Music Quotes
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Shaheed Diwas 2026
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
The library companies have made it so that music is so cheap to license. They do sound-alikes of every band, and it makes it harder for the actual bands to get any decent paychecks for licensing.
I approach horror music differently than anything else. The very first time I watch an episode, I want to be playing an instrument to it so I can get that shock into the show.
I think a scientist's job is to explore the Universe, to explore the cosmos around us. People always want to know - why is that useful? Well, on just pure fundamental grounds, on some level it's like art, it's like umm, music, it's aesthetics, it's like philosophy. You want to know where you are in the Universe.
Don't be afraid to take liberties with this music. Try and put some of yourself into it.
Since the big band started I'm just always swamped with movies and things. It certainly pays the bills and it's very satisfying, because I get to write all these big charts and all this crazy music.
To keep creating something with this type of music, you have to take it out of the box.
With the Stray Cats at least, we really took the music somewhere else. First, we wrote our own songs. That's a real weak point in modern classics if you do rockabilly or blues.
To me, rockabilly music paralleled punk's energy and feeling, but the players were much better.
Music is liquid. It's meant to be messed with and played with and stretched and pulled and pushed, I think.
My favorite music is jazz, actually. It's what I listen to, it's what I was raised on, and it's what I prefer to sing.
I gravitate to rhythmic music, so I listen to jazz, world music, Indian music, Hawaiian music, all kinds.
When I moved to Los Angeles, I thought, 'Whatever hits, I'll go that direction. If it's music, fine; if it's acting, fine.'
There is a built-in appreciation for music that is so much a part of the LDS culture. Utahns know that music can be divine and can touch a person's spirit in a unique way.
Music, for me, is the most sacred of the arts. I say that because music communicates in a way that no other art form can. All great art has a spirit that we recognize and appreciate, but music goes directly to your heart.
Through most of my life, music has been like a radio that plays and plays in my head.
I've sung a whole lot of jazz. It's my favorite style of music to sing. People don't realize it, because they're so accustomed to hearing me sing musical theater.
My father was retired military, and my mother was an educator. She was incredibly creative. I used to love going to her school during the summer and helping her decorate her classroom. I would draw Mickey Mouse, Donald Duck. She was a sixth grade teacher. She and my father are the ones that got me into my love of music.
Music has always been a part of my life, and it helps me a lot because it speaks for me when I can't speak for myself.
Atlanta's a great city to cultivate your own thing - from fashion to music to food.
In my household growing up in Fayetteville, N.C., music was the great communicator between my parents and me.
After my mother and father separated when I was 5, my mother moved to Washington, D.C., and my father remained in North Carolina. Later, I moved to New York and would often drive down to D.C. to see her. We'd ride around together talking and listening to music.
I've known for a very long time that making music for the church has been my calling.
Backstreet has been around a long time. Normally, groups like us have a shelf life of two to four years. We always wanted to have a long stay in the music world.
I never took sheet music seriously. I could do better myself just by listening to other people and using my own intuition.
We do play to our audience. It's very important. You can't create music in a vacuum.
It's wonderful for me to see what 'We Will Rock You' has done. 'We Will Rock You' and 'We Are the Champions' have kind of transcended the normal framework of where music is listened to and appreciated - they've become part of public life, which I feel wonderful about.
I think music is about our internal life. It's part of the way people touch each other. That's very precious to me. And astronomy is, in a sense, the very opposite thing. Instead of looking inwards, you are looking out, to things beyond our grasp.
The music itself is very challenging, so I've never really felt the lack of stimulation. I love to be creating; I love to be making things and solving problems, I suppose, and when I'm not, then I'm not an incredibly good person to be around. If I'm not busy, then I think I would be disaster. That's just the way things are.
I think they can co-exist. You don't have to put one down for another. I've been bitten by the acting bug, and where it takes me, it won't take away from the music.
I'm not thinking about what needs to be on the radio. I'm not thinking about anything other than - I'm just going to let this music come out of me and not have any sort of preconceived notion of what I should do. I'm just going to do it.
I'm not like a legend that - so I'm sort of in the middle in this sort of gray area where, you know, I'm creating music, and I'm not saying there isn't an audience, because there is; because all of those people go out and spend $80 to $150 on a concert ticket.
I'll always write music. Whether I release a record, whether I let the public hear it or not, I'm always writing music.
I listen to all kinds of songs. There's something to be learned from every type of music and from the one making it, whether it's pop or jazz or hip-hop.
In the history of comics and movies and music too, it's always when things are at their bottomed-out, either creatively or financially, there's more chance-taking going on.
I just felt like I'd rather listen to even the worst metal song more than most current pop music.
To be born in Wales, not with a silver spoon in your mouth, but, with music in your blood and with poetry in your soul, is a privilege indeed.
Back then, as a kid, you made a choice of who you liked, and it was either us or 'Take That.' And if you liked 'East 17', it showed you knew what was going on, you were clued up, had better taste in music.
We were the rebels of the music industry so we wanted to write a rebellious song.
Agressive music can only shock you once. Afterwards its impact declines. It's inevitable.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
I wanted to get rid of the element that had been considered essential in pop music: the voice.
Music in itself carries a whole set of messages which are very, very rich and complex, and the words either serve to exclude certain ones or point up certain others.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
The lyrics are constructed as empirically as the music. I don't set out to say anything very important.
We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.
Once I started working with generative music in the 1970s, I was flirting with ideas of making a kind of endless music - not like a record that you'd put on, which would play for a while and finish.
People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.
For instance, I'm always fascinated to see whether, given the kind of fairly known and established form called popular music, whether there is some magic combination that nobody has hit upon before.
I've got a feeling that music might not be the most interesting place to be in the world of things.
In England and Europe, we have this huge music called ambient - ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.
I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
Lyrics are always misleading because they make people think that that's what the music is about.
I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
Once music ceases to be ephemeral - always disappearing - and becomes instead material... it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
When you set out to carry on a tradition as deep rooted as folk music is, you've got to have your story together. You've got to study and have a foundation. Jeffrey Foucault has that foundation, and you can hear it in his voice, and feel it in his music. He's got an understanding that you don't hear that often.
Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.
In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really 'about.'
I don't like listening to my music, not even new pieces. Generally, they sound pretty much like I expected them to sound, so it's what I wanted, and that's it.
Art makes us human, music makes us human, and I deeply feel that science makes us human.
What I do is always hard for me to explain, but it's like a mixture of New Orleans jazz and world music, with a little bit of Spanish flavour. I just take all that and mix it with Chilliwack, and something comes out!
Jazz was the pop music of its day, and all American popular music has stemmed from it one way or another.
I took tap and ballet, which likely contributed to my sense of rhythm and showmanship. I love creating music that gets people moving together, free of inhibitions.
I fell in love with playing the trumpet because of what we call 'hot jazz' of the 1920s and 1930s, music that has a higher energy to it.
I like hearing the sort of harmonies people get into in different parts of the world. I love music that has a sense of allure to it, and exotic tunes. That's what I'm drawn to.
I'm an old soul. The blues, especially older blues, is the human element that kind of gives the music soul, and I think that maybe not enough people connect to the blues. It's a very powerful place to be; and if you can express that to an audience, I think that you can express a lot through that.
My goal was to play drums, but my father made me take piano lessons. He told me I needed to learn to read music first, so I took lessons for six years. I thank God that he made me take those lessons, because it taught me a tremendous amount.
In every interview I've got to explain something about being white but still being into hip hop. It's gone way beyond the musical aspect of the business. And I'm as critical about music as everybody else is.
I'm sometimes critical about other artists who come out with something different until maybe I hear the music. If the music is there, then they did their job, and I'll enjoy the CD.
I take a baths all the time. I'll put on some music and burn some incense and just sit in the tub and think, Wow, life is great right now.
I think the next big thing in music, and it's kind of because I come from the tech industry, is actually, I think it's the platform... Spotify is incredibly interesting. I think the platform is becoming the star.
The 'Muppets' were a very big part of my childhood, and 'Flight of the Conchords' definitely has elements of the 'Muppets' in it, specifically the way we mixed music and comedy.
Music-wise, I listen to everything. Leonard Cohen, Randy Newman - I guess I like a lot of '70s music.
Any band that is out there chasing it is doing more destruction to music then someone who is out there playing what they truly feel.
I constantly write, record, and play music for public consumption and because it's therapeutic for me.
Whether its active rock, pop, country, hip-hop - I love music; it's therapeutic to me.
For me, music is therapeutic, so the songs that came to me the easiest came from the most devastating moments of my life.
I always give a lot of credit to Ronnie Dunn for making me fall in love with country music.
From day one when you're singing, you're dreaming about making that first album and making your break into whatever music you want to break into.
Synthesizers were looked at as stealing the soul of music, but then there were these new bands who used it to contradict that idea.
I have a room dedicated to music and recording. I go there first thing in the morning and just before I go to bed. And it has a window to my street, so I can watch all the crazies walking by.
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