Quotes of All Topics . Occasions . Authors
A musical is really one of the most complicated beasts. It's a play, and there's music... and there's dancing... it's unbelievably satisfying to get something up out of your brain onto a piece of paper ... and start the process and then see it on the stage.
Musical accidents are a gold mine. The thing about accidental discoveries is they won't be made unless you put yourself in a position to make that discovery. To do that means hundreds of hours, days and weeks where you do things and don't discover anything.
The C+ amps is vintage at this point, and it definitely has a certain sound to it. I wanted something that was going to keep Dream Theater in more of a current musical landscape, as far as being the producer and producing the type of album I wanted to hear.
It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.
Going back and forth between Western Arabic and African countries clearly created the various musical backgrounds I could have and obviously influenced my professional attitude, my way of approaching both music composition and singing, particularly phrasing.
I began to think, now is the time. I found quite a lot of opposition in Hollywood about the idea of doing a film musical and we ended up having to buy the rights back. I'm glad we did because it meant John and I were able to make exactly the movie we wanted.
I went to performing arts high school, and I took dance and acting every day. Then, I went to Marymount Manhattan College and I have a B.A. in acting, with a concentration in theater performance and a minor in musical theater. I studied there for three years.
I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.
It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.
One element of Madonna's career that really takes center stage is how many times she's reinvented herself. It's easier to stay in one look, one comfort zone, one musical style. It's inspiring to see someone whose only predictable quality is being unpredictable.
Every part of every song can have a totally different musical sound, because otherwise if I wanted to go from a verse of one song to the chorus of another, I'd have to go: "Uh, okay, press that pedal and then... press that pedal, and then press that pedal off."
I was doing a Broadway musical called 'Smile' with Howard Ashman and Marvin Hamlisch in 1984/5 when it abruptly closed. Howard was in the middle of pre-production for 'The Little Mermaid,' so he kindly invited all the girls in our cast to audition for the film.
I wanted something that had the feel of a complete band and a variety of instrument. Apart from doing the album for musical satisfaction, I felt it was an important statement for other women - showing you don't have to rely on other people to do things for you.
To do a musical takes a tremendous amount of energy because you have to act and sing at the same time. And everything has to be precise. Because you can't forget the lyrics because the band keeps playing, you know, and you're under a certain amount of pressure.
I was wondering, do we get the best of Swedish music or just the best of Swedish music that speaks English? Sweden has a population of nine million. And with all these acts coming out it just seems like very ripe for musical success. I don't know how they do it.
I don't like rock. Honestly, I like to listen to it, but it's not for me. There's a lot of musical genres that I find interesting, but they don't suit me. It's one thing to listen to different genres, but to perform a genre that isn't yours is counterproductive.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
You can't listen to what people who aren't musical have to say. When Anytime was released, I had bad reviews, and at first I was hurt. Your songs are like your children. You don't want to hear, 'Your kid is ugly.' But I knew the record was good and it would sell.
If I wasn't making a movie, I was trying to master a new musical instrument or trying to teach myself how to shave with a straight razor. I had to find the weirdest things just to increase my understanding of other cultures or other arts or intellectual pursuits.
I gladly accepted the commission but was uncertain about what the end result would be. On the one hand, Cuban music was conquering the world; being heard everywhere, and our small island was already producing one of the popular musical genres of the 20th century.
People get bored of hearing the same genre of music over and over again. Observe the current musical landscape and predict what "mood" people will be in next. Ask yourself what would be the most natural transition or reaction to the current genre. Then create it!
The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.
Poor Dimitri Shostakovich: In the Soviet Union, he was condemned as being too radical; in the West, for being too conservative. He could please no one but the musical public. He revenged himself on both by writing a short piece called 'March of the Soviet Police.'
Any performer would love to have the opportunity to be able to express themselves in many different areas. If you feel confident in those areas, you would hope to have the opportunity to do them, whether it's drama, comedy, musical, or whatever your interests are.
I'd like to say I'm R&B's savior. Whether that's the truth or not, I'm definitely going out there with my mic and my shield to declare, 'I am here to save R&B.' I will have the people saying, 'Sir, there is a man at the musical gates saying he is here to save R&B.
Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness 1979-1983' covers a short chunk of time in Nigeria's musical culture - one that might have lasted longer had the label spearheading the movement at the time, Phonodisk, not been so financially mismanaged.
I'd like to say I'm R&B's savior. Whether that's the truth or not, I'm definitely going out there with my mic and my shield to declare, 'I am here to save R&B.' I will have the people saying, 'Sir, there is a man at the musical gates saying he is here to save R&B.'
My dad's family were political and he was always a theatrical creature, whereas my mum is really musical and her father was the touring pianist with Nat King Cole. My family was an explosive mixture of politics, religion and music - no wonder I turned out how I did.
Over the years, I've come to realize that writing 'I Ain't Living Long Like This' was an exercise in combined musical influence, mostly that of Hank Williams, Chuck Berry, Elvis Presley, Jerry Lee Lewis, the Beatles, and Bob Dylan - artists no one has ever heard of.
I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.
To me, it's pretty much the same thing - I just love playing music. But the cool thing about DJing is that I get to play other people's music, I can mix it up between our songs and a variety of musical genres. It also enables me to be more intimate with the audience.
Every kid has a laptop; everyone can make music, so in order to stand out, I think it's important to find that sonic identity, I think my sonic identity - and mine is finding these weird sounds that may not necessarily sound that musical, and make them sound musical.
Some writers are curiously unmusical. I don't get it. I don't get them. For me, music is essential. I always have music on when I'm doing well. Writing and music are two different mediums, but musical phrases can give you sentences that you didn't think you ever had.
I've always been singing. Since day one. I started doing musical theater and you have to sing in musical theater and so that's where I got most of my training. So singing on stage, you just inevitably, when you're around other vocal artists, you get better at singing.
Rehearsels, actually." "Rehearsals?" "For the-" Oh,no. "-musicale." The Smythe-Smith musical.It finished off what the Crusades had begun.There wasn't a man alive who could maintain a romantic thought when faced with the memory-or the threat-of a Smythe-Smith musicale.
I think there are rock stars within every subgenre, and for people who are obsessed with musical theater Sutton Foster and Audra MacDonald are like Beyonce to them. I'm sure the a cappella world has their own version of that, and that exists in every geeky subculture.
I thought about what I wanted to do besides playing violin and singing backup in a band. Don't get me wrong, playing and singing in That Dog was really fun, but I wanted to work on other musical projects and sing more. So I started a vocal project, i.e. Imaginaryland.
When I was four, we had to choose a musical instrument to play at school, and I chose the cello. I played until I was 18, and although I found it nerve-racking to play solo, I loved playing in an orchestra. When I left school I didn't carry on with it, which I regret.
When movement isn't enough, you dance, or when speaking isn't enough, you sing. When it's organic, and it's earned like that in a musical, that's when it works, and then there's nothing like it because it's this thing that takes you to a whole 'nother level, you know?
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
The blues is like a planet. It's an enormous topic. You can't ignore the impact that it has had and continues to have on the whole musical culture. It's a tree that everyone is swinging from. Without it, I don't know where I would be. It's indelible and indispensable.
Rock guitarists usually do not wish to think trains of thought about anything but their own guitar playing during a long solo, and I could not play this way if I were not able to divide my attention between my ever changing musical environment and my instrument itself.
What is usually called 'intelligence' refers to the linguistic and logical capacities that are valued in certain kinds of school and for certain school-like tasks. It leaves little if any room for spatial intelligence, personal intelligences, musical intelligence, etc.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
I know about lots of things that have nothing to do with being Asian, that you would never guess from looking at me. I know all about musical theater. I could go on 'Jeopardy!' and knock off the whole Broadway show tunes category. Also the whole Bible stories category.
There will always be a part of me that wants to do a movie musical. I feel like you're doing yourself a disservice when you say something like that, because you never know if that thing is gonna come along and be right, but I'd be lying if I said that that wasn't true.
Maybe I've got to admit that what I did here was enough. I can make some more films. Maybe I'll direct a film. Maybe I'll have my musical put on stage. But nothing, really, to be absolutely honest, competes with making a very successful pop band for 10 years of my life.
Mainly, when I ran into Emmylou Harris, that was it, you know? We could finish each other's sentences musically, and personally, too. We have a very shared, similar sensibility. And that was a friendship that really opened up a tremendous number of musical doors for me.