Music has got to be useful for survival, or we would have gotten rid of it years ago.
Interpretation
Music plays a vital role in our survival and well-being, indicating its essential nature in human life.
Daniel Levitin highlights the integral role of music in human existence, suggesting that if it were not essential for our survival, it would have been discarded long ago. This implies that music is not just a form of entertainment but a crucial element that contributes to our emotional and social well-being, shaping our experiences and connections with others.
In practice
During a discussion on the importance of arts in education, this quote can emphasize how music contributes to life skills.
As soon as you hear a proposition, the creative brain in humans assumes for the moment that it's true, and starts trying to find evidence. It's what computer scientists in the old days used to call 'Fifo:' first in, first out. The first piece of information that gets in has a privileged position, even if it's misinformation.
What music is better able to do than language is to represent the complexity of human emotional states.
Information overload refers to the notion that we're trying to take in more than the brain can handle.
That walk around the block, that fresh air, is going to help you work more quickly and effectively when you get back.
There are a lot of books about how to get organized and a lot of books about how to be better and more productive at business, but I don't know of one that grounds any of these in the science.
There's an ancient connection between movement and music. Most languages don't make a distinction between the words 'music' and 'dance.' And we can see that in the brain. When people are lying perfectly still but listening to music, the neurons in the motor cortex are firing.
When I was little, my ambition was to grow up to be a book. Not a writer. People can be killed like ants. Writers are not hard to kill either. But not books: however systematically you try to destroy them, there is always a chance that a copy will survive and continue to enjoy a shelf-life in some corner on an out-of-the-way library somehwere in Reykjavik, Valladolid or Vancouver.
The artist doesn't really think about consequences - he or she does the work, stands back and looks at and thinks, 'Hmm, that could have worked better like this.' But as a person who needs to sell tickets to do the next work, one needs to analyze how it does or does not hit its mark.
The authour who imitates his predecessors only by furnishing himself with thoughts and elegances out of the same general magazine of literature, can with little more propriety be reproached as a plagiary, than the architect can be censured as a mean copier of Angelo or Wren, because he digs his marble out of the same quarry, squares his stones by the same art, and unites them in columns of the same orders.
Poetry began in the matriarchal age, and derives its magic from the moon, not from the sun. No poet can hope to understand the nature of poetry unless he has had a vision of the Naked King crucified to the lopped oak, and watched the dancers, red-eyed from the acrid smoke of the sacrificial fires, stamping out the measure of the dance, their bodies bent uncouthly forward, with a monotonous chant of "Kill! kill! kill!" and "Blood! blood! blood!
Sometimes I think all my pictures are just pictures of me.
The art of the critic in a nutshell: to coin slogans without betraying ideas. The slogans of an inadequate criticism peddle ideas to fashion.
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