1
" I turned to look into his face one last time. It was as if I could see the whole universe in his eyes. Maybe he was God, maybe he was simply enlightened. I didn't care right then, in that blessed moment, I just loved him. Later, though, the love was to turn to hate, to fear. They seemed so opposite, the feelings, yet they were all one note on his flute. "
― , The Last Vampire (The Last Vampire, #1)
4
" For mile after mile the same melodic phrase rose up in my memory. I simply couldn’t get free of it. Each time it had a new fascination for me. Initially imprecise in outline, it seemed to become more and more intricately woven, as if to conceal from the listener how eventually it would end. This weaving and re-weaving became so complicated that one wondered how it could possibly be unravelled; and then suddenly one note would resolve the whole problem, and the solution would seem yet more audacious than the procedures which had preceded, called for, and made possible its arrival; when it was heard, all that had gone before took on a new meaning, and the quest, which had seemed arbitrary, was seen to have prepared the way for this undreamed-of solution. "
― Claude Lévi-Strauss , Tristes Tropiques
5
" I've always felt that the performance of a raag resembles a novel - or at least the kind of novel I'm attempting to write. You know,' he continued, extemporizing as he went along, 'first you take one note and explore it for a while, then another to discover its possibilities, then perhaps you get to the dominant, and pause for a bit, and it's only gradually that the phrases begin to form and the tabla joins in with the beat...and then the more brilliant improvisations and diversions begin, with the main theme returning from time to time, and finally it all speeds up, and the excitement increases to a climax. "
― Vikram Seth , A Suitable Boy (A Bridge of Leaves, #1)