Violin Sound Quotes

There is no worse sound in the world than someone who cannot play the violin but insists on doing so anyway.

She smiled. Her skin looked whiter than he recalled, and dark spidery veins were beginning to show beneath its surface. Her hair was still the color of spun silver and her eyes were still green as a cat’s. She was still beautiful. Looking at her, he was in London again. He saw the gaslight and smelled the smoke and dirt and horses, the metallic tang of fog, the flowers in Kew Gardens. He saw a boy with black hair and blue eyes like Alec’s, heard violin music like the sound of silver water. He saw a girl with long brown hair and a serious face. In a world where everything went away from him eventually, she was one of the few remaining constants. And then there was Camille.

She remembered when Will had died, her agony, the long nights alone, reaching across the bed every morning when she woke up, for eighty years expecting to find him there, and only slowly growing accustomed to the fact that that side of the bed would always be empty. The moments when she had found something funny and turned to share the joke with him, only to be shocked anew that he was not there. The worst moments, when, sitting alone at breakfast, she had realized that she had forgotten the precise blue of his eyes or the depth of his laugh; that like the sound of Jem's violin, they had faded into the distance where memories are silent.

There is no competition of sounds between a nightingale and a violin.

Will. For a moment her heart hesitated. She remembered when Will had died, her agony, the long nights alone, reaching across the bed every morning when she woke up, for years expecting to find him there, and only slowly growing accustomed to the fact that side of the bed would always be empty. The moments when she had found something funny and turned to share the joke with him, only to be shocked anew that he was not there. The worst moments, when, sitting alone at breakfast, she had realized that she had forgotten the precise blue of his eyes or the depth of his laugh; that, like the sound of Jem's violin music, they had faded into the distance where memories are silent.

As Magnus turned to walk away from the church, he heard the sound of violin music carried to him on the cloudy London air, and remembered another night, a night of ghosts and snow and Christmas music, and Will standing on the steps of the Institute, watching Magnus as he went.

What are these?" Maxon asked, brushing across the tips of my fingers as we walked. "Calluses. They're from pressing down on violin strings four hours a day." "I've never noticed them before." "Do they bother you?" I was the lowest caste of the six girls left, and I doubted any of them had hands like mine. Maxon stopped moving and lifted my fingers to his lips, kissing the tiny, worn tips. "On the contrary. I find them rather beautiful." I felt myself blush. "I've seen the world – admittedly mostly through bulletproof glass or from the tower of some ancient castle – but I've seen it. And I have access to the answers of a thousand questions at my disposal. But this small hand here?" He looked deeply into my eyes. "This hand makes sounds incomparable to anything I've ever heard. Sometimes I think I only dreamed that I heard you play the violin, it was so beautiful. These calluses are proof that it was real.

A computer is like a violin. You can imagine a novice trying first a phonograph and then a violin. The latter, he says, sounds terrible. That is the argument we have heard from our humanists and most of our computer scientists. Computer programs are good, they say, for particular purposes, but they aren’t flexible. Neither is a violin, or a typewriter, until you learn how to use it.

Tiny violins always sound loudest to those playing them.

I decided to make spaghetti for lunch again. Not that I was the least bit hungry. But I couldn't just go on sitting on the sofa, waiting for the phone to ring. I had to move my body, to begin working toward some goal. I put water in a pot, turned on the gas, and until it boiled I would make tomato sauce while listening to an FM broadcast. The radio was playing an unaccompanied violin sonata by Bach. The performance itself was excellent, but there was something annoying about it. I didn't know whether this was the fault of the violinist or of my own present state of mind, but I turned off the music and went on cooking in silence. I heated the olive oil, put garlic in the pan, and added minced onions. When these began to brown, I added the tomatoes that I had chopped and strained. It was good to be cutting things and frying things like this. It gave me a sense of accomplishment that I could feel in my hands. I liked the sounds and the smells.

Magnus didn’t look at her; he was looking down at the tent, where Clary sat talking with Tessa, where Alec stood side by side with Maia and Bat, laughing, where Isabelle and Simon were dancing to the music Jace was playing on the piano, the haunting sweet notes of Chopin reminding him of another time, and the sound of a violin at Christmas.

If you were able to hear lime juice, it would sound like violins.

yet she could not resist sometimes yielding to the charm of a woman, not a girl, of a woman confessing, as to her they often did, some scrape, some folly. And whether it was pity, or their beauty, or that she was older, or some accident-like a faint scent, or a violin next door (so strange is the power of sounds at certain moments), she did undoubtedly then feel what men felt.

A novel is like a bow, and the violin that produces the sound is the reader’s soul.

What point is there in dying in a ward, listening to the moans and rasps of the terminally ill? Wouldn't it be better to spend the twenty-seven thousand on a banquet, then, after taking poison, depart for the other world to the sound of violins, surrounded by intoxicated beautiful women and dashing friends?

Translator's Note: When the violin repeats what the piano has just played, it cannot make the same sounds and it can only approximate the same chords. It can, however, make recognizably the same "music", the same air. But it can do so only when it is as faithful to the self-logic of the violin as it is to the self-logic of the piano.

There were sharp little blows in the music, and waves of quick, fine notes that burst and rolled like the thin, clear ringing of broken glass. There were slow notes, as if the cords of the violins trembled in hesitation, tense with the fullness of sound, taking a few measured steps before the leap into the explosion of laughter.

Amory wandered slowly up the avenue and thought of the night as inevitably his-- the pageantry and carnival of rich dusk and dim streets... it seemed that he had closed the book of fading harmonies at last and stepped into the sensuous vibrant walks of life. Everywhere these countless lights, this promise of a night of streets and singing-- he moved in a half-dream through the crowd as if expecting to meet Rosalind hurrying toward him with eager feet from every corner... How the unforgettable faces of dusk would blend to her, the myriad footsteps, a thousand overtures, would blend to her footsteps; and there would be more drunkenness than wine in the softness of her eyes on his. Even his dreams now were faint violins drifting like summer sounds upon the summer air.

If this world is a plucked violin string, am I part of its sound or its stillness?

Maybe trees do have souls. Which makes wood a kind of flesh. And perhaps instruments of wooden construction sound so pleasing to our ears for this reason: the choral shimmer of a guitar; the heartbeat thump of drums; the mournful wail of violins--we love them because they sound like us.

In the hands of someone who does not appreciate or understand music, the instrument is just a lump of wood, but in the hands of a skilled musician who knows how to coax the sweetest notes, that violin becomes something capable of the most beautiful music, the most moving sounds, the most uplifting melody.

I wait on the origin of night's sounds waking. I know that here only the blind man sings, even in rain The notes of drenched violins rise like warped mirrors' and the last clouds part slowly, like a cracked wheel.

Edward was always a good listener, since his own form of self-expression then consisted in making uneartly and to me quite meaningless sounds on his small violin. I remember him, at the age of seven, as a rather solemn, brown-eyed little boy, with beautiful arched eyebrows which lately, to my infinite satisfaction, have begun to reproduce themselves, a pair of delicate question-marks, above the dark eyes of my five-year-old son. Even in childhood we seldom quarrelled, and by the time that we both went away to boarding-school he had already become the dearest companion of thos brief years of unshadowed adolescence permitted to our condemned generation.

Music, I regret to say, affects me merely as an arbitrary succession of more or less irritating sounds. Under certain emotional circumstances I can stand the spasms of a rich violin, but the concert piano and all wind instruments bore me in small doses and flay me in larger ones.

Will. For a moment her heart hesitated. She remembered when Will had died, her agony, the long nights alone, reaching across the bed every morning when she woke up, for years expecting to find him there, and only slowly growing accustomed to the fact that that side of the bed would always be empty. The moments when she had found something funny and turned to share the joke with him, only to be shocked anew that he was not there. The worst moments, when, sitting alone at breakfast, she had realized that she had forgotten the precise blue of his eyes or the depth of his laugh; that like the sound of Jem's violin music, they had faded into the distance where memories are silent.

The human voice vibrates naturally - but in such a way - to such a degree that it all sounds beautiful - it is the nature of the voice. We imitate such effects not only on wind instruments, but also with violins - even on clavier - but as soon as you go beyond the natural limits, it no longer sounds beautiful - because it is contrary to nature.

The worst moments, when, sitting alone at breakfast, she had realized that she had forgotten the precise blue of his eyes or the depth of his laugh; that like the sound of Jem's violin, they had faded into the distance where memories are silent.

Stephen had been put to sleep in his usual room, far from children and noise, away in that corner of the house which looked down to the orchard and the bowling-green, and in spite of his long absence it was so familiar to him that when he woke at about three he made his way to the window almost as quickly as if dawn had already broken, opened it and walked out onto the balcony. The moon had set: there was barely a star to be seen. The still air was delightfully fresh with falling dew, and a late nightingale, in an indifferent voice, was uttering a routine jug-jug far down in Jack's plantations; closer at hand and more agreeable by far, nightjars churred in the orchard, two of them, or perhaps three, the sound rising and falling, intertwining so that the source could not be made out for sure. There were few birds that he preferred to nightjars, but it was not they that had brought him out of bed: he stood leaning on the balcony rail and presently Jack Aubrey, in a summer-house by the bowling-green, began again, playing very gently in the darkness, improvising wholly for himself, dreaming away on his violin with a mastery that Stephen had never heard equalled, though they had played together for years and years. Like many other sailors Jack Aubrey had long dreamed of lying in his warm bed all night long; yet although he could now do so with a clear conscience he often rose at unChristian hours, particularly if he were moved by strong emotion, and crept from his bedroom in a watch-coat, to walk about the house or into the stables or to pace the bowling-green. Sometimes he took his fiddle with him. He was in fact a better player than Stephen, and now that he was using his precious Guarnieri rather than a robust sea-going fiddle the difference was still more evident: but the Guarnieri did not account for the whole of it, nor anything like. Jack certainly concealed his excellence when they were playing together, keeping to Stephen's mediocre level: this had become perfectly clear when Stephen's hands were at last recovered from the thumb-screws and other implements applied by French counter-intelligence officers in Minorca; but on reflexion Stephen thought it had been the case much earlier, since quite apart from his delicacy at that period, Jack hated showing away. Now, in the warm night, there was no one to be comforted, kept in countenance, no one could scorn him for virtuosity, and he could let himself go entirely; and as the grave and subtle music wound on and on, Stephen once more contemplated on the apparent contradiction between the big, cheerful, florid sea-officer whom most people liked on sight but who would have never been described as subtle or capable of subtlety by any one of them (except perhaps his surviving opponents in battle) and the intricate, reflective music he was now creating. So utterly unlike his limited vocabulary in words, at times verging upon the inarticulate. 'My hands have now regained the moderate ability they possessed before I was captured,' observed Maturin, 'but his have gone on to a point I never thought he could reach: his hands and his mind. I am amazed. In his own way he is the secret man of the world.

The house lights go off and the footlights come on. Even the chattiest stop chattering as they wait in darkness for the curtain to rise. In the orchestra pit, the violin bows are poised. The conductor has raised his baton. In the silence of a midwinter dusk, there is far off in the deeps of it somewhere a sound so faint that for all you can tell it may be only the sound of the silence itself. You hold your breath to listen. You walk up the steps to the front door. The empty windows at either side of it tell you nothing, or almost nothing. For a second you catch a whiff of some fragrance that reminds you of a place you’ve never been and a time you have no words for. You are aware of the beating of your heart…The extraordinary thing that is about to happen is matched only by the extraordinary moment just before it happens. Advent is the name of that moment.

Strings Some people are made like the string of a kite, loose and free, like a bird riding the wind. Some people are made like the hard, brittle rope of a mountaineer, strong, steady, infallible. And then there are the ones who are like the strings of a violin, delicate and ethereal. Strung tight and taut, ready to snap. But when they sing, there is no other sound more haunting or beautiful.

We caught the tread of dancing feet, We loitered down the moonlit street, And stopped beneath the harlot's house. Inside, above the din and fray, We heard the loud musicians play The 'Treues Liebes Herz' of Strauss. Like strange mechanical grotesques, Making fantastic arabesques, The shadows raced across the blind. We watched the ghostly dancers spin To sound of horn and violin, Like black leaves wheeling in the wind. Like wire-pulled automatons, Slim silhouetted skeletons Went sidling through the slow quadrille, Then took each other by the hand, And danced a stately saraband; Their laughter echoed thin and shrill. Sometimes a clockwork puppet pressed A phantom lover to her breast, Sometimes they seemed to try to sing. Sometimes a horrible marionette Came out, and smoked its cigarette Upon the steps like a live thing. Then, turning to my love, I said, 'The dead are dancing with the dead, The dust is whirling with the dust.' But she--she heard the violin, And left my side, and entered in: Love passed into the house of lust. Then suddenly the tune went false, The dancers wearied of the waltz, The shadows ceased to wheel and whirl. And down the long and silent street, The dawn, with silver-sandalled feet, Crept like a frightened girl.

Contrasts The windows of my poetry are wide open on the boulevards and in the shop windows Shine The precious stones of light Listen to the violins of the limousines and the xylophones of the linotypes The sketcher washes with the hand-towel of the sky All is color spots And the hats of the women passing by are comets in the conflagration of the evening Unity There's no more unity All the clocks now read midnight after being set back ten minutes There's no more time. There's no more money. In the Chamber They are spoiling the marvelous elements of raw material ("Contrasts")

Shot Dunyun: No bullshit, but I never leave the house without a mix for anything: Falling in love. Witnessing a death. Disappointment. Impatience. Traffic. I carry a mix for any human condition. Anything really good or bad happens to me, and my way not to overreact—like, to distance my emotions—is to locate the exact perfect sound track for that moment. Even the night Rant died, my automatic first thought was: Philip Glass's Violin Concerto II, or Ravel's Piano Concerto in G Major?

I thought you people were supposed to be good at math." "Yes, my people all do math for fun, while simultaneously dry-cleaning our karate outfits and giving each other manicures and pedicures, all in between our numerous piano and violin recitals," I said, slamming his book shut. "Do you own freaking work. Although I guess that's a completely foreign concept to you, isn't it? Since you've been deep-throating a silver spoon your whole life." "That is so hot that you just said that," Camden said, lazily swiggin his Red Bull. "Besides, I'll work one of these days when I have to. I'll either go into real estate like my dad or find some rich old widow who wants...uh...services." "That doesn't sound like work," I said. "Of course it is, if she's old," he answered.

Lie down there on the sofa and see if I can put you to sleep. He took up his violin fom the corner, and as I stretched myself out he began to play some low, dreamy, melodious air - his own no doubt, for he had a remarkable gift for improvisation. I have a vague remembrance of his gaunt limbs, his earnest face and the rise and fall of his bow. Then I seemed to be floated peacefully away upon a soft sea of sound until I found myself in dreamland, with the sweet face of Mary Morstan looking down upon me.

When he played that violin for us, I thought about his stories and the history he talked of, about paintings I had seen and books I had read. His violin made a smoky, mysterious sound. I heard it in the explosions of chestnuts cooking on a brazier at the edge of a river, and horses clopping across cobblestones in Siena and Florence, and also the rustle of leaves that fell on Garibaldi's troops as they marched. The violin sang 'Roma o morte,' and it wailed for the mountains of dead in an American Civil War across the sea, and for Paris glittering with the Second Empire. It rose and fell with voices reading Victor Hugo aloud by whale oil, and it sang about dynamite, about Ottomans and Englishmen falling under their horses in the Crimea, and the feet of crowds shuffling through international expositions. Above all, Stoyan's violin sang about places - places its maker had been, places the teacher of its maker had been, places its current owner would someday see, and the many, many places where he would someday perform on it.

They say that February is the shortest month, but you know they could be wrong. Compared, calendar page against calendar page, it looks to be the shortest, all right. Spread between January and March like lard on bread, it fails to reach the crust on either slice. In its galoshes it's a full head shorter than December, although in leap years, when it has growth spurts, it comes up to April's nose. However more abbreviated than it's cousins it may look, February feels longer than any of them. It is the meanest moon of winter, all the more cruel because it will masquerade as spring, occasionally for hours at a time, only to rip off its mask with a sadistic laugh and spit icicles into every gullible face, behavior that grows quickly old. February is pitiless, and it's boring. That parade of red numerals on its page adds up to zero: birthdays of politicians, a holiday reserved for rodents, what kind of celebrations are those? The only bubble in the flat champagne of February is Valentine's Day. It was no accident that our ancestors pinned Valentine's day on February's shirt: he or she lucky enough to have a lover in frigid, antsy February has cause for celebration, indeed. Except to the extent that it "tints the buds and swells the leaves within" February is as useless as the extra r in its name. It behaves like an obstacle, a wedge of slush and mud and ennui holding both progress and contentment at bay. If February is the color of lard on rye, its aroma is that of wet wool trousers. As for sound, it is an abstract melody played on a squeaky violin, the petty whine of a shrew with cabin fever. O February, you may be little but you're small! Where you twice your tiresome length, few of us would survive to greet the merry month of May.

I’d never been in love, because I was waiting for the silent-movie love: big eyes and violins, chattering without sound, pure. Nobody had loved right since 1926.

My soul is a hidden orchestra; I do not know what instruments, what violins and harps, drums and tambours, sound and clash inside me. I know myself only as a symphony.

In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.' Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand. The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously. "Music! more music!" she cried. Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")

Autumn Song" translated by Arthur Symons When a sighing begins In the violins Of the autumn-song, My heart is drowned In the slow sound Languorous and long Pale as with pain, Breath fails me when The hours toll deep. My thoughts recover The days that are over, And I weep. And I go Where the winds know, Broken and brief, To and fro, As the winds blow A dead leaf.

Pop leadership abuts pop psychology, and is very destructive. In no other serious domain of human endeavor (surgery, playing the violin) is the subject distilled down to nice-sounding aphorisms that mean nothing.

Iris was interrupted by a resounding crash. Or not exactly a crash. More like a splintering sound. With a few pops. And twangs. “What was that?” Iris asked. “I don’t know.” Honoria craned her neck. “It sounded like—” “Oh, Honoria!” they heard Daisy shriek. “Your violin!” “What?” Honoria walked slowly toward the commotion, not quite able to put two and two together. “Oh, my heavens,” Iris said abruptly, her hand coming to her mouth. She lay a restraining hand on Honoria, as if to say—It’s better if you don’t look. “What is going on? I—” Honoria’s jaw went slack. “Lady Honoria!” Lady Danbury barked. “So sorry about your violin.” Honoria only blinked, staring down at the mangled remains of her instrument. “What? How . . . ?” Lady Danbury shook her head with what Honoria suspected was exaggerated regret. “I have no idea. The cane, you know. I must have knocked it off the table.” Honoria felt her mouth opening and closing, but no sound was emerging. Her violin didn’t look as if it had been knocked off a table. Honestly, Honoria was at a loss as to how it could have got into such a state. It was absolutely wrecked. Every string had snapped, pieces of wood were completely detached, and the chin rest was nowhere to be seen. Clearly, it had been trampled by an elephant.

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 narrow ribbon the violin part, delicate, unyielding, substantial and governing the whole, he had suddenly perceived, where it was trying to surge upwards in a flowing tide of sound, the mass of the piano-part, multiform, coherent, level, and breaking everywhere in melody like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight. But at a given 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 collect, to treasure in his memory the phrase or harmony—he knew not which—that had just been played, and had opened and expanded his soul, just as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating our nostrils.

But I did know that nobody ever asked me what I wanted for Christmas. Had any adult with the power to fulfill my desires taken me seriously and asked me what I wanted, they would have known that I did not want to have anything to own, or to possess any object. I wanted rather to feel something on Christmas day. The real question would have been, "Dear Claudia, what experience would you like on Christmas?" I could have spoken up, "I want to sit on the low stool in Big Mama's kitchen with my lap full of lilacs and listen to Big Papa play his violin for me alone." The lowness of the stool made for my body, the security and warmth of Big Mama's kitchen, the smell of the lilacs, the sound of music, and, since it would be good to have all my senses engaged, the taste of peach, perhaps, afterward.

-into a flash of darkness, like sudden blindness or an eclipse. He hs an impression of being in some vast interior, something like a train station or a cathedral, and there are notes of violin music, there are other people around him, and then an incomprehensible sound-

And she could hear a sound, rising steadily, not in steps like a scale, but in a slow glissando, and not quite a violin or a voice, but somewhere in between, rising and rising unbearably, without ever leaving the audible range, a violin-voice that was just on the edge of making sense, telling her something urgent in sibilants and vowels more primitive than words. It may have been inside the room, or out in the corridor, or only in her ears, like tinnitus. She may even have been making the noise herself. She did not care - she had to get out.

I had for my winter evening walk- No one at all with whom to talk, But I had the cottages in a row Up to their shining eyes in snow. And I thought I had the folk within: I had the sound of a violin; I had a glimpse through curtain laces Of youthful forms and youthful faces. I had such company outward bound. I went till there were no cottages found. I turned and repented, but coming back I saw no window but that was black. Over the snow my creaking feet Disturbed the slumbering village street Like profanation, by your leave, At ten o'clock of a winter eve.

It throbbed and pulsed, channeled by elemental forces of fear, love, hope, and sadness. The bow stabbed and flitted across the strings in a violent whorl of creation; its hairs tore and split until it seemed the last strands would sever in a scrape of dissonance. Those who saw the last fragile remnants held their breath against the breaking. The music rippled across the ship like a spirit, like a thing alive and eldritch and pregnant with mystery. The song held. More than held, it deepened. It groaned. It resounded in the hollows of those who heard. Then it softened into tones long, slow, and patient and reminded men of the faintest stars trembling dimly in defiance of a ravening dark. At the last, when the golden hairs of the bow had given all the sound they knew, the music fled in a whisper. Fin was both emptied and filled, and the song sighed away on the wind.

One day in the next five hundred billion years, while the probes complete one full circuit of the Milky Way, maybe they’ll stumble upon intelligent life. In forty thousand years or so, when the two probes sail close enough to a planetary system, maybe just maybe one of these plants will be home to some life form which will spy the probe with whatever it has that passes for eyes, stay its telescope, retrieve the derelict fuel-less old probe with whatever it has that passes for curiosity, lower the stylus (supplied) to the record with whatever it has that passes for digits, and set free the dadadadaa of Beethoven’s Fifth. It’ll roll like thunder through a different frontier. Human music will permeate the Milky Way’s outer reaches. There’ll be Chuck Berry and Bach, there’ll be Stravinsky and Blind Willie Johnson, and the didgeridoo, violin, slide guitar and shakuhachi. Whale song will drift through the constellation of Ursa Minor. Perhaps a being on a planet of the star AC +793888 will hear the 1970s recording of sheep bleat, laughter, footsteps, and the soft pluck of a kiss. Perhaps they’ll hear the trundle of a tractor and the voice of a child. When they hear on the phonograph a recording of rapid firecracker drills and bursts, will they know that these sounds denote brainwaves? Will they ever infer that over forty thousand years before in a solar system unknown a woman was rigged to an EEG and her thoughts recorded? Could they know to work backwards from the abstract sounds and translate them once more into brainwaves, and could they know from these brainwaves the kinds of thoughts the woman was having? Could they see into a human’s mind? Could they know she was a young woman in love? Could they tell from this dip and rise in the EEG’s pattern that she was thinking simultaneously of earth and lover as if the two were continuous? Could they see that, though she tried to keep her mental script, to bring to mind Lincoln and the Ice Age and the hieroglyphs of ancient Egypt and whatever grand things have shaped the earth and which she wished to convey to an alien audience, every thought cascaded into the drawn brows and proud nose of her lover, the wonderful articulation of his hands and the way he listened like a bird and how they had touched so often without touching. And then a spike in sound as she thought of that great city Alexandria and of nuclear disarmament and the symphony of the earth’s tides and the squareness of his jaw and the way he spoke with such bright precision so that everything he said was epiphany and discovery and the way he looked at her as though she were the epiphany he kept on having and the thud of her heart and the flooding how heat about her body when she considered what it was he wanted to do to her and the migration of bison across a Utah plain and a geisha’s expressionless face and the knowledge of having found that thing in the world which she ought never to have had the good fortune of finding, of two minds and bodies flung at each other at full dumbfounding force so that her life had skittered sidelong and all her pin-boned plans just gone like that and her self engulfed in a fire of longing and thoughts of sex and destiny, the completeness of love, their astounding earth, his hands, his throat, his bare back.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

Also, he detested people who bought fast horses that they were unskilled to ride. Furthermore, he detested: recreational sailing vessels; surveyors; cheaply made shoes; French (the language, the food, the populace); nervous clerks; tiny porcelain plates which broke in a man’s damned hand; poetry (but not songs!); the stooped backs of cowards; thieving sons of whores; a lying tongue; the sound of a violin; the army (any army); tulips (“onions with airs!”); blue jays; the drinking of coffee (“a damned, dirty Dutch habit!”);

Surely an instrument is neither male nor female—they’re just things that make sound—strings and bows, brass and wood, mallets and cymbals and drumskins and little metal triangles. And yet all you have to do is look around at these musicians to see the way that even sound is gendered. In the middle of the orchestra is the brass section—tubas, trombones, trumpets, French horn, every last one of them played by boys. It’s not all that different in the woodwinds—where the boys play bassoons and clarinets, but all the flutes are played by girls. The strings are even more ridiculous—the deeper the instrument, the more likely it is to be played by a boy. So all the basses? Boys. Most of the cellos? Boys. The violas split half and half. All but one of the violins? Girls. Then there’s the harp, which I guess federal law requires be played by a girl. And the percussion and kettle drums, which are usually played by boys. How weird is this? Most of us decided to play our instruments in third grade, a bunch of little kids who made our choices without even thinking about them. But even at eight years old, we were already running the gender maze that the world had set for us, without even realizing it.

And he closed the case. I found it very unfriendly. So young and already mystery made him uncomfortable. There was no way he could be my friend. Ruled out. Kaputt. Then it turned out he also went to Casp, a year ahead of me. And his name was Bernat Plensa i Punsoda. I may have said that already. And he was so uptight, as if they’d bathed him in a vat of hair spray and forgot to rinse him off. And I had to admit, after sixteen minutes, that that unfriendly boy who refused to accept mystery, who would never be my friend, and who was named Bernat Plensa i Punsoda, had something about him that made a violin bought for one hundred and seventy-five pesetas at Casa Parramon sound with a delicacy I had never been able to achieve. And Trullols looked at him with satisfaction and I thought what a piece of shit my violin was. That was when I swore that I would make him shut up forever, him, the violin dedicated to Madame d’Angoulême and the hair spray he’d bathed in; and I think that it would have been much better for everyone if I’d never had that thought. For the moment, all I did was let it gradually ripen. It’s hard to believe that the most unthinkable tragedies can be born of the most innocent things.

The Harlot’s House. We caught the tread of dancing feet, We loitered down the moonlit street, And stopped beneath the harlot’s house. Inside, above the din and fray, We heard the loud musicians play The ‘Treues Liebes Herz’ of Strauss. Like strange mechanical grotesques, Making fantastic arabesques, The shadows raced across the blind. We watched the ghostly dancers spin To sound of horn and violin, Like black leaves wheeling in the wind. Like wire-pulled automatons, Slim silhouetted skeletons Went sidling through the slow quadrille. They took each other by the hand, And danced a stately saraband; Their laughter echoed thin and shrill. Sometimes a clockwork puppet pressed A phantom lover to her breast, Sometimes they seemed to try to sing. Sometimes a horrible marionette Came out, and smoked its cigarette Upon the steps like a live thing. Then, turning to my love, I said, ‘The dead are dancing with the dead, The dust is whirling with the dust.’ But she—she heard the violin, And left my side, and entered in: Love passed into the house of lust. Then suddenly the tune went false, The dancers wearied of the waltz, The shadows ceased to wheel and whirl. And down the long and silent street, The dawn, with silver-sandalled feet, Crept like a frightened girl.

Bruce nodded, "This is what we call classical music --- the music performed in the Crescent City Ballet. This is from a ballet called the Glass Coffin." Bryce hit play again, and the violins began. Again Nesta was silent, knees now clutched to her chest, staring into the darkness. As if she was dedicating every inch of herself to listening. Bryce tapped her foot along to the melody, reading the expressions stealing across Nesta's face as the music played. Wonder and curiosity, joy and --- longing. Nesta seemed to be thrumming with the music, though she didn't move at all. Like she was coming alive merely listening to the sound.

He halted the horse and simply listened. This was the sound that had drawn his path to Sophie’s, a purely unhappy, discontent sound, but unmistakably human. Kit, and he wasn’t hungry. He wasn’t tired, either; this was his lonely cry, the lament he sent out when he needed to be held and cuddled and reassured. This was the simplest and most sincere form of a human being demanding to be loved. The boy wanted Sophie, and he didn’t second-guess his entitlement to her, didn’t stop to fret about long-ago insults and innuendos and violins, didn’t worry about titles or any other damned thing that stood between him and what he needed to be happy. Mercifully,

It was something central which permeated; something warm which broke up surfaces and rippled the cold contact of man and woman, or of women together. For that she could dimly perceive. She resented it, had a scruple picked up Heaven knows where, or, as she felt, sent by Nature (who is invariably wise); yet she could not resist sometimes yielding to the charm of a woman, not a girl, of a woman confessing, as to her they often did, some scrape, some folly. And whether it was pity, or their beauty, or that she was older, or some accident—like a faint scent, or a violin next door (so strange is the power of sounds at certain moments), she did undoubtedly then feel what men felt.

Wilson dug into his pockets, feeling in every one. Then he tried his car doors. I could have told him they were all locked, but I wisely remained silent. I suppose that would be twelve things: I can be wise. “Bollocks!” He pressed his face up against the car window, hands shielding his eyes on either side. “Blast!” “You have a filthy mouth, Mr. Wilson,” I chided, trying not to laugh. “Isn't saying blast like saying the F word in England?” “What? No! Bugger, blast and bloody are fairly tame . . . like damn.” “And bollocks? That sounds downright profane.” It really didn't, but I found I was enjoying myself. “Soon you'll be saying fiddlesticks! I don't think Principal Beckstead would approve.” “My keys are in the ignition,” Wilson groaned, ignoring me. He straightened and looked down at me soberly. “We're walking, Blue, unless you're willing to admit you have certain skills . . . breaking and entering, perhaps?” “I don't need skills to break and enter. I just need tools – and I don't have any of them on me,” I retorted flatly. “We could shove your big violin through your car window, though.” “Always a smartarse,” Wilson turned and began walking toward the road. “I live about four miles away in that direction,” I offered, hobbling along after him. “Oh, good. I live six. That means for at least two miles, I will not have to listen to you snipe at me,” Wilson grumbled. I burst out laughing. He really was cranky

Faking violin stardom ultimately allowed me to return to what captivated me at four years old when I first heard Vivaldi's "Winter." It wasn't the desire to be seen as talented, or a ticket to the big city, or worldly success, or respect. It wasn't The Money. It was simply this: I loved a song. Playing the role of a famous, world-class violinist allowed me to return to the feeling that playing the violin doesn't require anything more than loving a song. Or anything less. As Mr. Rogers says at the end of the trumpet factory episode, right after he explains that as a kid he pretended he was a songwriter on TV, right before he begins to sing on TV: 'It helps to play about things. It helps you to know how it really feels.

Blessedness is within us all It lies upon the long scaffold Patrols the vaporous hall In our pursuits, though still, we venture forth Hoping to grasp a handful of cloud and return Unscathed, cloud in hand. We encounter Space, fist, violin, or this — an immaculate face Of a boy, somewhat wild, smiling in the sun. He raises his hand, as if in carefree salute Shading eyes that contain the thread of God. Soon they will gather power, disenchantment They will reflect enlightenment, agony They will reveal the process of love They will, in an hour alone, shed tears. His mouth a circlet, a baptismal font Opening wide as the lips of a damsel Sounding the dizzying extremes. The relativity of vein, the hip of unrest For the sake of wing there is shoulder. For symmetry there is blade. He kneels, humiliates, he pierces her side. Offering spleen to the wolves of the forest. He races across the tiles, the human board. Virility, coquetry all a game — well played. Immersed in luminous disgrace, he lifts As a slave, a nymph, a fabulous hood As a rose, a thief of life, he will parade Nude crowned with leaves, immortal. He will sing of the body, his truth He will increase the shining neck Pluck airs toward our delight Of the waning The blossoming The violent charade But who will sing of him? Who will sing of his blessedness? The blameless eye, the radiant grin For he, his own messenger, is gone He has leapt through the orphic glass To wander eternally In search of perfection His blue ankles tattooed with stars.

I know you can feel it. But that’s just a small part of it. You see, music is . . . ( Incredible subject to communicate.) Music has a . . . ( But he’s going to try.) Music starts with pitches. [P-i-t-c-h-e-s.] Sounds! High and low. A whole, huge range of sounds. And each one has its own emotional life. And then when you combine them and play them together — these two and these two — it has a whole new life. And then you can play them on different instruments — trombones, violins, flutes and drums — The combinations are infinite! And then when you put it all together, with a beginning, a middle, and an end, it grows into a ... It transcends mere sound and speaks directly to your heart — because you hear it! I don’t have the signs that can ... I can’t explain it, I’m sorry.

Dance with me', he says. There is a longing in his voice, and loss, and she thinks, perhaps, it is the end, of this, of them. A game finally played out. A war with no winners. And so she agrees to dance. There is no music, but it does not matter. When she takes his hand, she hears the melody, soft and soothing in her head. Not a song, exactly, but the sound of the woods in summer, the steady hush of the wind through the fields. And as he pulls her close, she hears a violin, low and mournful, along the Seine. His hand slides through hers, and there is the steady murmur of the seaside. The symphony soaring through Munich. Addie leans her head against his shoulder, and hears the rain falling in Villon, the brass band ringing in an L.A. lounge, and the ripple of a saxophone thorugh the open windows on Bourbon.

You okay, Bobert?” He says pretty much what I expect: “I don’t know how I’m going to pair Ramón. He’ll drown Lisa.” Robert’s pianist, a man named Luther, is pretty wonderful. “Can Luther carry the solos?” “On piano?” I shrug. “Just spitballing here.” He appears to consider it, and then shakes his head. “The songs don’t lend themselves to keys. The strings have a richness, a vibrancy that the piano can’t mimic. It needs to stir something inside you. Luther is amazing, but we need a musician who demands your attention. Who makes you feel.” The idea seems to heat my blood, and I straighten. “Wait. Wait.” Robert looks up, confused. I hold up my hand. “An idea is forming in my brain.” His expression clears in understanding. “No, Buttercup.” “He’s exactly what you’re describing,” I insist. “You’ve never heard him, but trust me—he is.” “He plays guitar. Honey, I know you’re enamored, but—” “It’s not that, I swear. And he’s not just some busker hanging out on the street. He’s gifted, Robert. Listening to him play is like watching Luis onstage. I feel the notes. I know I’m not . . .” I search for words, flushing. Trying to tell Robert how to do his job is dangerous; he may be my uncle, but he’s been a brilliant musician for much longer. “I’m not a trained musician like you are,” I say carefully, “but I feel like classical guitar might work here. It’s gentle, and soft, yes, but has the passion and—the vibrancy you mention? It has that. If we’re changing the sound entirely by bringing in Ramón, why not change it this way, too? Have a guitar sing with Ramón, instead of a violin?” Robert stares at me, speechless. “Just come with me once.” I grow dizzy from the awareness that I might be convincing him. “Once. That’s all it will take. I know it.

My good aunt Lucie was on the eve of marriage with an officer who was a friend of my father, and they were all celebrating in the intimacy of the family. My mother was wearing a pretty dress the color of roses. They were dancing a quadrille composed by my father, as he played on his faithful Cremona violin. . . . My mother, feeling a slight malaise, left the dance and went to her bedroom. Since she showed no signs of indisposition and had left so quietly, the dancing continued. My aunt Lucie, as it was ending, went to my mother's bedroom, and almost immediately she was heard to cry, "Come, come quickly, Maurice, you have a daughter!" "She shall be called Aurore," said my father, "after my poor, dear mother, who is not here to bless her, but who will someday!" And he took me in his arms. . . . "She was born to the sound of music and in the color of roses," said my aunt. "She will know happiness.

Kestrel came often. One day, when she knew from Sarsine that Arin had returned home but she had not yet seen him, she went to the suite. She touched one of his violins, reaching furtively to pluck the highest string of the largest instrument. The sound was sour. The violin was ruined--no doubt all of them were. That is what happens when an instrument is left strung and uncased for ten years. A floorboard creaked somewhere in one of the outer chambers. Arin. He entered the room, and she realized that she had expected him. Why else had she come here so frequently, almost every day, if she hadn’t hoped that someone would notice and tell him to find her there? But even though she admitted to wanting to be here with him in his old rooms, she hadn’t imagined it would be like this. With her caught touching his things. Her gaze dropped. “I’m sorry,” she murmured. “It’s all right,” he said. “I don’t mind.” He lifted the violin off its nails and set it in her hands. It was light, but Kestrel’s arms lowered as if the violin’s hollowness were terribly heavy. She cleared her throat. “Do you still play?” He shook his head. “I’ve mostly forgotten how. I wasn’t good at it anyway. I loved to sing. Before the war, I worried that gift would leave me, the way it often does with boys. We grow, we change, our voices break. It doesn’t matter how well you sing when you’re nine years old, you know. Not when you’re a boy. When the change comes you just have to hope for the best…that your voice settles into something you can love again. My voice broke two years after the invasion. Gods, how I squeaked. And when my voice finally settled, it seemed like a cruel joke. It was too good. I hardly knew what to do with it. I felt so grateful to have this gift…and so angry, for it to mean so little. And now…” He shrugged, a self-deprecating gesture. “Well, I know I’m rusty.” “No,” Kestrel said. “You’re not. Your voice is beautiful.” The silence after that was soft.

It has been noted in various quarters that the half-illiterate Italian violin maker Antonio Stradivari never recorded the exact plans or dimensions for how to make one of his famous instruments. This might have been a commercial decision (during the earliest years of the 1700s, Stradivari’s violins were in high demand and open to being copied by other luthiers). But it might also have been because, well, Stradivari didn’t know exactly how to record its dimensions, its weight, and its balance. I mean, he knew how to create a violin with his hands and his fingers but maybe not in figures he kept in his head. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari’s craftsmanship. They’ve worked out that he used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. They’ve figured out that he also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But they still can’t replicate a Stradivarius. The genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what the philosopher Michael Polyani called “elbow learning.” This is the process where a protégé is trained in a new art or skill by sitting at the elbow of a master and by learning the craft through doing it, copying it, not simply by reading about it. The apprentices of the great Stradivari didn’t learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. In his book Personal Knowledge, Polyani wrote, “Practical wisdom is more truly embodied in action than expressed in rules of action.”1 By that he meant that we learn as Stradivari’s protégés did, by feeling the weight of a piece of wood, not by reading the prescribed measurements in a manual. Polyani continues, To learn by example is to submit to authority. You follow your master because you trust his manner of doing things even when you cannot analyze and account in detail for its effectiveness. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another.

And then she caught the song. She fell upon it and music poured from the fiddle’s hollow, bright and liquid like fire out of the heart of the earth. Pierre-Jean drew back and stood mesmerized. The room around Fin stirred as every ear bent to the ring of heartsong. It rushed through Fin and spread to the outermost and tiniest capillary reaches of her body. Her flesh sang. The hairs of her arms and neck roused and stood. She sped the bow across the strings. Her fingers danced on the fingerboard quick as fat raindrops. Every man in the room that night would later swear that there was a wind within it. They would tell their children and lovers that a hurricane had filled the room, toppled chairs, driven papers and sheets before it and blew not merely around them but through them, taking fears, grudges, malice, and contempt with it, sending them spiraling out into the night where they vanished among the stars like embers rising from a bonfire. And though the spirited cry of the fiddle’s song blew through others and around the room and everything in it, Fin sat at the heart of it. It poured into her. It found room in the closets and hollow places of her soul to settle and root. It planted seeds: courage, resolve, steadfastness. Fin gulped it in, seized it, held it fast. She needed it, had thirsted for it all her days. She saw the road ahead of her, and though she didn’t understand it or comprehend her part in it, she knew that she needed the ancient and reckless power of a holy song to endure it. She didn’t let the music loose. It buckled and swept and still she clung to it, defined it in notes and rhythm, channeled it like a river bound between mountain steeps. And a thing happened then so precious and strange that Fin would ever after remember it only in the formless manner of dreams. The song turned and spoke her name—her true name, intoned in a language of mysteries. Not her earthly name, but a secret word, defining her alone among all created things. The writhing song spoke it, and for the first time, she knew herself. She knew what it was to be separated out, held apart from every other breathing creature, and known. Though she’d never heard it before and wouldn’t recall it after, every stitch of her soul shook in the passage of the word, shuddered in the wake of it, and mourned as the sound sped away. In an instant, it was over. The song ended with the dissonant pluck of a broken string.

The Blessed I am in the darkness and alone. In front of me stands the door. When I open it, I am bathed in light. There are a father, a mother and sister, A dog, which, dumb, still barks in friendliness. How can I lie, and how can I say That I, hidden there in darkness, have not come to harm them? I drag myself over the threshold. Snow blossoms in my eyes. I saw him bowing to me courteously; How much that hurt me. How could my heart find peace, When round it raced the voice of the old man? I live in coldness. I dried my tears and went To where the man was eating with his family. It was so calm and loving a reception. I felt the violins sounding inside me At first, so sweetly, so gently. They will never sound again, when I have finished. Fear drenched my hands. Beneath me I could almost taste my womb. A sneer seemed to say: 'Have you no shame? What have you done with the wedding-ring on your finger? Terrible thief, where did you hide your courage? Does the nakedness of my right hand mean so little to me?' I felt so poor and naked. I wriggled in my chair And trembled to think what I must do. Pity clawed at my heart and shook my body Like a tree in a winter field blown by the wind Shedding leaves. I told myself it was time to go, Scolding my wan, faded self for my little worries. Pleased with myself again, I steeled myself for the torture. The joy of it! Oh, how I want to be Just like an animal and be happy again! I sharpen my claws with a knife. It is still night, and that thing called shame, I may not let it show itself. I know the train that tears through the woods. I go out to the unfeeling rails. Weary, I am glad to go to bed, Running across two flat sticks of iron.

Kestrel came often. One day, when she knew from Sarsine that Arin had returned home but she had not yet seen him, she went to the suite. She touched one of his violins, reaching furtively to pluck the highest string of the largest instrument. The sound was sour. The violin was ruined--no doubt all of them were. That is what happens when an instrument is left strung and uncased for ten years. A floorboard creaked somewhere in one of the outer chambers. Arin. He entered the room, and she realized that she had expected him. Why else had she come here so frequently, almost every day, if she hadn’t hoped that someone would notice and tell him to find her there? But even though she admitted to wanting to be here with him in his old rooms, she hadn’t imagined it would be like this. With her caught touching his things. Her gaze dropped. “I’m sorry,” she murmured. “It’s all right,” he said. “I don’t mind.” He lifted the violin off its nails and set it in her hands. It was light, but Kestrel’s arms lowered as if the violin’s hollowness were terribly heavy. She cleared her throat. “Do you still play?” He shook his head. “I’ve mostly forgotten how. I wasn’t good at it anyway. I loved to sing. Before the war, I worried that gift would leave me, the way it often does with boys. We grow, we change, our voices break. It doesn’t matter how well you sing when you’re nine years old, you know. Not when you’re a boy. When the change comes you just have to hope for the best…that your voice settles into something you can love again. My voice broke two years after the invasion. Gods, how I squeaked. And when my voice finally settled, it seemed like a cruel joke. It was too good. I hardly knew what to do with it. I felt so grateful to have this gift…and so angry, for it to mean so little. And now…” He shrugged, a self-deprecating gesture. “Well, I know I’m rusty.” “No,” Kestrel said. “You’re not. Your voice is beautiful.” The silence after that was soft. Her fingers curled around the violin. She wanted to ask Arin a question yet couldn’t bear to do it, couldn’t say that she didn’t understand what had happened to him the night of the invasion. It didn’t make sense. The death of his family was what her father would call a “waste of resources.” The Valorian force had had no pity for the Herrani military, but it had tried to minimize civilian casualties. You can’t make a dead body work. “What is it, Kestrel?” She shook her head. She set the violin back on the wall. “Ask me.” She remembered standing outside the governor’s palace and refusing to hear his story, and was ashamed once more. “You can ask me anything,” he said. Each question seemed the wrong one. Finally, she said, “How did you survive the invasion?” He didn’t speak at first. Then he said, “My parents and sister fought. I didn’t.” Words were useless, pitifully useless--criminal, even, in how they could not account for Arin’s grief, and could not excuse how her people had lived on the ruin of his. Yet again Kestrel said, “I’m sorry.” “It’s not your fault.” It felt as if it was. Arin led the way out of his old suite. When they came to the last room, the greeting room, he paused before the outermost door. It was the slightest of hesitations, no longer than if the second hand of a clock stayed a beat longer on its mark than it should. But in that fraction of time, Kestrel understood that the last door was not paler than the others because it had been made from a different wood. It was newer. Kestrel took Arin’s battered hand in hers, the rough heat of it, the fingernails still ringed with carbon from the smith’s coal fire. His skin was raw-looking: scrubbed clean and scrubbed often. But the black grime was too ingrained. She twined her fingers with his. Kestrel and Arin walked together through the passageway and the ghost of its old door, which her people had smashed through ten years before.

Closing her eyes, she fit the violin under her chin, and set the bow to the strings. Faith had never been as blind as this. The first thing that came to mind was the sound of her fingers breaking. Her life, as she knew it, dying. The shock and the pain of it, and the utter devastation. They’ve killed me, she thought. So she played it. Next came the memory of warm, strong hands reaching for hers in the darkness. The unknown clasping her fingers, healing her, lending her strength and reassurance. It was the only thing in the world when she had nothing. It had been her lifeline. And she played it. Then came trust, the tentative unfurling, when she believed against all evidence that the person who came to her in the darkness would help her in any way he could. The impossibly intense adventure of his arm, sliding around her shoulders. The miracle of warmth when she had known nothing but coldness. That first kiss, oh, the surprise of it! The agonizing uncertainty… was it all right to allow this? How could it feel so incredibly good? Could she possibly kiss him again? Oh, when could she kiss him again? The burning that took hold, the incandescent light that shone despite all the shadows stacked around them. The unbearable, delicious hunger that was the sweetest pain… that she would give anything, anything, if only she could feel it again… Always before, when she had played, she’d had the awareness of the violin and the bow as instruments in her craft. Her music had been self-conscious, aware. Now, as she played, she went somewhere she had never gone before. She lost awareness of the violin altogether. She became the music. She was the story, the vibration. She became the story of love, the notes written in kisses and caresses on her skin. She felt the symphony, the swelling highs in the lifts, and the terrible lows in the falls, and hope was the cruelest note of all, the devastation that came afterward, utterly intolerable. She poured it all out, all the emotion, the experience, the exquisite delight along with the terror. There was no hiding any of it from a god anyway. The only other being she had been so naked with was Morgan, and he was gone. Gone, while the love she felt for him had become the very breath of life to her. Give him back to me, she begged with her music. Give him back. When the last note speared through the air, she had nothing left to give.

Cochise Jones always liked to play against your expectations of a song, to light the gloomy heart of a ballad with a Latin tempo and a sheen of vibrato, root out the hidden mournfulness, the ache of longing, in an up-tempo pop tune. Cochise’s six-minute outing on the opening track of Redbonin’ was a classic exercise in B-3 revisionism, turning a song inside out. It opened with big Gary King playing a fat, choogling bass line, sounding like the funky intro to some ghetto-themed sitcom of the seventies, and then Cochise Jones came in, the first four drawbars pulled all the way out, giving the Lloyd Webber melody a treatment that was not cheery so much as jittery, playing up the anxiety inherent in the song’s title, there being so many thousand possible ways to Love Him, so little time to choose among them. Cochise’s fingers skipped and darted as if the keys of the organ were the wicks of candles and he was trying to light all of them with a single match. Then, as Idris Muhammad settled into a rolling burlesque-hall bump and grind, and King fell into step beside him, Cochise began his vandalism in earnest, snapping off bright bunches of the melody and scattering it in handfuls, packing it with extra notes in giddy runs. He was ruining the song, rifling it, mocking it with an antic edge of joy. You might have thought, some critics felt, that the meaning or spirit of the original song meant no more to Cochise Jones than a poem means to a shark that is eating the poet. But somewhere around the three-minute mark, Cochise began to build, in ragged layers, out of a few repeated notes on top of a left-hand walking blues, a solo at once dense and rudimentary, hammering at it, the organ taking on a raw, vox humana hoarseness, the tune getting bluer and harder and nastier. Inside the perfectly miked Leslie amplifier, the treble horn whirled, and the drivers fired, and you heard the song as the admission of failure it truly was, a confession of ignorance and helplessness. And then in the last measures of the song, without warning, the patented Creed Taylor strings came in, mannered and restrained but not quite tasteful. A hint of syrup, a throb of the pathetic, in the face of which the drums and bass fell silent, so that in the end it was Cochise Jones and some rented violins, half a dozen mournful studio Jews, and then the strings fell silent, too, and it was just Mr. Jones, fading away, ending the track with the startling revelation that the song was an apology, an expression, such as only the blues could ever tender, of limitless regret.

By this unhinged craziness - I sing praises to dead rabbits. Embodied by the craven of sin, their whispers exist in me. No dawn can avert me, just leave me here in this forbidding place. All I want is this noesis to leave me on this crest of soaring Alps. The bliss of this nameless nightmare will make me dwell on its snow-covered form. All I can discern are gateways leading into the deepest frozen infernos. None of them are willing to torment me - as I am already disturbed. Is this the stead where God has died? It seems to be fervently so. No Moon has ascended here - only a pallid eye-like sun was staring down at me. Only this bitter cold shows me a real horror - a dreadful worry that no monster has to reside in it. Vacancy has made the surrounding atmosphere eerily still. All there was, was a weak hum of a chirping bird whistling in the obscurity. Every Tree was massless - nameless - shapeless confined to hostile spaces that grew ahead. This aeonian, a limitless eternity of interminable suffering, has a beckon to endure fourth. Indignant cries erupt from my flaccid throat - sounding for a sob that someone can hear. All there was a deafening hush, with that ominous bird tweeting in the distance; so I believed. Within a moment, a rumbling of a devastating howl was booming and crashing directly in front of me. It was indeed not a wolf, for this was something far more malicious than any canine species. I could not perceive it with my naked eyes, for it was just another aspect of the void that can not be witnessed. Its presence did not want to be detected, it just desired for me to know its existence is here. Inconceivably, I was not able to go face-to-face with this utterly horrific thing that was invisible before me. O’ the great madness and fright was ravaging me, rendering me psychotic and deranged. Discordantly, this nemesis splendor was starting to manifest its fondness for my presence. Barren and bleak when it invoked its cryptic witchcraft, withering away my insecurities to be frightened. The bottomless pit was eager for me to be eternal, wanting to enthrone my image as the coming Lucifer. I was conceived to become the supreme embodiment of blasphemy for the emergence of hell itself. My inner consciousness was being Plunged by the menacing screaming, as my hearing was being bombarded by piercing sounds of a violin shrieking. The God-awful screech of these horribly shrill screams where just the roar of hysterical laughter. Chaos - O’ that glorious disarray - I was condemned to be impelled with an absurd compulsion for madness.

Now there is this song on the saxophone. And I am ashamed. A glorious little suffering has just been born, an exemplary suffering. Four notes on the saxophone. They come and go, they seem to say: You must be like us, suffer in rhythm. All right! Naturally, I’d like to suffer that way, in rhythm, without complacence, without self-pity, with an arid purity. But is it my fault if the beer at the bottom of my glass is warm, if there are brown stains on the mirror, if I am not wanted, if the sincerest of my sufferings drags and weighs, with too much flesh and the skin too wide at the same time, like a sea-elephant, with bulging eyes, damp and touching and yet so ugly? No, they certainly can’t tell me it’s compassionate—this little jewelled pain which spins around above the record and dazzles me. Not even ironic: it spins gaily, completely self-absorbed; like a scythe it has cut through the drab intimacy of the world and now it spins and all of us, Madeleine, the thick-set man, the patronne, myself, the tables, benches, the stained mirror, the glasses, all of us abandon ourselves to existence, because we were among ourselves, only among ourselves, it has taken us unawares, in the disorder, the day to day drift: I am ashamed for myself and for what exists in front of it. It does not exist. It is even an annoyance; if I were to get up and rip this record from the table which holds it, if I were to break it in two, I wouldn’t reach it. It is beyond—always beyond something, a voice, a violin note. Through layers and layers of existence, it veils itself, thin and firm, and when you want to seize it, you find only existants, you butt against existants devoid of sense. It is behind them: I don’t even hear it, I hear sounds, vibrations in the air which unveil it. It does not exist because it has nothing superfluous: it is all the rest which in relation to it is superfluous. It is. And I, too, wanted to be. That is all I wanted; this is the last word. At the bottom of all these attempts which seemed without bonds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world. He existed, like other people, in a world of public parks, bistros, commercial cities and he wanted to persuade himself that he was living somewhere else, behind the canvas of paintings, with the doges of Tintoretto, with Gozzoli’s Florentines, behind the pages of books, with Fabrizio del Dongo and Julien Sorel, behind the phonograph records, with the long dry laments of jazz. And then, after making a complete fool of himself, he understood, he opened his eyes, he saw that it was a misdeal: he was in a bistro, just in front of a glass of warm beer. He stayed overwhelmed on the bench; he thought: I am a fool. And at that very moment, on the other side of existence, in this other world which you can see in the distance, but without ever approaching it, a little melody began to sing and dance: “You must be like me; you must suffer in rhythm.

During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valérius, Daaé consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars: "Ma'am..." or, "Kind gentleman... have you a little story to tell us, please?" And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather. But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daaé came and sat down by them on the roadside and in a low voice, as though fearing lest he should frighten the ghosts whom he loved, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more. There was one story that began: "A king sat in a little boat on one of those deep still lakes that open like a bright eye in the midst of the Norwegian mountains..." And another: "Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music." While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daaé's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how their are little prodigies who play the fiddle at six better than fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practice their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience. No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad or disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius. Little Christine asked her father if he had heard the Angel of Music. But Daddy Daaé shook his head sadly; and then his eyes lit up, as he said: "You will hear him one day, my child! When I am in Heaven, I will send him to you!" Daddy was beginning to cough at that time.

Don't you dare call me Grissie, you - you - degenerate! I have no idea what happened between you and Helene Godwin last night, but I can only assume that she sent you packing. And for you to turn from practically panting at the mere mention of her name - because you were, Garret, you know you were - to spreading vile rumors about her is low! Low and unworthy of you!' 'She lied to me,' Mayne forced out, walking to the mantelpiece. 'Wait!' his sister said contemptuously. 'Do I hear the sound of violins wailing? So you've never lied, is that it? You - who've made a name for yourself by sleeping with half the married women in London? You dare reproach a woman for lying?

I learned to take very little. I learned to want nothing more. I learned something else during those nights. When all the world slept, a new silence settled into the forest. With candle in hand and dressed in gowns of gossamer, I would slip out into the night and dance to the sound of silence. Barefoot, I would spin then lay in the cool grass in a strip of moonlight. I would lie there all night and gaze up at the stars, so silent, so clear there in the wood, and so, so far away. I lived between worlds. The war, my reality, my hell and this world in the forest of fantasy. And I’m stuck. I can’t go back. I forever toggle between two worlds and one is ever so much more real to me than yours.At night, beneath the moon, I didn’t need my worlds to escape. I only needed to open my eyes and see the world as it was. Quiet and calm and at peace, just as I still see it. I escaped through my music and wrote poetry to ease the pain…and letters. I poured so much of my heart into the letters I wrote to Erik, who I could see so easily on the other side. I still have them. Every letter I ever wrote him. During those times, when the world was dark, Erik became more real to me than anything else. He was quiet. He listened. He held me in the silence. He played his violin for me. And he loved me. When I cried, I closed my eyes and felt him envelope me. Only Erik and the cats ever came. No matter how long and loud I cried, my parents, no one ever came. I was fourteen. I was alone and all I wanted was for someone to love me.

Aa – pronounced as ah, as in father Bb – pronounced as bay Cc – Generally, its French pronunciation is say. However, its pronunciation will change depending on the situation. If this letter comes before I and E, it must be pronounced as the English S (similar to how C in the word center is pronounced). If it comes before A, O, and U, its pronunciation must be the same as c in cat. Dd – pronounced as day, or similar to D in the word dog Ee – must sound like euh, similar to the emphasis of U in the word burp Ff – sounds like eff, similar to how F is pronounced in the word fog Gg – As a general rule, this letter is pronounced as jhay. However, its pronunciation will change depending on the word. If this letter is found before the vowels A, O, and U, it must sound like the g in the word get. On the other hand, if it’s placed before I and E, the pronunciation must be similar to the S in the word measure. Hh – While this letter generally sounds as ash and is found in French written words, it is ALWAYS silent, even if the word begins with this letter. However, H has two kinds in the French language that are useful in writing. In non-aspirated H (or H muet), the letter H is treated as a vowel and the word requires either liaisons or contractions (other rules will be discussed in a later section). On the other hand, in an aspirated H (or H aspiré), the word is treated is a consonant and will not require liaisons or contractions. To determine which words are aspirated or not so that words can be spelled and pronounced correctly, French dictionaries place an asterisk (or any other symbol) on words starting with an H to indicate that they are aspirated. Ii – sounds like ee, or similar to how the letters ea in the word team is pronounced Jj – pronounced as ghee, and sounds like the S in the word measure Kk – sounds like kah, and is pronounced like the K in the word kite Ll – a straightforward el pronunciation, similar to L in the word lemon Mm – simply pronounced as emm, from M in the word minute Nn – similar to N in the word note, as it sounds like enn Oo – This letter can be pronounced as the O in the word nose, or can also sound similar to the U in nut. Pp – pronounced as pay, or similar to the letter P in the word pen Qq – sounds like ku, or how the K in kite is pronounced Rr – must sound like you’re saying air. To do this correctly in French, you must try to force air as if it’s going to the back of your throat. Your tongue must be near the position where you gargle, but the letter must sound softly. Ss – Generally, it must sound like ess. However, the pronunciation might change depending on the word. If the word begins with an S or has 2 S’s, it must sound like the S in sister. However, if the word only has one S, it must sound like the Z in the word amazing. Tt – pronounced as tay, just like t in the word top Uu – To pronounce this properly, you must say the letter E as how it is said in English while making sure that your lips follow the position like you’re saying “oo”. Vv – pronounced as vay, and sounds like the V in violin. Ww – pronounced as dubla-vay as the general rule. However, this may be changed depending on the word. It can sound like V in the word violin, or as W in the word water. Xx – sounds like eeks, and can be pronounced either like gz (as how the word exit is said) or as ks (when the word socks is said). Yy – pronounced as ee-grehk, or similar to ea in leak. Zz – sounds as zed, or like the letter Z in zebra

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.

But why should a flute make a sound which is smoother and less complex than that of a violin or oboe? To answer this question we have to think about musical instruments as machines which produce notes. All these machines are designed to produce repeating ripple patterns of pressure in the air and they all do this in different ways. For example, playing a flute involves a straightforward method of setting up vibrations in a column of air. There are no moving parts inside a flute, just this simple vibrating body of air. Playing a violin, on the other hand, involves a rather complicated

The sound of boots stomping rhythms out of the dust. The sounds of happy squeals and laughter when people spin out, nearly dizzy from joy. The sound of a scratchy voice, a thumping guitar, a plucky violin. That's what pure joy sounds like.

begins with you walking towards a huge pit. The pit is on the other side of a precipice, which you cannot see over until you are right at its edge. Your death is awaiting you in that pit. You don’t know what it looks like or sounds like or smells like. You don’t know whether it will be good or bad. You just walk towards it. Your will is a clarinet and your footsteps are attended by all the violins. The closer you get to the pit, the more you begin to have the

The real question would have been, “Dear Claudia, what experience would you like on Christmas?” I could have spoken up, “I want to sit on the low stool in Big Mama’s kitchen with my lap full of lilacs and listen to Big Papa play his violin for me alone.” The lowness of the stool made for my body, the security and warmth of Big Mama’s kitchen, the smell of the lilacs, the sound of the music, and, since it would be good to have all of my senses engaged, the taste of a peach, perhaps, afterward.

I'm not sure what I imagined, but I thought the lapis sash of a mallard's wing meant joy was everyone's destiny. that it was tucked in if only you knew how to look, how to route salt to the side of your tongue, bitter to the back. I preened in the gloss of black ice. Our vows lassoed the night sky--tried to-- each word a flint-dipped sparkler, a nest of lightning or a thrashing fuse. Wasn't that love? Not the way violins are made, maple soaked, warped, planted till sound bloats wood's ancient fissures. Not like the bow slow-combed, pale horsehair secured, capped in wax. when you begin to hate a man, his stunt fingers swell with fat. His red face sweats strawberry rot. Like a stuck pig, the door, if locked, brays and grunts at his boot-strike, shoulder-strike. The town is small, but it's his. You dial, wanting someone to marvel with you, to witness that cheap bolt as it holds. To fix the cornered nuthatch three-quarters dead, still resisting in the cat's mouth, still dreaming of flight.

..but what you really hate is the fact that in the middel of two catastrophic wars, it is easier to hold a job fake-fiddling, playing calming music for Americans while Bagdad burns, than it is to get a job reporting form the middel of the blaze.

Turning your attention to things that are happening right now around you—the feeling of a warm bath, the sweetness of a perfectly ripe peach, the sound of a mournful violin, the smell of a lover’s neck—is powerful and immediate. That’s what my instructor was drawing me to when she asked us to stretch to the point of discomfort and then narrowed our attention with laser focus to that sensation of oh-so-good pain. That’s why lying there, feeling my arms and legs and chest exist in the world, felt so relaxing. Because it also completely shut up the voice that constantly edits and punishes me. And there’s another advantage to shutting the DMN down. When our ego is silenced, there is a dissolution of the relationship between self and other. We more easily enter a state of interconnectedness, a feeling that we belong to something—a society, a world that is bigger than us, that shares our essential humanity. That’s why it was so much easier for me to engage in visualizations where I was breathing loving energy out of my lungs and into the universe itself. This wasn’t just me submitting to hippie-dippie hypnotism. This openness was based in very real science.

Singh then experimented on a vast number of species, such as com­ mon asters, petunias, cosmos, and white spider lilies, along with such economic plants as onions, sesame, radishes, sweet potatoes, and tapioca. Each of these species Singh entertained for several weeks just before sunrise with more than half a dozen separate ragas, one per experiment, played on the flute, violin, harmonium, and veena; the music lasted a half hour daily, scaled at a high pitch, with frequencies between one hundred and six hundred cycles per second. From all this experimenta­tion Singh was able to state, in the magazine of the Bihar Agricultural College at Sabour, that he had "proven beyond any shadow of doubt that harmonic sound waves affect the growth, flowering, fruiting, and seed-yields of plants.

Second, he learned that doing what you loved may not be enough, that all the passion and perseverance that roared like blood within you could be trumped by factors that you could never control—factors like the color of your skin, or the shape of your eyes, or the sound of your voice.

I started learning English from Abuelo Jorge's old grammar textbooks. I found them in Abuelo Celia's closet. They date back to 1919, the first year he started working for the American Electric Broom Company. At school, only a few students were allowed to learn English, by special permission. The rest of us had to learn Russian. I liked the curves of the Cyrillic letters, their unexpected sounds. I liked the way my name looked: Иван. I took Russian for nearly two years at school. My teacher, Sergey Mikoyan, praised me highly. He said I had an ear for languages, that if I studied hard I could be a translator for world leaders. It was true I could repeat anything he said, even tongue twisters like kolokololiteyshchiki perekolotili vikarabkavshihsya vihuholey "the church bell casters slaughtered the desmans that had scrambled out." He told me I had a gift, like playing the violin, or mastering chess.

Mountain climbing—in those days, all you had to do in Hollywood was go outside to go mountain climbing—was Lola’s idea of where to take boyfriends and get pregnant and by the time she was nineteen she’d had three gold medals for violin state champion and four abortions, her life having finally, I suppose, proven that you can’t go around being an L.A. woman and expect society not to notice when your bowing begins to sound a little off—not screechy, naturally but, well, she simply wasn’t gold medal material finally, and they gave her a silver one, second prize.

Wendell looked at the faerie stone in his hand, shrugged, and smashed it against the floor. Out burst a flock of parrots. The birds shrieked and squawked, and the sheerie were momentarily distracted--- not afraid, they lunged at them like cats. Each parrot seemed to be carrying a tropical flower in its beak. Wendell hurled another stone. When it smashed, glittering banners unfurled upon the museum walls, covered in the faerie script. The ceiling was suddenly painted in frescoes of Folk lounging in forest pools, surrounded by green foliage. Vases of unfamiliar flowers appeared on every surface next to bottles of wine in ice buckets, and the air filled with the muffled sound of violins, as if drifting in from the next room.

With the violin nestled below my chin, I feel more at home than I ever have in any house. With my fingers on the soundboard and my right hand holding the bow, I close my eyes briefly and breathe. It's like a part of my body has been missing, and now, at last, it's reattached.

Timbre is the emblematic tone, or voice, generated by each type of instrument or biological sound source. Not only do musical instruments have singular voice characteristics but so does every living organism and most man-made machines. The difference between the sound of a violin and that of a trumpet is as distinctive as that between a cicada and an American robin, or a cat and a dog—or between a Rolls-Royce and a Formula 1 automobile. When Paul Beaver and I first began

        Godzilla’s famous roar is from a wild animal. Most movie monsters sounds are from animals. King Kong’s roar is an edited lion roar and Jurassic Park’s T-Rex roar is from the ferocious….walrus… huh… Godzilla has the most iconic roar. Strangely, it isn’t from an animal. Akira Ifukube came up with the idea for the sound by stroking a violin chord with a leather glove. I don’t know if Akira has waaaaay too much time on his hands or if he is a genius.

By the 1860s more and more banjo makers followed in Ashborn's footsteps, for, as we shall see, most often inventive banjo design, that which might indeed lead to true innovation, originated with those makers who wholeheartedly embraced the possibilities of mechanized production. Most violin makers, for example, as well as guitar makers such as Martin, continued to build instruments by traditional methods, patiently training apprentices in the various steps necessary to produce an entire instrument by themselves. But by the 1860s the banjo had become anything but traditional, with a score of patents filed in which its design was changed, often quite radically, as various banjo makers capitalized on the nation's growing infatuation with the instrument. Its basic form - a five-string neck and a circular sounding chamber - established, the banjo began to appear in a bewildering number of variations as makers sought to adapt the instrument to the new kinds of music people wished to play on it. In 1840 the banjo had been a symbol of the American South in general and the slave plantation in particular. But after its initial popularization on the minstrel stage led to its wholesale embrace by Victorian America, it came to represent the aspirations of a burgeoning mechanic class who brought to its design and manufacture the same invention through which they had transformed other areas of American industry. It truly was becoming America's instrument.

While this experience may sound great, it was terrifying for me as a parent. What if I’m wrong? What if busy and exhausted is what it takes? What if she doesn’t get to go to the college of her choice because she doesn’t play the violin and speak Mandarin and French and she doesn’t play six sports? What

He was trying to sleep. Could one fall asleep here? Wasn’t it dangerous to lower one’s guard, even for a moment, when death could strike at any time? Those were my thoughts when I heard the sound of a violin. A violin in a dark barrack where the dead were piled on top of the living? Who was this madman who played the violin here, at the edge of his own grave? Or was it a hallucination? It had to be Juliek. He was playing a fragment of a Beethoven concerto. Never before had I heard such a beautiful sound. In such silence. How had he succeeded in disengaging himself? To slip out from under my body without my feeling it? The darkness enveloped us. All I could hear was the violin, and it was as if Juliek’s soul had become his bow. He was playing his life. His whole being was gliding over the strings. His unfulfilled hopes. His charred past, his extinguished future. He played that which he would never play again. I shall never forget Juliek. How could I forget this concert given before an audience of the dead and dying? Even today, when I hear that particular piece by Beethoven, my eyes close and out of the darkness emerges the pale and melancholy face of my Polish comrade bidding farewell to an audience of dying men. I don’t know how long he played. I was overcome by sleep. When I awoke at daybreak, I saw Juliek facing me, hunched over, dead. Next to him lay his violin, trampled, an eerily poignant little corpse.

I was somewhat surprised, therefore, to find that my college teachers—famous academics and composers—inhabited an entirely different musical universe. They knew nothing about, and cared little for, the music I had grown up with. Instead, their world revolved around the dissonant, cerebral music of Arnold Schoenberg and his followers. As I quickly learned, in this environment not everything was possible: tonality was considered passé and “unserious”; electric guitars and saxophones were not to be mixed with violins and pianos; and success was judged by criteria I could not immediately fathom. Music, it seemed, was not so much to be composed as constructed—assembled painstakingly, note by note, according to complicated artificial systems. Questions like “does this chord sound good?” or “does this compositional system produce likeable music?” were frowned upon as naive or

On the Overture of the Rossini opera "Il SIgnor Bruschino" - The sound of the second violins striking the backs of their bows against the metal candle holders shortly after the start of the overture was judged 'incomprehensible' by the Giornale. Rossini feared as much. 'Dio ti salvi l'anima' (God save your soul), he wrote on the manuscript at the end of the overture).

or future, experiencing the music with her, that unexpected prayer, and feeling grateful that I had set off in search of my kingdom. I lay down on the bed, and she continued to play. I fell asleep to the sound of her violin. I WOKE AT FIRST LIGHT, went to her room, and saw