Inadvertent Theft

[mr]

i once inadvertantly stole a ferrari

yeah me too. it's so embarrassing.

Curious. I had both of my Farrari's inadvertantly stolen... once.

By the way, where is the lock door button ?

[peppy197]

i once inadvertantly stole a ferrari

yeah me too. it's so embarrassing.

I never stole a Ferrari but I once inadvertantly lost a DC8 airliner.
and later found it in a field...

go figure...


jal

[D.H. Miltz]

How about inadvertent borrowing instead?

[Igor]A great composer steals, the lesser composer borrows.[/Stravinsky]

Or Eliot. Or Picasso. Or none of the above, or one then another.
http://nancyprager.wordpress.com/2007/0 ... ets-steal/
http://www.johnpiscitello.com/2009/06/p ... art-i.html

Doesn't really matter. I'd always heard the Eliot variant, and I finally remembered to look it up because something here reminded me of this probably-not-Santayana quote I once tried to look up the source for: http://ask.metafilter.com/33445/Often-q ... ever-cited

Not music theory, but somebody might find it interesting.

[jancivil]

Ok I bit and read the Prager blog and the film music one.
The point I'm going for:
The good poet welds his theft into a whole of feeling which is unique, utterly different than that from which it is torn; the bad poet throws it into something which has no cohesion.

"TS Eliot", though I'll have to blame Nancy Prager if this citation is bullshit. I don't reside in academia or care particularly about it, and all history is similar enough to mythology to me to where I don't care if I've ruined Igor's rep by mischaracterizing his 'tude according to one of these people.
SO! Since my paraphrasing as if a quote is so INTELLECTUALLY DISHONEST, I'll have to say that my citation here rests on my source, thereby removing myself from potential further 'j'accuse' if it's not right.

More seriously: material isn't important. What you do with it is. There aren't going to be a lot of new tones or combinations under the sun unless you get that far away from all common practice. You can get to a place where your artistic personality is strong enough to where it determines the shape of things you make. Material itself is fodder, grist for the mill.

[D.H. Miltz]

More seriously: material isn't important. What you do with it is. There aren't going to be a lot of new tones or combinations under the sun unless you get that far away from all common practice. You can get to a place where your artistic personality is strong enough to where it determines the shape of things you make. Material itself is fodder, grist for the mill.

Agreed.

The other stuff--quotations credited to several people, paraphrases entering common usage as quotations, all that--I just find interesting, especially when it can be traced back. Generally not important, and certainly not in this case, just interesting.

[jancivil]

Well, here's one you can verify or not:

Igor Stravinsky to someone at a dinner party in Beverly Hills, asked what he thought of the latest Arnold Schoenberg opus:

"It doesn't get my dick hard."

[D.H. Miltz]

That one's better just accepted. And it make me wonder which works did.

[eduardo_b]

More seriously: material isn't important. What you do with it is. There aren't going to be a lot of new tones or combinations under the sun unless you get that far away from all common practice. You can get to a place where your artistic personality is strong enough to where it determines the shape of things you make. Material itself is fodder, grist for the mill.

Not in the minds of IP lawyers. To them, the material is everything.

[rp314]

That one's better just accepted. And it make me wonder which works did.

We-and I mean the generation who are now saying 'Webern and me'-must remember only the perfect works, the Five Pieces for Orchestra(except for which I could bear the loss of the first nineteen opus numbers),Herzgewachse, Pierrot, the Serenade, the Variations for Orchestra,and, for its orchestra, the Seraphita song from op.22. By these works Schoenberg is among the great composers. Musicians will take their bearings from them for a great while to come. They constitute together with a few works of not so many other composers, the true tradition.

from "Conversations with Igor Stravinsky"-by Igor Stravinsky & Robert Craft.

[D.H. Miltz]

That one's better just accepted. And it make me wonder which works did.

We-and I mean the generation who are now saying 'Webern and me'-must remember only the perfect works, the Five Pieces for Orchestra(except for which I could bear the loss of the first nineteen opus numbers),Herzgewachse, Pierrot, the Serenade, the Variations for Orchestra,and, for its orchestra, the Seraphita song from op.22. By these works Schoenberg is among the great composers. Musicians will take their bearings from them for a great while to come. They constitute together with a few works of not so many other composers, the true tradition.

from "Conversations with Igor Stravinsky"-by Igor Stravinsky & Robert Craft.

Hey, thanks.

[jancivil]

That one's better just accepted. And it make me wonder which works did.

At the end, Igor sure seemed to be hearing Webern though.

And interestingly enough, I have paraphrased that statement from one of these Robert Craft books, albeit in a cleaned up version. Translated from the Russian.