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"The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get."
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"A misadventure is an act that has a safer, less self-detrimental, less interesting alternative. But you choose that act because you want to do something memorable and worthy of discussion."
"Life is a book. Read it. But do not forget to write yours."
"At least I can say I once worked a day on a tea plantation in Far North Queensland."
"Beyond these moments, she could hardly count the fumbling ministrations of boys in high school who, even to her senior prom, never went beyond sticky pleasantries. With one exception, it was just a sort of half-clothed handshake for bragging rights, none hers."
"To use the same words is not a sufficient guarantee of understanding; one must use the same words for the same genus of inward experience; ultimately one must have one's experiences in common."
"We live that we might have experience; that through it we might gain wisdom, compassion, faith, and inner strength."
"Failure is only an experience. Experience is the foundation of any success."
"Today's experience is necessary to equip you fully for the future."
"Experience comes from failure and success comes from experience. Today's pain will bring tomorrow's gain."
"But human experience is usually paradoxical, that means incongruous with the phrases of current talk or even current philosophy."
Explore more quotes by Leo Ornstein
"No, I think that a person writes a poem because they have an inner urge of something that they want to express, and I think it's that inner urge that you want to express when you write a piece of music."
"To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision."
"Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music."
"I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing."
"Today each composer is not only involved in aesthetics, but he's actually trying to create his own language."
"There are some people, by the way, that associate a certain amount of visualization with the performance of music. Those are people that really are not centrally concerned only with music, the traditional things."
"Now, what we are not talking about, what you're really coming to, is what compromises one makes so that the listener understands somewhat of what you're doing, what you're trying to express."
"Because essentially Schoenberg was an extremely gifted man. And in spite of many of his theories and so on, when he really began to write music, he still was guided very much by his internal hearing, by what we call your internal ear."
"Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided."
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