Twentieth Century Music Quotes & Sayings

The very first hit factory was T.B. Harms, a Tin Pan Alley publishing company overseen by Max Dreyfus. With staff writers like Jerome Kern, George and Ira Gershwin, Cole Porter, and Richard Rodgers, T.B. Harms was the dominant publisher of popular music in the early twentieth century. Dreyfus called his writers "the boys" and installed pianos for them to compose on around the office on West Twenty-Eighth, the street that gave Tin Pan Alley its name, allegedly for the tinny-sounding pianos passersby heard from the upper-story windows of the row houses. The sheet-music sellers also employed piano players in their street-level stores, who would perform the Top 40 of the 1920s for browsing customers. — John Seabrook

Which is to say that culture is not a reflex of political economy, but
that society is now a reflex of key shifts in music theory and practice ...
[Sampladelia is] the sound made by those early-twentieth-century discoveries
in particle physics and relativiity theory, the projection of the minds of
Einstein, Heisenbery, and Bohr, their fateful explorations of liquid time,
curving space, uncertainty fields and relativity theorems, into densely
configured and fully ambivalent android music tracks — Arthur Kroker

I still prefer to hear [Bob] Dylan acoustic, some of his electric songs are absolutely great. Electric music is the vernacular of the second half of the twentieth century, to use my father's old term. — Pete Seeger

The de-spiritualization of asceticisms is probably the event in the current intellectual history of mankind that is the most comprehensive and, because of its large scale, the hardest to perceive, yet at once the most palpable and atmospherically powerful. Its counterpart is the informalization of spirituality - accompanied by its commercialization in the corresponding subcultures. The threshold values for these two tendencies provide the intellectual landmarks for the twentieth century: the first tendency is represented by sport, which has become a metaphor for achievement as such, and the second by popular music, that devotio postmoderna which covers the lives of contemporary individuals with unpredictable flashes of inner emergency. — Peter Sloterdijk

My name is Monica, and I am not submissive. I stand six feet tall in heels. I am descended from one of the greatest writers of the twentieth century. I can sing like an angel, and growl like a lion. I am not owned. I am music. — C.D. Reiss

The worst part of being gay in the twentieth century is all that damn disco music to which one has to listen. — Quentin Crisp

Twentieth century music is like paedophilia. No matter how persuasively and persistently its champions urge their cause, it will never be accepted by the public at large, who will continue to regard it with incomprehension, outrage and repugnance. — Kingsley Amis

To a degree which is difficult to determine, the esoteric impulse in twentieth-century music, literature and the arts reflects calculation. It looks to the flattery of academic and hermeneutic notice. Reciprocally, the academy turns towards that which appears to require its exegetic, cryptographic skills. — George Steiner

There is a wealth of twentieth century music that is being re-discovered by a generation that hasn't heard it. — Helen Reddy

The streets of Prague were a fantasia scarcely touched by the twenty-first century - or the twentieth or nineteenth, for that matter. It was a city of alchemists and dreamers, its medieval cobbles once trod by golems, mystics, invading armies. Tall houses glowed goldenrod and carmine and eggshell blue, embellished with Rococo plasterwork and capped in roofs of uniform red. Baroque cupolas were the soft green of antique copper, and Gothic steeples stood ready to impale fallen angels. The wind carried the memory of magic, revolution, violins, and the cobbled lanes meandered like creeks. Thugs wore Motzart wigs and pushed chamber music on street corners, and marionettes hung in windows, making the whole city seem like a theater with unseen puppeteers crouched behind velvet. — Laini Taylor

The first typical adolescent of modern times was Wagner's Siegfried. : the music of Siegfried expressed for the first time that combination of (provisional) purity, physical strength, naturism, spontaneity and joie de vivre which was to make the adolescent the hero of our twentieth century, the century of adolescence. — Philippe Aries

I think popular music in this country is one of the few things in the twentieth century that have made giant strides in reverse. — Bing Crosby

Cartoonist Walt Disney has made the twentieth century's only important contribution to music. Disney has made use of music as language. — Jerome Kern

Elvis is the greatest cultural force in the twentieth century. He introduced the beat to everything, music, language, clothes, it's a whole new social revolution - the 60's comes from it. — Leonard Bernstein

But the Grateful Dead, as the fanatic fans point out, are a way of life: someone else's. Twentieth-century teenagers, especially American ones, have been brilliant at creating their own culture, their own music, clothes, and point(s) of view. It's sad and fraudulent that the kind of wholesale worship of some historical way of life has settled over so many young people, infecting them like a noxious gas ... I love the dead
grew up in the thrall of Shakespeare and Hank Williams and James Dean. And I adore the Rolling Stones. But there's a difference between cherishing "Satisfaction" and wearing Keith Richards' hair while doing Keith Richards' drugs. I don't want to be Keith Richards. I wanna be me. Not
like the neo-Deadheads
just another extra in an overblown costume drama about something that wasn't that interesting the first time around. — Sarah Vowell

There is a striking feature of the twentieth century ... the musical creation of the 20th century is qualitatively different from the 18th century, in that it lacks that immediate access or short-term access that was true of the past ... I have no doubt that if we took two children of today two groups and taught one of them Mozart Haydn & Beethoven and the other Schoenberg and post Schoenbergian music, that there would be very substantial difference in their capacity to comprehend and deal with it, and that may reflect, and in fact if that's correct it would reflect, something about our innate musical capacities. — Noam Chomsky