4. Music must deal with those “worlds” that the today’s man neither knows, nor recognizes because of an emotional-spiritual hypertrophy with which he is afflicted.

In this, music is science and medicine. Its purpose is to free man from that single “dimension” that he is accustomed to evaluating. Man must explore, discover, learn, and build upon “other” dimensions. He must become accustomed to the idea that the “worlds” making up the universe of Creation are attainable.

 

6. God’s worlds are made of music.

 

7. A musician’s biography should be expressed through the music that is performed rather than by those who have played it, or when, or where.

Otherwise, a curriculum vitae places us before merely an unpleasant sense of ambiguity.

 

8. There should be no division between an artist’s life and his art. These two things should be equally appreciated. Indeed, only art itself should truly exist (in the complexity of its many variations).

 

10. More than anything else, the element that allows us to establish our dominion over reality is the imagination.

 

11. Any music judged solely by aesthetics is one that is destined to die, exactly like every aesthetic concept.

 

12. Music should never incite violence, but strengthen the imagination. The very concept of “violence” should be foreign to every musician. A musician works for peace even via the innumerable conflicts of various natures.

 

13. Indeed, all existing matter is material that breathes, continuously producing movement and therefore “sound”.

It is inevitable that, as long as there is movement, there must be a body that can produce it (it cannot be produced without movement and thus sound without a body that vibrates).

For the rest, however, if a body does not produce any oscillation, it could not be “defined” (hence, not even be identified, therefore, it would indeed be non-existent).

It is therefore obvious that the fundamental matrix of life/existence is oscillation, movement, and sound, without which nothing could exist. It is for this reason that we must give the broadest consideration to movement, starting from the assumption that it is not just a mere physical event, but rather a true existential “matrix”. In these terms, we can therefore assume that contained within this very oscillation (pulsation, vibration, movement) is the ethical principle (as a “distinctive phenomenon”, namely that phenomenon for which a distinction [living/dead, good/bad, right/wrong, etc.]) may be considered.

So if sound is (also) an ethical force, music itself must inevitably contain this ethical force. Pretending to not consider this aspect of science is pure blindness.

 

15. There are a few ways to arrive at setting one’s own course:

– Through the accumulation of material

– Through the removal of material

– As a result of predestination

In any case, setting one’s own course does not mean following it.

 

16. Music’s most important task is to change things for the better.

 

17. Our education in sound takes place in countless ways and situations. Everything around us—the noises of a city, the sounds of the countryside, and the tone of a voice—is represented by sound and, through this, each receptive   capacity is enabled. It follows that a good capacity—one that is intuitive, receptive, organizational, and perceptual—has its beginning in sound as vibration. With good training, better individuals capable of a qualitatively superior development of their potential are certainly created. On the other hand, improper training tends to produce erratic individuals, unable to fully develop their own genetic destiny.

 

18. Information is language. Language is sound. Sound is information.

 

19. If insisting on the plausibility of the universe being organized by, as a consequence of, and through the Supreme Being, which has no beginning or end, it is also fair to assume that this organization represents the order and consequence according to which language acts. Thus, if the universe itself is evidence of this language and its development, we can assume that sound, as the matrix, is that language itself. Since everything is done through sound, Logos, and everything in the Universe is language, with everything permeated by language, all acting under the impulse of the language itself.

 

20. Music is where it is played. It is contextualized in that moment, place, and individual for which it was created and developed. There can be no music outside of this concept. This limit, however, is not one to be attributed to music, but rather to the here and now that define it.

If I am the one who defines the idea of music, it is I who represents the limit of the music itself.

 

22. Even in music, we tend to avoid the “risk” of victory, preferring the “certainty” of defeat.

 

32. A name is the element that distinguishes things. A name has an identity which, at the same time, defines it. It consists of vibrations and those vibrations constituting it have an impact on things nearby.

 

34. It is likely that as a result of humanity’s unity that even music, along still inscrutable paths, achieves one of its unities, a unity that most likely will no longer make academic or generic distinctions.

 

35. I am a light that shines in humanity. My soul is struggling against the darkness. Although its light may be small and faint, it will nonetheless prevail over them.

 

44. There is too much theory in Western music. People labor to build theorems on scales, chords, rhythms, and melodies. They memorize structures, build complex arrangements, and analyze, analyze, analyze. The musical world is one of theorists and professors who have learned everything about the music but not about music itself. They explain it, they are constantly explaining it.

 

47. The musician who plays “well all the time” is one who has little to say and passes that relatively extensive vocabulary back and forth, which allows him to say the same things (well), even when he does not feel like it.

 

48. Men are constantly involved in preserving memories when, in fact, they should be creating new ones.

 

54. I am interested in what musicians can (and not “must”) give within a musical context.

 

55. Everything in the universe translates into communication. There is no particle of the Infinite Kingdom that does not communicate with other particles. Communication is inherent [in things]. A man who claims to want to communicate, to feel the need to communicate has the same value to highlight the evidence. Everything communicates. Even if a man was silent, even if he refused to talk, look, smell, or listen, even then we would be witness to a mere phenomenon of communication. It cannot be removed. Be wary of those artists who communicate their need to communicate, as if it was a unique experience and relevance to them. As if they had to convince you of having discovered something that you yourselves ignored. As if communication arises from them and is spread exclusively through them. They do not know their own nature and therefore, they consequently ignore yours. Everything is communication. No one can escape this process. No one. Ever. It is a law.

 

57. Criticism is that branch of the market that, for its part, defines and describes the peddling of art products. It is a kind of distribution, but with the pretense of being closer to art itself and to understanding and interpreting it better than anyone else.

 

62. Knowledge is certainly a paradox, or at least it represents a danger. On the one hand, there is a compelling need to study and analyze the past, to record, manage, and preserve that which has been passed down by men before us. To not do so would be a lack of respect and probably a sacrilege to the “life force” that has preceded us and allowed us to be what we are today. On the other hand, there is the danger of this same act, the danger of immutably managing and storing this diverse and complex background. Stopping at history, our past, being forced to contemplate this. Raising it to the “inevitable condition of expression and identification” means not considering the man of the future at all. It means not having a vision of a future society; it means not having an experience with eternity. Moreover, to deny, avoid, or ignore it would be to not have understood our place in the world, our identity.

At best, two thousand years of history have also allowed us to choose in which direction our future will go! Ultimately, it is from there that the urge and the need arises for new music, new literature, new art, and a new social organization. Otherwise, these two thousand years will certainly have been the prized weight that will take us to the bottom of the blackest abyss shouting “we existed!”

 

63. Commerce will not guarantee our evolution.

 

64. Every approach to an ancient or traditional culture by someone from “outside” essentially creates a new form of understanding and an “expansion” of the same. It is inevitable. I find this interesting.

 

65. Strategically, when one puts the wrong notes in the wrong place, one very quickly realizes that there are no wrong notes, let alone wrong places.

 

66. Music evolves in all directions. Its character is universal, its purpose is universal, its place is the universe.

 

69. Though music is the vehicle that, to a certain extent, allows man to connect with his Creator, we must also assume that its purpose cannot be merely for entertainment but that it inevitably must include a spiritual component, which is popularizing, evocative, and educational.

 

73. In every corner of our lives, there is always something that speaks to us of our future. Looking closely, scattered among the crevices of our past, we have dreams, expressions, and premonitions. In hindsight, some of us, the most advanced, are able to recall them and understand that what they have seen, heard, and experienced was not that the representation of a becoming. More often, however, people do not pay attention to or have faith in those memories, merely living in an unfortunate series of events to be counted with a supposed calculus of probability. Enlightened minds and spiritual men, however, have managed to immediately see and read every sign, every little event bright by being able to define themselves honestly as “men of the future.” These individuals are in no hurry to come to nothing. They live in a continuum that frees them from prejudices and binds them to happiness, since there is no distinction between dream and reality in their actions or thoughts.

 

80. There are times when a vision of the whole is inexplicably clear and radiant inside of me, an all-embracing and all-encompassing, unchanging unity in its vast and irreducible multiplicity, continually cloaked by changes. This vision of the whole, this oneness, this everything that unexpectedly show itself and that lasts for an instant, is not something that can be imagined. It is impossible to understand. No, it is not really what one could imagine at all. It can only be seen since it is such a large and perfect world; there is no room for it in the imagination: it contains this phenomenon within itself and is not contained by it. After seeing it, it invariably is again hidden because there are so many clouds and winds crossing it that do not always let it be visible. In those moments I feel lucky, despairing, and melancholic.

 

84. Whatever man creates is meant for other men. Whatever the thought giving rise to it, the initial interest, everything that we put on this planet will inevitably be integrated into its own structure. For this reason, we should never take possession of things but should learn how to use them. They are there for us. It is equally important to return the favor and, rejecting our greed and the shameful thirsts of our ego, to learn how to cite the source, always remembering that the inventor has made it possible for us to develop and enhance our progress, our advantage. This would be enough, like the law supporting copyright.

 

85. The student who is prepared to learn and who, with sincerity, advances in the world of music must first of all consider “time” as one of his allies. Anxiety and the dash to the finish line must be abolished from his heart and every teacher should indicate this road as the only one possible. And even when, eager and happy, this new man entered the music arena, he finally removed all anxiety and concern by the passing of the hours, days, years, contemplating only the infinite landscape and its countless roads devoid of time.

Time, as most commonly understood, is something that concerns only the music market and the business carried out in it. It has a beginning and an end, just like the men who pass through it.

Yet music has neither a beginning, nor an end, other than in God’s memory

 

88. Every sound comes from space. All space comes from justice. All justice comes from love. All love comes from God. The totality of God comes from God

One Response to “Excerpt from “All The Notes Vol. 1””

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