Music Quotes
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I think of a piece of music as something that comes alive when it is being performed, and I feel that my role in the transmission of music is to be its best advocate at that moment.
As you begin to realize that every different type of music, everybody's individual music, has its own rhythm, life, language and heritage, you realize how life changes, and you learn how to be more open and adaptive to what is around us.
The thing that I've always been slightly frustrated with, was that the idea of a CD is kind of confined to a material possession that you can put on a shelf. And the idea of music, for me, is always about both the communication and the sharing of content. And so the interactive part is missing.
Jazz has been such a force in music, that any musician, including classical composers, have been influenced, and obviously performers, also.
I think there are so many ways to become interested in music. I believe signs of sustained interest gives a sense of the right time. Music, if thought of as a language, would perhaps indicate that as early as possible is not so bad. I do believe that a really nurturing first teacher that makes the child love something is crucial.
What came up at age 49 is I realized that of all the things I'm interested in, the thing I'm most interested in is figuring out what makes people tick, why people think the way they do, why they act the way they do. And I realized that music is such a great way to investigate why people do what they do.
Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes.
The tradition of classical music and the opera is such that it used to be the place where social intercourse could take place between all parts of society: politicians, industrialists, artists, citizens, etc. That tradition, I think, still exists, but it's much, much more diluted.
A composition is always more than the sum of its parts. In other words, a really good piece of music is more than itself. It's sort of like a prism, which you can see from each facet a single totality.
I think the purpose of a piece of music is significant when it actually lives in somebody else. A composer puts down a code, and a performer can activate the code in somebody else. Once it lives in somebody else, it can live in others as well.
You have to fall. You have to understand what that feels like. For what I want in my life, and for where I want to go with this music, you gotta be humiliated, man. You gotta understand what that feels like. It just makes you stronger.
'Yela' represents hunger, life, light, fire, power. 'Wolf' speaks to my fighting spirit. The soul I put in my music.
I just picked up a lot of classic-rock, melodic influence from my mom, music that she listened to, like 10,000 Maniacs, Led Zeppelin, REO Speedwagon and Yes.
I equally love both, classic rock and hip-hop. I love all music, really, and I really use classic rock a lot. I'm heavily influenced by that melodically in my music. I can't really separate the two.
Where I'm from is like 'Hustle & Flow' versus '8 Mile.' It's that really grimy, box-Chevy, dope-boy, working-class music.
I'm always gonna have the darker edgy music; it is always in my pocket because it comes so naturally to me.
I just want to make a classic. Classic is the standard. I'm just trying to make music that will last a lifetime.
I always have music playing in my studio when I design. It really gets me in the mood and allows me to focus.
I was raised by strong women, and the role models I had in music and cinema were strong, too - liberated and provocative.
It's complicated for my music to be accepted, even in Lebanon and the Arabic world - I sing in Arabic, but there's no lute, no classical instruments. Maybe with the Internet opening things up, things will change.
When I started, I didn't know how to sing in Arabic - it's a very complex and sophisticated music full of codes and modes and quarter-tones.
I can only think of music as something inherent in every human being - a birthright. Music coordinates mind, body and spirit.
Music creates order out of chaos: for rhythm imposes unanimity upon the divergent, melody imposes continuity upon the disjointed, and harmony imposes compatibility upon the incongruous.
I want less and less control with music. Just playing music without any idea of composition or writing.
In France the music schools are a bit old fashioned. I was more excited about doing my own stuff or to play with my friend in my band, than studying the piano.
I started making music with my band in the '80s, so I am more product of post punk than classical music, and I have always carried on this way.
I love working and writing new songs. But sometimes you need to wait, to have something in your mind, and then you can let yourself play music.
Not being able to read and write music is not the same as being illiterate in speech and writing.
I dread naming pieces of music because being instrumental, most of the time the songs that I write are instrumental, I want the listener to make up their own story as to what it is and get the emotion pure without using logic.
I am so happy that I didn't go to school and I didn't have anyone to tell me how to position my fingers on the piano correctly. And what you do with music and what is the correct way to write it and what is not the correct way to write it.
While most of the music I write is instrumental, I love to use the human voice as another instrument.
When it comes down to music, I have no balance. I am 100 percent. It is like full throttle. Five hundred miles an hour.
New Age is a very small box. It was a term that was brought in by the music industry to classify music that is neither jazz, classical, pop or rock. They didn't know what to call it or what to do with it. So they threw it all together under this one name.
Music is art, and once you become an artist, you need to learn how to accept criticism.
When you do music concerts at Taj Mahal and the Acropolis, you have to be careful about your performance being appropriate with the place that surrounds you. It has to be appropriate to the culture - it should fit the building behind you, the environment you are playing it in and the culture of that place.
I don't like to define my music. To me, music is pure emotion. It's language that can communicate certain emotions and the rhythms cuts across genders, cultures and nationalities. All you need to do is close your eyes and feel those emotions.
My music is based on melody and when I play the piano, it's as if I'm singing with them. When you try to transform that into a vocal, there was very little adjustment.
At one time, I was persuaded to want to make music, and people answered me that that was not possible.
When I went to university, I was a music major. Timpani was my specialty, and voice.
I was going to go to Europe to study, and that's when my mother's disease heightened, and it was really necessary that I step in. Then I said, okay, this is more important than my career in music.
At first, because this genre of music was so urban, sometimes we would sing songs that were so aggressive. And my parents didn't like it. They would break my cassettes and say, 'That music is garbage.'
The 'Dangerous' album has producers like Tiny, who to me is very special. Also, Luny Tunes, Nesty La Mente Maestra, Nelly La Arma Secreta, Haze, and El Ingeniero. I wanted to use everyone who makes music in Puerto Rico and beyond to have variety.
Roc Nation has an army. I'm happy because this is what I needed. I have the music, but they have the muscle.
Some people don't understand that I - as an artist and a person - I want to make my own decisions and create the music that I personally like.
I can make my own decisions, I can do the music I like. If I fail, it's me failing - you know.
Music moves me - duh - and that is like having a window opening on a heightened reality, but the effect is fleeting: When the music ends, the magic, the uplifting, vanishes and the window slams shut. Words, on the other hand, by the nature of how they work, emotions evoked by dint of carefully laid out thoughts, have a more lingering effect.
When I write in Hebrew, I don't look for sophistication in music; it's just pure emotion that comes out.
My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.
English is really free for me; there's no limits to the music and the imagination. And French, it's just I live in Paris, and it's really a poetic language where you can really play with words.
Hebrew is my first language, so it's really the most personal and the most simple. When I write in Hebrew, I don't look for sophistication in music; it's just pure emotion that comes out.
My first album was full of ideas and attempts to go in all kinds of directions. I was young. I loved making music, but I didn't have a clear path. I also lacked in confidence.
Movies are a complicated collision of literature, theatre, music and all the visual arts.
I'm the youngest of six kids, and I grew up with a lot of noise, a lot of music, and a lot of laughter.
I listen to this mix of smooth jazz, independent hip-hop, chiptunes, and anime music.
Music is a fantastic peacekeeper of the world, it is integral to harmony, and it is a required fundamental of human emotion.
The experiences that I've had in the music industry have given me a learning curve.
Music is the best way I can express myself, meaning that why I write and how I came to love music comes out through Xzibit. Who I am, who Alvin Joiner is, comes out when I pick up that pen and write.
The landscape of the music business has changed and I definitely have to take advantage of that.
As hip-hop artists, you have to take the music seriously, not just as a way to get rich.
When I first started, the very first body of music I made when I got signed to Atlantic were songs with titles like 'Unify' and 'You're Special.' And there's this song that reminds me of Meghan Trainor that I wrote, about a woman's body and not conforming, when I first started in music.
Making dance music was one of the best things I did in my life. I traveled the world; I met the most amazing fans. I got a lot of respect from doing it.
I've been working in the music industry since I was 15 years old, and I feel like I've always been ahead of my time.
When we talk about my music, it's a cross between Tina Turner, Alanis Morrisette, and Diana Ross. It's the glamour and the showiness of Diana Ross; the ferociousness and pain of Tina Turner; and the vocals of Alanis.
Don't worry about what others say about your music. Pursue whatever you are hearing... but if everybody really hates your music maybe you could try some different approaches.
What I really have in my head, my imagination, my understanding of music, I never really get that out.
Jazz is not the kind of music you are going to learn to play in three or four years or that you can just get because you have some talent for music.
I feel like a lot of the fundamental material, I've assimilated. So now the question is: Am I going to really get into my spiritual inheritance of music and really develop my abilities?
Ibiza is a popular vacation place for a lot of the players in Spain. If you go in the summer, there are some of the world's most famous movie and music stars, so nobody cares about soccer players.
Me and my father went through a war period where we wasn't talking. He wanted me to go to theology school - I didn't want to go. I wanted to do music. I told him I was a minister through music.
I know that the nice shines I have on is going to pass. The nice cars will pass. All that will stay is the music and the work. That's where I get the inspiration to help people out and work.
I do music for the love of it, and I've been doing it from a very young age: about 11.
It's been a struggle to get people to come eat for fun. You know, the way they listen to music. You can do all kinds of things with music. But food - it's something people need, and that changes everything. You start playing with it, people have all sorts of reactions.
When you are real in your music, people know it and they feel your authenticity.
I have always loved the process of making the music, reading the letters from the fans who get married to my music, have children to my music and play my music at their funerals.
There's a place for all types of country music as long as there is honesty and realness and a real human experience for the fans.
My story of success and failure is not just about music and being famous. It's about living and loving and trying to find purpose in this crazy world.
Half the time I feel like I'm appealing to the downer freaks out there. We start to play one downer record after another until I begin to get down myself. Give me something from 1960 or something; let me get up again. The music of today is for downer freaks, and I'm an upper.
Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.
My horizon on humanity is enlarged by reading the writers of poems, seeing a painting, listening to some music, some opera, which has nothing at all to do with a volatile human condition or struggle or whatever. It enriches me as a human being.
Versification is, indeed, indispensable for music, but rhyme, solely for rhyming's sake, most pernicious.
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.
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