How Music Works Quotes

“It’s a shameful indictment of the shabby way we live nowadays, but we have to face the fact that most of you won’t have an ancient Egyptian six-string harp lying around. On”
― John Powell, How Music Works

“Ve starém německém písmu, které se hodí snad leda k zápisu zaklínadel, vypadalo hranaté b jako h, střední Evropa tedy pro tón nad A používá písmeno H.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“... na cvičení stupnic se podle mě klade v prvních letech hudebního vzdělávání nemístný důraz. Má-li být z žáka něco víc než amatérský muzikant, může se do stupnic pustit později, cítí-li potřebu.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Dnes už v hudbě oceníme občasné zaskřípání, ale dávné kultury k tomu ještě nedospěly a stačilo jim pět not do stupnice.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Pentatonické ladění harfy je hudebním protějškem vynálezu kola.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Necvičený hlas má rozsah kolem dvou oktáv.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Dokonce badatel v oboru potřebuje kalkulačku a pár minut, aby vám spočítal rozdíl hlasitosti mezi 53 decibely a 87 decibely.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Rozhodovat, zda je jeden zvuk právě dvakrát silnější než druhý, je stejně těžké jako soudit, zda je jeden vtip právě dvakrát legračnější než druhý.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Výborný klavírista zahraje akord všemi pěti prsty jedné prsty jedné ruky a jedním z nich přitom udeří důrazněji, aby nota melodie zazněla hlasitěji než zbylé čtyři.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Jako posluchači ale kupodivu nedáváme čistotě přednost před jejím opakem. Složitý zvuk houslí nebo saxofonu máme stejně rádi jako čistší témbry flétny, harfy a xylofonu. Totéž platí u zpěváků. Líbí se nám zlato v hrdle dětské hvězdičky i orašplované hlasivky Louise Armstronga.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Že skoro libovolný opakující se vzor lze sestavit skládáním jednoduchých vln, si jako první uvědomil Francouz jménem Joseph Fourier, jeden z Napoleonových expertů na blízce příbuzné obory egyptologie, matematiku a vysoušení močálů. Za pomoci nechutně komplikovaných výpočtů se mu podařilo z těchto prostých složek vytvořit prakticky každý opakovaný vzor, jaký si dovedete představit.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“I have no proof of this, but I think the decibel was invented in a bar, late one night, by a committee of drunken electrical engineers who wanted to take revenge on the world for their total lack of dancing partners.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“It’s a shameful indictment of the shabby way we live nowadays, but we have to face the fact that most of you won’t have an ancient Egyptian six-string harp lying around. On”
― John Powell, How Music Works

“O trabalho de um compositor talentoso é criar expectativas e depois ou satisfazê-las ou frustrá-las. Mas o compositor não pode nem deve tentar um empolgamento constante. Como em qualquer história que se conte, ou mesmo num espetáculo de fogo de artifício, acrescentam-se algumas passagens mais calmas, deliberadamente, para que os momentos importantes causem mais efeito.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“A métrica, o ritmo e o andamento todos têm o seu papel no nosso prazer. Ainda que os nossos batimentos cardíacos não estejam ligados ao andamento, certamente que consideramos andamentos mais lentos como sendo mais relaxantes e mais empolgantes os que são mais rápidos. Esta tensão estará provavelmente ligada ao facto de não gostarmos da incerteza e, especialmente, ao nosso receio de não conseguirmos lidar com uma situação.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“A capacidade de improvisar bem é um talento altamente respeitado e pode conduzir a uma interação de facto interessante entre os músicos intervenientes. Até pode tornar-se competitiva, à medida que os músicos se estimulam reciprocamente a chegar a novos patamares.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Muita gente pensa que a arte é a grande sustentação da música, mas não é verdade. Há regras de lógica, de engenharia e de física subjacentes a todo o lado criativo da música.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“Em música há imensas questões técnicas. Se estivermos a escrever para instrumentos que nós próprios não tocamos, precisamos de aprender imenso acerca deles se queremos que a música seja interpretável.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“O jazz moderno e a música clássica moderna, por vezes, fazem questão em usar cinco, sete, onze, etc. pulsações por compasso (muitas vezes apenas para terem um ar inteligente e invulgar) mas são poucos os êxitos realmente populares.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“A música afeta as nossas emoções e pode levantar-nos ou baixar-nos o moral. Um bom exemplo disto é a forma como as bandas sonoras dos filmes nos dão pistas sobre como reagirmos à cena que estamos a ver – romance, humor e tensão são ampliados pela música que os acompanha.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“A maior parte do talento musical advém mais da formação do que da inspiração.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“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”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“The trouble with ancient history is that, as far as I can tell, the vast majority of it took place a hell of a long time ago. This”
― John Powell, How Music Works