Music Quotes
Most Famous Music Quotes of All Time!
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Christmas Day we get all the dogs and the cats and make breakfast and open presents and then go to the backyard - because it is always like 100 degrees in L.A. - and we get a speaker and play fun '80s music and dance outside with all the animals.
I just enjoy the sound as I hear it in everything around me. The high and low frequencies of sound bewitch me. Whether I am in a shop, in the bathroom or listening to noise that my fans make... everything is music to my ears and drives me. I just put all these things in rhythm when I'm playing.
Music is composed on computers and other electronic equipment; producers don't want to spend money on orchestra.
When I sit behind that electronic drum, it dominates me; there is no innovation in composing music like that.
Every year, I always go abroad with dark music, and I'm going to these places, and I feel like I want a party rep - I want something that everyone is going to go crazy to and enjoy and have a good feeling.
In this music industry, you'll find the differences with artists. You get some people who really love music... and you get people who do this because they want to have money or want to be famous.
Pharrell loves music. When I'm with him, it's like I'm working with someone that I've known all my life, and we're both there to make the sickest track we can.
'Konnichiwa,' to me, is a classic because I don't make music for today where everyone is going to judge what I did in two years; they're gonna tell me today.
With the music that I've put out, I realized that putting pressure on an album isn't always the right thing to do for yourself.
It's not just my music. Not everyone just listens to grime now 'cause of Skepta. They like how we speak. They like the slang. They like how we dress. They listen to the music. It's everything.
I want to make theme-setting music, music that sets a theme without being cliche.
I like to just make flex music. So when I do make emotional music, it's hard for me, because I feel like I'm cliche. But I guess cliche is the best thing sometimes, because it's real.
I don't like being categorized as a rapper. I make music; I don't just rap.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
I don't do much press. I don't like to talk about my music too much before I do it.
Hip-hop and electronic music are so similar, in the fact that they're both very visceral, have so much bass; a lot of times, it's the same tempos. The culture and some of the sound design is different but a lot of times, it's the same stuff.
To me, it's always a joy to create music no matter what it takes to actually get there. The real evils are always whatever stops you from doing that - like if your CPU is spiking and you have to sit there and bounce all your MIDI to audio. Now that's annoying!
I was never really a DJ... I just kinda figured it all out at once as I started to tour. I was making music and producing and I just had to start to DJ as I got more into touring.
I like writing different types of music. I don't like being stuck into one thing.
I always choose music based on whatever the scene calls for, or whatever my mood is supposed to be.
I have this massive love for the whole culture of pop music. It's my fascination, my ongoing passion.
I really, really love music. I'm affected by it and uplifted by it, and made to laugh and cry, and almost fall in love with the person who has made me feel so brilliant and communicated so profoundly to me.
Pop music allows you to be who you are without having to wear a social uniform or to conform, which some people find impossible to do.
I'm still grappling with all the things most people resolve by the time they're 35. Maybe that's why I make music that is relevant to young people. I'm emotionally stuck at the age of 13.
Music is a gut thing. You're working in a medium which is more in touch with the primal than the modern. A gig is a ritual. There's a congregation.
Every generation has had some sort of focus for their unrest and discomfort with growing up. But today, the music that's in the charts is probably liked by their parents as well, and I think it's a part of youth that you need something that isn't liked or understood by the older generation.
After 'Return Of The Bumpasaurus' in '96, I just got away from music for, like, a year. Literally, I think I produced two songs in a year. I was totally kicking it, running around.
In hip-hop, what you have is you have a lot of formulaic-type bands or rappers that come up. They saw something on the radio, and they want to mimic that formula. And that's just boring. I don't wanna record something just to make money; I want to record something to enjoy it and have fun because I'm a music lover.
I think what's beautiful when you're looking at artists like Macklemore and you're looking at artists like Ayron Jones, they're proud of Seattle and they're bringing it back. Seattle's a real music town. When you act ashamed of that, you should be pushed outta the game as far as I'm concerned.
I like to listen to Beyonce or any type of upbeat music when I am working out. Gospel music always motivates me.
The reaction of the public plays a very important role. It gives us an adrenaline boost, especially when people start to shout and clap their hands in time with the music. That really helps us to go on.
If you think the music business is the be-all and end-all of life, you're in big trouble.
In England, unless I am mistaken, I think some of the politicians who love classical music and opera are a bit loath to be seen there in case people think it is elitist. That is a real shame because it also means we are not allowing our politicians a hinterland that an earlier generation, a Denis Healey, would have taken for granted.
I think we will find more and more ways in which technology invades our artistic spaces, so music is something you will need more than ever because it is there in time and in space and for that moment only.
I've always loved French music. My parents adored it; my father played it on the piano.
Music is not supposed to be nationalist. It is supposed to surpass language barriers. It is about generations communicating with each other.
My proposition is that music is at the heart of what 'The Magic Flute' means: that it's Mozart's music, not the words, we should be attending to. Music expresses what can't be expressed otherwise.
I'm passionate about music, and I feel that theatre has an extraordinarily musical ability in the way it operates on the audience.
Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
Somebody will be able to crack ebook files in the same way that people cracked music files a decade ago. An author could have worked for three years on his book, have someone buy it for their Kindle for £6.99 and then see it shared with everyone in the world for free.
As a child growing up in a grey-skied Yorkshire village, I would occasionally happen upon a Bollywood movie on the television. After a few minutes watching a bunch of sari-clad dancers cavorting on a Swiss mountain to tuneless music, I would switch over to some proper drama about housing estates and single mothers.
We realized that Elite has the potential to really add value to a company like La Perla, due to its relationship to the fashion business, links to music, to entertainment, all of this tends to point more and more to the luxury consumer. The fashion world is one where Italy has clear excellence. I see the potential with it very clearly.
But I cannot bring myself to believe that I was intended for a musician, because it seems so small a business in comparison with other things which, it seems to me, I might do. Question here: 'What is the province of music in the economy of the world?'
I come from a musical family, and Carnatic music made up so much of my childhood, my upbringing, and my musical transition.
Growing up in the U.S., music became a way for me to find my roots and anchor points.
It is kind of a cliche that many Indian parents, especially in the U.S., want their kids to become doctors or engineers. But my parents encouraged me to turn to music when they found that I had the passion and talent.
I fell in love with R&B music at a young age. The energy and aesthetic of that genre strike an emotional chord with me.
I owe so much of my musical growth to my exploration and performance of Carnatic music.
The youth is hungry for good music; I feel responsible and glad that I can be an agent who can mentally, emotionally stimulate them to listen to music outside of cinema.
I have huge respect for the musical aptitude and intellect of listeners in India. They appreciate genuine, quality music.
The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.
Across generations, the torch-bearers of Carnatic music have mastered the art form of connection.
From when I first started listening to music, M. S. Subbulakshmi has been one of my biggest influences. She poured her heart and life into everything she sang.
Growing up, any time I would sit down with my grandfather to learn or talk about Carnatic music, he would bring up G. N. Balasubramaniam. Listening to the recordings he would play me, I was dazzled by GNB's voice and how he was able to execute ideas that I could barely wrap my head around.
My time at Berklee College of Music was probably my greatest period of artistic growth and internalisation.
My experience and growth in the film music world and the time I've spent studying legendary film composers have given me depth of insight into how music can inspire a range of emotions.
Berklee played a huge role in shaping my music. On an academic level, I learned a lot about vocal technique and culture. Since my major was Music Production and Engineering, I got a good handle on the technical and creative aspects of making a record.
My whole family is involved in the arts - my sister is a professional Bharatnatyam dancer, and my dad helps me out on the music business end.
My idea is to take the improvisational excitement that takes place with Carnatic music and juxtapose that in different sonic contexts.
Ultimately, you're looking for a soulful experience when you listen to any form music.
I realised music was my calling, and I am one of those who's strongly bound by an infectious enthusiasm and passion.
Thanks to my family and guru. They were quite confident that I could do it and think about music as a full-time career.
When it comes to 'Maruvaarthai,' I have said many a time that Carnatic music drives my creative influence. In that sense, Darbuka Siva gave me a lot of room to breathe with the melody. The instrumental, however, was grounded. The lyrics is just poetic, and phonetically, they sound beautiful.
When I was younger and had made the decision to make a career in music, becoming famous was something that I dreamt about.
My memory of my household is of one immersed in books and music. I have a very intimate relationship with Bengali literature, particularly Tagore, and my interest besides reading then was music.
None of my songs sound the same. None of them. I take R&B beats and put it as a rap song or hip-hop beats and put them as a R&B song. A lot of people are boring. I don't like boring music. Everybody sounds the same, like they copying.
'Free the Gang,' that's my favorite song because it's so real. All my music is real, it's authentic, but it's something about that song that I love.
My music is genuine, and I'm talking about stuff that no one else - no one my age, anyway, in the game - is talking about. Nobody. I'm the only one really stating facts and speaking with real street knowledge.
I'm really visually stimulated more than anything. I don't really listen to music. I'm more into watching telly or watching movies and visual art.
I'm sort of a gay man trapped in a woman's body when it comes to music sometimes - it's crowded in here!
I don't go to shows because I just want to listen to the music performed live. I want to get to know the person who's performing it. Or I want to, like, take away a sense that I had an experience that nobody else is going to have again, or a unique experience for that moment.
A studio is like a meditation room where music is created. And a live performance is the place where the creation of the studio is taken ahead. I love both.
When I am not recording, I do live shows or am at home catching up on shows which I regularly watch. But there will always be some music around me.
I started officially learning music when I was 14. I learnt Hindustani classical.
Music is quite an enigma because it is many things together, and it is one whole body. Like a nucleus, it contains every idea, but the basic stand is the same.
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