores nos compele a pensar, reavaliar e criticar. A consistência é o parque de diversões das mentes entorpecidas.

the human brain is extremely sensitive to difference and contrast. From the age of just three months, infants are able to detect a different-looking object within a group of similar ones. The brain is so adept at spotting differences that contrast makes an object appear to pop out from the background. This capability is related to the gestalt principles that underpin the harmony aesthetic. Just as we feel pleasure in being able to visually group similar items into a larger whole, we also delight in noticing when something is unusual. It’s for this reason that harmony and surprise pair so well together. Consistency and repetition help to set clear expectations, which makes a surprising element more likely to stand out. This pairing is often used in music, where composers build the listener’s anticipation with a repeating melody and then disrupt it with a swift change in key or tempo. Used together, harmony and surprise create a tension that highlights the advantages of both.

It was purely a case of responding to the best of my abilities to what was going on around me,’ says Mattacks, who now lives in Boston, Massachusetts. ‘I didn’t really get it until I’d been in the band about a year. I didn’t really understand the aesthetics of what they were doing. And then when I did, it had quite an effect on how I then perceived music, and my approach to my instrument and the kind of music I wanted to play.’ Mattacks was sympathetic to the ‘four-squariness’ inherent in British folk tunes, but ‘the danger with the worst of folk-rock is that it can sound ploddy, no matter the tempo. So the thing is to have that four-square thing to it, but make it swing.

other. I managed to read one that said. ‘What’s a superego?’ Written down, it looked very odd, like a sauce for spaghetti or a musical tempo mark – spiritoso, sforzando, superego. My headache was growing worse. I wished I had an Anadin (a rather poetic cry of pain). I was too tired to concentrate.

The imagining of music, even in relatively nonmusical people, tends to be remarkably faithful not only to the tune and feeling of the original but to its pitch and tempo. Underlying this is the extraordinary tenacity of musical memory, so much if what is heard during one's early years may be "engraved" on the brain form the rest of one's life. Our auditory systems, our nervous systems, are indeed exquisitely tuned for music.

There are 12^10, or 61.9 billion, ways to compose only the first 10 notes, not including octave, harmony, rhythm, and tempo.

Now a negro was dancing, and the faster he danced, the wilder grew the hidden music. Suddenly as it grew louder still, his limbs began to expand and he could touch the eight corners of the vast room with head, finger or toe. His white draperies, too, flowed out, unrolling from some compact centre within themselves. As he spun and somersaulted, his bones ceased to stiffen, his skin to bind, his muscles came untied; gravity was abated, space negated, volume grew fluid. But time danced on, to the tempo of the music without source; and when this music stopped, the negro shrank again to his usual size. In an underground cave, shining warmly from some hidden illumination, a line of swathed dancers began to move, springing up and down on the same spot with magnetic gesticulations. Their leader passed along the lines with an iron whip, lashing them like spinning-tops to make them dance more fiercely. Up and down the line he strode, more and more swiftly; and all at once, as his strokes grew more potent, the dancers began to glow. Then, as he reached each one in turn, they successively burst into flame. Leaping ever higher, these human torches filled the low-roofed cavern with their ardent rite; and finally left the floor, to circle, a chorus of serene fire-balloons, near the ceiling.

Uncle Felix used to torture me with long notes, the most tedious, painful, boring exercise known to violinists all over the world. One note, sustained endlessly. No volume change, no variance, no vibrato. Babbo hated long notes almost as much as I did. The music room was on the other side of his library at the villa. One day I heard him heave a book at the wall after I’d been playing long notes for more than an hour. It ruined my concentration, and I stopped, falling just short of my record. Uncle Felix shouted, “You will never master this instrument if you do not master the long note, Batsheva!” I was so frustrated I yelled back, “And you will never master Italian if you only speak in German!” Babbo heard that too. And I was grounded for a week for my impertinence. I play my long notes when I’m alone in my room at the convent, and for the first time in my life, I’m comforted by them. I’m comforted by my ability to master that one continuous sound, though my arm aches and my spirit longs for music. Life is like a long note; it persists without variance, without wavering. There is no cessation in sound or pause in tempo. It continues on, and we must master it or it will master us. It mastered Uncle Felix, though one could argue that he simply laid down his bow. I wonder what the nuns think of this exercise, the long note that wails from my room, night after night. I would think if anyone understood the power of constancy, it would be the nuns of Santa Cecilia.

day, we could stand together, not apart, and treat others as we would hope to be treated. History teaches us that day will never come. Our differences give us purpose—both good and bad. Some see it as an opportunity to strive for what they aren’t, while others take it to belittle those who frighten us. In the vein of my earlier appreciation for dancing, I would imagine a world where music defines us. The fall and rise of the tempo would dictate our moves, and our hearts and minds would sway to the beat. Each person would have a place on the stage, and every voice would be heard. The melodies would bridge our differences while celebrating our similarities. And at the end, we would be better for having danced together.

The tempo increased. I wanted to be in the music, wanted to ride its speed and weave between its notes. I could feel the music around me, like a living, breathing thing of wonder and joy and beauty.

Passar quatro dias e quatro noites em casa, vendo o carnaval passar; ou não vendo nem isso, mas entregue a uma outra e cifrada folia, que nesta quarta-feira de cinzas abre suas pétalas de cansaço, como se também tivéssemos pulado e berrado no clube. Não ligar a televisão, esquecer-se do rádio; deixar os locutores falando sozinhos, na ânsia de encher de discurso uma festa à base de movimento e de canto. Perceber apenas o grito trêmulo, trazido e levado pelo vento, de um samba que marca realidade lúdica sem nos convidar à integração. Beneficiar-se com a ausência de jornais, que prova a inexistência provisória do mundo como arquitetura de notícias. Ter como companheiro o irmão gato Crispim, exemplo de abstenção sem sacrifício, manual de silêncio e sabedoria, aventureiro que experimentou a vertigem da luta-livre nos telhados e homologa a invenção da poltrona. Penetrar no vazio do tempo sem obrigações, como num parque fechado, aproveitando a ausência de guardas, e descobrindo nele tudo que as tabuletas omitem. Aceitar a solidão; escolhê-la; desfrutá-la. Sorrir dos psiquiatras que falam em alienação do mundo e recomendam a terapêutica de grupo. Estimar a pausa como valor musical, o intervalo, o hiato. O instante em que a agulha fere o disco sem despertar ainda qualquer som. Andar de um quarto para outro sem ser à procura de objetos: achando-os. Descobrir, sem mescalina, as cores que a cor esconde; os timbres entrelaçados no ruído. Olhar para as paredes, ou melhor, olhar as paredes em torno dos quadros. Sentir a casa como um todo e como partículas densas, tensas, expectantes, acostumadas a viver sem nós, à nossa revelia, contra o nosso desdém. Habitar realmente a casa, quatro dias: como ilha, fortaleza, continente; infinito no finito; reconsiderar os livros, arrumá-los primeiro com método, depois com voluptuosidade, fazendo com que cada prateleira exija o maior tempo possível; verificar que antes é preciso tirar a poeira de um, remover a boba capa de celofane que envolve a encadernação de outro. Reler dedicatórias, abrir ao acaso livros de poetas que preferimos e que infelizmente não são os mais modernos, nem os mais célebres; copiar meia estrofe por onde corre arrepio verbal; separar volumes que não nos falam mais nada e que devem tentar seu destino em outras casas. Sentir chegada a hora dos álbuns de pintura com pouco ou nenhum texto, e dos volumes iconográficos que nos contam Paris ou a vida de Mallarmé. Viajar em fotografias; sentir-se imagem flutuando entre imagens; a terra domesticada em figura, tornada familiar sem perda de sua essência enigmática. Reconhecer que muitos livros comprados a duras penas, pedidos ao estrangeiro ou longamente minerados nos sebos, não têm mais do que essa oportunidade de comunicação durante o ano; deixar que fiquem a sós conosco e nos confiem seu segredo. Admitir a fome, sem exigência de horário, e matá-la com o que houver à mão; renunciar à idéia de almoço e jantar, com reverência ao sagrado direito que assiste a todos, inclusive e principalmente às cozinheiras, de brincarem o seu carnaval; achar mais gosto nessa comida, porque não é regulamentar nem é seguida de nada: todas as obrigações estão suspensas, e só valem as que soubermos traçar a nós mesmos. Descortinar na preguiça um espaço incomensurável, onde cabe tudo; não enchê-lo demais; devassá-lo à maneira de um explorador que não quer ser muito rico e tanto sente prazer em descobrir como em procurar. Assim vosso cronista passou o carnaval: sem fugir, sem brincar, divertido em seu canto umbroso.

Suonerà come un cliché, lo so, ma mi sembra veramente che sia passato solo un giorno da quando il mondo si fissò con quella canzone. Devo confessare che non mi piaceva. Tuttavia, non arriverei a dire che la odiavo. Non la calcolavo, e riconosco che mi dava fastidio quando la sentivo per la millesima volta mentre ero in giro. Anche se, tecnicamente, è stata la mia prima canzone K-pop, al tempo non avevo un’idea precisa di cosa fosse. Per me, era semplicemente una delle solite mode da social media che era andata troppo in là. E, come ogni altra moda, con il tempo “Gangnam Style” sarebbe sparita e avrebbe lasciato il posto ad altri tormentoni. Ma, senza che potessi immaginarlo, aveva posto le basi per qualcosa di più grande e permanente.

It was exciting and slightly embarrassing to feel the floor with her naked toes as he swept her into one luxurious full turn after another. Of course, the sensation of dancing with bare feet wasn't entirely new: She'd waltzed alone in her bedroom more than once, imagining herself in the arms of some unknown suitor. But it felt very different when her partner was a flesh-and-blood man. She relaxed and abandoned herself, following his guidance without effort or thought. Although they'd started slowly, Mr. Severin had quickened their tempo to match the music. The waltz was flowing and swift, each turn making her skirts whirl in eddies of silk and glitter. It was like flying. Her stomach turned light, as if she were on a garden swing, soaring a little too high and coming down in a giddy arc. She hadn't felt so free since she'd been a young girl, running recklessly across the Hampshire Downs with her twin. The world was nothing but moonlight and music as the two of them swept through the empty conservatory with the ease of mist carried on a sea breeze.

As worship takes its course, the Godhead freely “borrows” from within itself, as the equal exchange of ministry and service to one another transpires. The idea of “borrowing from itself” is not unlike the musical concept of rubato. When a musician employs rubato in a performance, it is a matter of temporarily disregarding the metronomic strictness of the designated tempo so that freedom of expression can occur.

On the fourth note the toe began to tap, and the dog rose to his hind legs and began to dance. The tune had a lilting rhythm, and in perfect time he pirouetted in a circle, forepaws held out and head held high. The music changed in tempo, slower now, and at the end of each phrase the dog nodded his head so that the silvery bells accompanied each last three notes of the repeated phrase. Now he brought the forepaws into action, one at a time, each cluster of bells set in a different pitch to the nodding head. It was the performance of a virtuoso. The strangest thing was that there seemed nothing preposterous, only an inherent grace and precision. The little dog danced as though he lived for it, as though he would will his audience to listen to his bells and live for it too. Not far away, guns rumbled a reminder. Three-quarters of the western world lay reeling in the bonds of occupation, the wake of smoldering destruction left by these gray-green uniforms. A few short miles would soon end the agony of France, and then all Europe would be overrun — yet for this moment, in this one place, there was nothing but a silvery tinkling and a lilting tune and an audience who had become children again, spellbound before a dog who danced on a sunlit road to the bidding of the flute.