Musical Quotes - Page 34

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Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.

I thought the musical aspect of 'Freak Dance' was a good contrast to how dancers always try to come off as really tough in those movies - they're trying to literally come off as gangs like as if the Crips and the Bloods are also dancing in addition or instead of fighting with guns and knives and stuff.

The music that I make is built on layers upon layers of musical ideas. I want to keep it fun and fresh to where listeners won't get everything from just one listen. They can go back to it months, weeks, or even years later and hear something that they didn't ever hear before. That's what it's all about.

The character I created, 'Commissario Brunetti,' who appears in all my books, shares similar reading, artistic and musical tastes with me. Subconsciously, I knew that if I was to spend however long it would take to write this book with him, this man would have to be someone I'd like to have dinner with.

Staying enthused about finding things; discovering new beauty in the world that can translate into music. That's the most precious sort of resource. You have to pull stuff from outside of the musical realm. Whatever muscle it is that it takes to listen to music and stay focused, in me, is really strong.

Because my musical background is so diverse, it lends me to have very much my own style and it helps me to relate to the music as I'm going to play it. I just write. And if it comes out country, it's a country song. The funny thing is, I write all across the board. I just write what hits me at the time.

I wanted to lift the aspects of the lyrics and imagery that I found sincerely powerful and touching, plus the amazing musical extremities, and make my own thing. That's what making music has always been for me. Synthesizing a nonexistent kind of music that I wish existed because I wanted to listen to it.

You can be born into a musical family and have an ear for music but being technically gifted, be it playing an instrument or songwriting, takes years to get good at. So for me, I'm excited to start over, and yeah, I have a few talents I can build off of. But I see this as a long process; it's a marathon.

In a studio situation, I'm able to dig deep and come up with stuff that all the guys think fits the vibe of the song. And I think that's partly due to the fact that I grew up listening to just about everything under the sun. I'm very open to music, and I like to do things in a traditional and musical way.

The language of all the interpretations, the translations, of the Judaic Bible and the Christian Bible, is musical, just wonderful. I read the Bible to myself; I'll take any translation, any edition, and read it aloud, just to hear the language, hear the rhythm, and remind myself how beautiful English is.

The issue I had with the Lightspeed albums was that usually the main purpose with them was to fulfil really dorky musical goals, like, 'I wonder if I can do that,' and it was all very personal. It was more that once I'd finished the goal of what the song was, I was kind of done. It was like ticking boxes.

I think the brain is a dynamic system in which some parts control or suppress other parts. And if perhaps one has damage in one of the controlling or suppressing areas, then you may have the emergence or eruption of something, whether it is a seizure, a criminal trait - - or even a sudden musical passion.

I don't want to make light of the importance of my musical upbringing, as you cannot avoid being influenced by the area you grow up, but I will say that Reykjavik's geography is very different from, say, New York, Paris, or Copenhagen. There's big skies. The buildings are low. The landscape is spread out.

I come from a very musical family. My dad taught me to play guitar. I play violin and drums as well. Violin, I started in elementary school. Drums actually came when I was in a program called 'Rock Star,' which was really awesome. We were doing a song by the Ramones, so I thought, 'Why not play the drums?'

I've been playing music all my life. I wasn't really fostered in a musical family, it was something I did despite the kind of limitations put on me. It was a series of misshapes and failures and things that didn't work out and other opportunities that kind of presented themselves. I just followed a journey.

I never consciously tried to conceive of what my sound should be...I never tried to imitate anybody, but when you love somebody's music, you're influenced...I really don't know how I developed my sound, but it comes from a combination of my musical conception and no doubt the basic shape of the oral cavity.

I was in California, and I was going to UCLA, and I knew I certainly didn't have movie star looks. I remember seeing pictures and photos of Ethel Merman and Mary Martin, who were kind of average looking. I said, 'Well, that's for me, then, to go back to New York and try to be in musical comedy on Broadway.'

Most of my life, I feel I have been Unicycling at the Edge of the Abyss! If fact, this will be the name of my book if I ever write one, or a one man stand up routine. I have used it as the name of a collection of my musical compositions written during the '90s. It fits the scary journey I feel I've been on.

When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.

All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the understanding and recognition of musical elements - for guidance.

I should mention that I took piano lessons beginning when I was four. My mother was my first teacher, and it was a wonderful way to bond with her. She was a terrific supporter of my musical career. I knew I wanted to be in music since I began lessons, and I enjoy the various facets that my career has led me.

Searching for music is like searching for God. They're very similar. There's an effort to reclaim the unmentionable, the unsayable, the unseeable, the unspeakable, all those things, comes into being a composer and to writing music and to searching for notes and pieces of musical information that don't exist.

With Australian audiences, there's a certain level of education - as far as how much access and exposure they have to music from various genres. So when you do 'Big Day Out' and there are all these different musical acts, you see the same people in your crowd that were there for a completely different artist.

Strangely enough, when the Sugababes' 'Freak Like Me' went to number 1, which was built around my 'Are 'Friends' Electric' song, I had another song called 'Rip' go to number 1 in the Kerrang TV chart, so I was pulling new people in from very different areas of musical interest. That was quite an amazing week.

It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.

When the film and music industries declined in the wake of increasingly conservative Muslim laws and social customs in Pakistan, many of these musicians found themselves out of work. They were brought together at Sachal Studios by Izzat Majeed, who built the studio in order to preserve these musical traditions.

Duke Ellington is my choice for many reasons. Nobody has written so many great pieces of music, which are everlasting, and he has made them available to the world through his orchestrations of his work in a unique way. Lastly, he was himself a fine pianist. He covers the entire musical spectrum with his genius.

Architecture produces a musical mood in our inner being, and we notice that even though the elements of architecture and music appear to be so alien in the outer world, through this musical mood engendered in us, our experience of architecture brings about a reconciliation, a balance between these two elements.

it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.

I was never on the side of the teachers at school. Even though I put all the work into getting the main role in the end-of-year musical when I was 11, they didn't give it me, even though they knew I should have had it. That sort of drove me into am dram and getting the main part in another production. And I did.

I'm always looking for poetry's place in the prose. For that moment, let's say, that arrests time, or that sentence in which the musical matrix or trope, the sounds of the words arranged in a way that heightens perception, a tunefulness that more clearly defines and transfers the feeling I'm after to the reader.

I did a lot of musicals when I was young and finally went to drama school to try and get away from doing musicals... and of course the first thing that happened when I got out is I got offered a musical. And then when I got to the Royal Shakespeare Company, which was my next job, I ended up doing a bloody musical!

I've gathered some of my close musical and comedian friends, and we're going to see if we can't bring a few laughs to these soldiers, raise some money, and hopefully lift their spirits. I consider it an honor and a privilege to give back however I can for the many sacrifices of these incredibly brave men and women.

I have heard Ori Kam on several occasions over the last few years and have always been deeply impressed with his playing. He possesses a rare combination of musical talent, technical facility, intelligence, and charisma, and he is undoubtedly one of the most extraordinary young artists I have heard in recent years.

When I'm writing a lyric, I totally forget about the music. I'm just looking at the lyric and thinking about it almost as a separate entity. And then I'll go to my keyboard with all the lyrics printed out and try to think of how to make this a complete musical thing. I've got a very basic keyboard with some presets.

I never solicited myself as a singer until I realized I could use that to a musical standpoint. I loved musicals growing up. Classic films were some of the only ones I watched. So when the opportunity came for the show to audition, of course it was all of a sudden, "I sing! I sing! Send me in, please. I beg of you."

I saw 'Billy Elliot' again, and what I loved about it was the way it had become a social document, a reminder of what happened with the mining communities in the '80s. And I thought, 'Everyone keeps wanting me to make a sequel to 'Beckham,' but maybe a musical remake is the answer, embracing all this theatricality.'

Progressive music probably wouldn't even really exist if not for the people of the United States having picked up on it and nurtured it in the way they did. It really is an American form of music in the sense that it was nurtured here. So it belongs here. It has become part of the fabric of American musical culture.

In terms of theater itself, no story is too strange or method of telling it too impossible these days. In many ways, musical theater has caught up with straight theater in that it's allowed more surreality and breaking of form, and that's really exciting to me - the challenge is getting people to produce those shows.

Believe me, I love commerce as much as the rest of the readers of 'Businessweek.' But in art, you have to be true to yourself and your musical vision. People have known me well for a long time, so if I was chasing a trend and doing something that wasn't authentic to who I am, they would know it in just a few seconds.

If someone said, "Here, you have your pick, you can do either a musical, Moulin Rouge type of movie, where you sing and dance, or an action movie, or a Shakespearian or Elizabethan movie," I would definitely love to do a movie that was based on a musical, where I would get to sing, dance and act, all at the same time.

Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.

I remember writing lyrics for 'Take Me to Church' for a long time before I even had a song in mind for. It's not that I was trying to write that song for a year, but sometimes you just kind of collect lyrical and musical ideas and don't actually complete the song until you feel like they work together and have a home.

Modern European composers...have very largely received their stimulus, their rhythms and impulses from Machine Age America. They have a much older tradition of musical technique which has helped them put into musical terms a little more clearly the thoughts that originated here. They can express themselves more glibly.

I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.

I grew up watching the films of 'Carousel' and 'Oklahoma' and 'The Music Man' and 'My Fair Lady' - all the classic musicals of that golden era, The sort of more modern musical theater, or what was modern when I was at a ripe teenage age, I wasn't really listening to that stuff. I was really more raised on the classics.

I think there have to be Bachs and Beethovens. We may have - there are so many more people. Musical training is available to so many more, but it may be that we've hit a right wall in terms of accessible styles and since we demand innovation as a criterion of genius, there may not be more innovative styles to be found.

Bruce Katz is a spectacular talent! He's a brilliant composer and arranger who uses uncommon and unique musical intelligence to redefine jazz and blues far beyond the pale of the accepted definitions of keyboard competence. Whether on piano or organ, when you hear Bruce Katz you know it's him, unmistakably and uniquely.

I felt like my favorite writers have almost musical hooks in their work, whether it's poetry or a hook at the end of a chapter that makes you want to read the next one. And I think that my favorite writers definitely have something musical about what they do, in saying something so relatable and universal and so simple.

I always thought that there was something in hip-hop culture that was the misfit of all the musical styles, where they didn't really belong. They're kind of like, 'No, we're a real culture! We're not going anywhere, you can't get rid of us!' I really liked that there was a rebelliousness about it. I connected with that.

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