John Powell > Quotes

“To live fully, we must learn to use things and love people, and not love things and use people.”
― John Powell

“He who has learned how to laugh at himself shall never cease to be entertained.”
― John Powell

“The only real mistake is the one from which we learn nothing.”
― John Powell

“Human beings, like plants, grow in the soil of acceptance, not in the atmosphere of rejection”
― John Powell

“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

“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

“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

“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

“It's actually better to be exploited than marginalized , in some respects, because if you're exploited presumably you're still needed.”
― John Powell

“In our society today, we have placed a great stress on being authentic. We have talked about placing masks over the face of our 'real' selves, and of playing roles which disguise our true and real selves. The implication is that somewhere, inside of you and inside of me, lurk our real selves. Supposedly, this real self is a static and formed reality. There are moments when this real self of mine shines out of me, and there are other moments when I feel compelled to camouflage my real self.
There is perhaps some justification for this manner of speaking, but I think that it can be more misleading than helpful. There is no fixed, true and real person inside of you or me, precisely because being a person necessarily implies becoming a person, being in process. If I am anything as a person, it is what I think, judge, feel, value, honour, esteem, love, hate, fear, desire, hope for, believe in, and am committed to.
These are the things that define my person, and they are constantly in process, in process of change. Unless my mind and heart are hopelessly barricaded, all these things that define me as a person are forever changing.
My person is not a little hard core inside me, a little fully-formed statue that is real and authentic, permanent and fixed; person rather implies a dynamic process. In other words, if you knew me yesterday, please do not think that it is the same person that you are meeting today.
I have experienced more life, I have encountered new depths in those I love, I have suffered and prayed, and I am different.
Please do not give me a 'batting average', fixed and irrevocable, because I am 'in there' constantly, taking my swings at the opportunities of daily living. Approach me, then, with a sense of wonder, study my face and hands and voice for the signs of change; for it is certain that I have changed. But even if you recognize this, I may be somewhat afraid to tell you who I am.”
― John Powell, Why Am I Afraid to Tell You Who I Am?

“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

“If we are not informed we will become deformed”
― John Powell

“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

“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

“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

“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

“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

“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

“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

“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

“Sejam quais forem os seus gostos atuais, há provavelmente muitos tipos de música que lhe dariam imenso prazer se tentasse conhecê-los um pouco melhor. O meu conselho é este: tente ser um pouco mais aleatório nas coisas que ouve e seja justo na avaliação dos novos tipos de música que ouvir. (…) Os géneros musicais não são exclusivos e uma maneira fácil de ter uma vida mais divertida é aumentando o espectro das coisas que ouve.”
― John Powell, How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

“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

“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

“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

“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

“... 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

“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