Quotes of All Topics . Occasions . Authors
Regarding the current Broadway revival of The Music Man, Jay Nordlinger wrote: There will always be those who sniff that the show is "feel good"-but, oh, it feels good to feel good. And the main reason The Music Man feels so good is that it is good-a great American musical.
My father had left behind an old piano. My sister was already going to school, my mother was out working, and I stayed at home alone with my adorable grandmother who understood nothing I said. It was so boring that I stayed at the piano all day long, and that saved my life.
From its first faint glimmerings, History shews Man's constant progress as a beast of prey. As such he conquers every land, subdues the fruit-fed races, founds mighty realms by subjugating other subjugators, forms states and sets up civilisations, to enjoy his prey at rest.
When I was done with high school, I knew that music was really important to me and I knew I didn't want to be a cellist, but I wasn't really sure if I wanted to be a composer, or think about - I was just interested in the ideas behind music, I was interested in mathematics.
I have art. I have music. I have the history, this legacy behind me that I can look up to. This is what I believe in. If you want to call it God or spirituality, that's all up to you. Basically I believe in something that's bigger than myself, and that gives my life meaning.
Making a movie is so hard, you'd better make movies about something you really know about. And even more, it's really good to make movies about things you need to figure out for yourself, so you're driven the whole way through. It's going to make things more crucial for you.
For the most basic assumption that dictated my early attempts to respond to creative music commentary was the mistaken belief that western journalists had some fundamental understanding of black creativity—or even western creativity—but this assumption was seriously in error.
The whole trouble with a folk song is that once you have played it through there is nothing much you can do except play it over again and play it rather louder. Most Russian music, indeed, consists in ringing changes on this device, skilfully disguised though the fact may be.
Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, it’s not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I want to escape.
What I'm proposing, to myself and other people, is what I often call the tourist attitude - that you act as though you've never been there before. So that you're not supposed to know anything about it. If you really get down to brass tacks, we have never been anywhere before.
I got the job [in Moana], and the next day I was on a plane to New Zealand, where the rest of the team was already doing research, and meeting with different choirs, and sort of really soaking up the music, the musical world of, the musical heritage of this part of the world.
Personality is essential. It is in every work of art. When someone walks on stage for a performance and has charisma, everyone is convinced that he has personality. I find that charisma is merely a form of showmanship. Movie stars usually have it. A politician has to have it.
'Sleep' is a project I've been thinking about for many years. It just seems like society has been moving more and more in a direction where we needed it. Our psychological space is being increasingly populated by data. And we expend an enormous amount of energy curating data.
What is Music? How do you define it? Music is a calm moonlit night, the rustle of leaves in Summer. Music is the far off peal of bells at dusk! Music comes straight from the heart and talks only to the heart: it is Love! Music is the Sister of Poetry and her Mother is sorrow!
Nevertheless the passions, whether violent or not, should never be so expressed as to reach the point of causing disgust; and music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music.
The idea is distributed in space. It isn't only in one part; one part can't express the idea any longer, only the union of parts can completely express the idea. The idea found it necessary to be presented by several parts. After that, there was a rapid flowering of polyphony.
With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.
Therefore we well observe that the title of perfect cadence is attached only to a dominant that progresses to the main tone, because this dominant, which is naturally contained within the harmony of the main tone, seems, when it progresses to it, to return as if to its source.
I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, "Oh I kind of got past the sell by date on this." I'm not connected to the initial spark that was the idea. A lot of that's about staying open.
When you're dealing with a constant rhythm, no matter how great your lyrics are, if you don't switch it up, people's heads are going to start bobbing. And they're going to stop listening to what you're saying, so consistently keep the ear fresh and keep the audience surprised.
I discovered 'Rite of Spring' when I was 21. As a matter of fact, not with orchestra first, because it was still a work which was not often performed. Don't forget that I was 19 in 1944, still the Occupation time. So it was performed slightly after the end of the war, in 1945.
It had a language. It's a very emotional language that only exists in India, that part of [inaudible] so we wanted to use that. I had two versions - one with my voice and one with the girl's voice. But he preferred the girl's voice and he preferred my voice with an [inaudible].
If you scroll through all the movies I've worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So in other words, I'm no specialist, because I've done everything. I'm a specialist in music.
I'm a self-confessed geek, and my whole concept of music at first was entirely electronic. In many ways, it turned out to be an advantage. I was so green, so utterly naive about the nature of classical music, that I did things that made me look totally, deliberately unorthodox.
The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life; they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They're absolutely essential.
I don't know the names of any pop musicians. Pop music is standardised; it's made to please the largest audience possible. I also compose to please a large audience, but when you listen to my music, you understand that I have studied and applied the whole history of composition.
Hip-hop has always been chronologically misunderstood. Too many times, people are hearing the story from the second floor. Nobody's heard the story from the basement. If hip-hop was a cake, all I can tell you is the eggs, the flour, the sugar, the vanilla - the ingredient years.
As a consequence, I think of the idea of 'common practice' at any time as something that can only be seen by looking backwards. Maybe around the turn of the 20th century there might have been some kind of common practice but now it looks to me like the boundaries have come down.
It is my belief one should not belittle the artist; while, however glorious his fame may seem, his time on Mount Olympus as an honourable guest of Zeus is short. It's a pity, but all too eager will the common folk drag him from this etherial heights to the low and trodden earth.
When I'm an audience member I do not want to go and see something that I already know, I want to see something that I don't know. I want to be surprised and stimulated to think about something. I want the magic. I want to be in a situation of uncertainty; that's what excites me.
I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.
Basically, if you work hard and practice an instrument every day, you'll learn how to play like a professional. You'll get better and better each day. And that's how it works for me. I wasn't magically inclined to play. I had to keep practicing and practicing to train my fingers.
Who has reached the extreme limits of scale with the same infallible precision, equally guarded against the false refinement of artificial elegance and the roughness of spurious force? Who has better known how to breathe anguish and dread into the purest and most exquisite forms?
I have to put myself back in the audience's shoes and figure out what they would know and not know. But, there are also times when I do know what's coming up and I maybe need to hint at it, though not in a big way. It's a little bit of both. It's an interesting tightrope to walk.
I think it's of huge importance to us as worship leaders...to ask ourselves these two questions: What were the words we put into our congregation's mouths, minds, and memories? And how well did our congregation sing? Our role is simply to be an accompaniment to them as they sing.
I read reviews, I'm not going to lie to y'all. Like you know, I'll read 'em, but then, the next day I'm able to sort of shrug them off. But if something sort of sticks the next day, there's probably something to it. I just sort of really try to trust my gut on, on all that stuff.
That was a very different emotion and I felt Dido's words would be good and I had a template with my voice in it. Then, when he heard it, he wanted both our voices together in it and that's the scene when he sees the boy and then he gets charged to go on that final cutting effort.
Porgy is...an interesting example of what can be done by talent in spite of a bad setup. With a libretto that should never have been accepted on a subject that should never have been chosen, a man who should never have attempted it has written a work that has a considerable power.
I'm very happy with the things I do. Maybe I'm just lucky I like to do so many things. I don't remember any musical job that I did only for the money. Even when I worked as a music supervisor on cruise ships I did it for romantic reasons. When I work for TV it's because I want to.
I grew up in a family that my father was a very, very, a person with so many ideas, so many new visions and dreams. For me to grow up in that family, that also helped me to have a vision to create and open boundaries and things. So I think it's like, it just comes from the family.
I've always known that I love directing but I was really aware of it while making 'Beginners.' I am my happiest when I'm on set directing. I am also my kindest. When the actors get in front of the camera, it makes them very vulnerable. I am so in love with them for trying so hard.
Some members of the Vienna Philharmonic convinced me to try Bruckner, which I have never done before. And that was interesting to me to have this experience with this orchestra, which knows the repertoire very well, and to be confronted with this knowledge, and to learn from them.
An evil fate has deprived me of the full use of my right hand, so that I am not able to play my compositions as I feel them. The trouble with my hand is that certain fingers have become so weak, probably through writing and playing too much at one time, that I can hardly use them.
I compose with bells a lot. Bells and breath. Both things you react to without thinking about it. Bells traditionally give us orders: come to the desk, the truck is backing up, the ice cream is here, it's time to go to church. They're sounds our brains are already associated with.
I think it's maybe because Sergeant Pepper's came out when I was about 13 or 14 and that was a pretty impressionable age, and it was such a kind of radical period. But that period of the Beatles really had a big influence on me and I think are directly related to hyperinstruments.
People like RZA and DJ Premier are really on the balcony to scope my musical theories. They also help me focus on making sure I make money, making sure I get the notoriety I should, just regular stuff that friends do when you're in the business. And to call them friends is amazing.
What I am trying to do is something different - an effect of reality, but what some fools call Impressionism, a term that is usually misapplied, especially by the critics who don't hesitate to apply it to Turner, the greatest creator of mysterious effects in the whole world of art.
I really look forward to revisiting this body of work which has been such a huge part of my life and bringing it to the concert stage. And the idea of performing some of Jack Skellington's songs from The Nightmare Before Christmas live for the very first time is immensely exciting.
The magic that you find in surf music, I think, is really timeless. You know, when I was very young, I was in a surf band. Surf music is an instrumental music that still means a lot to me, not in an nostalgic way, but as something that really gets to the heart of the guitar itself.
It is the individual voice, present to itself, that needs to be heard. We need to hear the process of the musician working on himself. We don't need to hear who is more clever with synthesizers. Our cleverness has created the world we live in, which in many ways, we're sorry about.