Music Quotes
Most Famous Music Quotes of All Time!
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We need self-confidence in our ability to build Africa. I trust in Mali and I trust in music.
I loved music - listening and playing - but of course I could not imagine I would be a professional musician. It really happened step by step.
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.
Not what you would call a musical family, but my father used to play saxophone, and I discovered many genres of music when I was a child.
When I visited Africa to make my film 'Music by Prudence,' I was struck by how intensely religious and socially conservative Africans were. There was literally a church on every corner.
I grew up in a Southern Baptist-style church with a choir, a band, and music, but I've been asking myself my whole life, 'Why is my own church, my own community, rejecting me because of my sexuality?'
What we ask of music, first and last, is that it communicate experience - experience of all kinds, vital and profound at its greatest, amusing or entertaining at another level.
My own introduction to music came quite early. My father didn't have much of an education, but he was keen for me to get some qualifications, and I ended up winning a choral scholarship to a cathedral school.
If somebody's going to represent our music live, I'd like to see it represented with excellence and spectacularly and with really great musicianship.
Our story is in two halves, as the band's career up to Freddie's death was 20 years, and 20 years later, our music is as popular as it was then. It's a sort of everlasting... income.
Of the Queen tributes, some of them are very funny, and some of them are really not funny at all. The terrible ones are cheesy and pantolike, more about dressing up in a Brian May wig and a Freddie Mercury moustache, and what they're missing out is the fact that the music is quite complicated and actually not easy to perform.
I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.
That's one of the things I like best about folk music is the beautiful melodies - and the harmonies - that exist in it. And of course, some of the stories, the story songs.
People have told me that other artists have been influenced by my music, and it's flattering. It's a wonderful thing.
I went to school for folk music back when I was a teenager and learned hundreds of songs.
You can see it on the Internet: There's an argument going on continually about, 'What is folk music?' And I don't really want to get involved in that. It's an endless argument, a 'How many angels can dance on the head of a pin?' kind of argument.
I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.
When The Byrds started country-rock, we had no idea there would be such a thing. We were just trying to honor the music. We started listening to country radio. We went to Nudie's and got cowboy clothes.
I'd like to be remembered as a keeper of the flame who kept traditional music alive, because I've been doing that twice as long as I was in the Byrds.
My iPhone has become rather precious because of all my music on it; every night, we set it for 20 minutes before we fall asleep to listen to some Mozart.
I was involved in music, acting, and some running, but my firm wish was to become a doctor. That was the formative age when I had decided on the pattern of my career.
I don't like Tommy on Broadway at all. I like the music, I'm pleased with Pete's success but I don't like what they've done to it.
I've always felt that music is an art form that deserves to live the life of the artist.
There are many critics who think the megachurches thrive on people who enjoy dramatic Sunday services with fine music but don't wish to become very 'religious' on a day-to-day basis - that the megachurch appeal is a mile wide and an inch deep.
Regular church-goers are substantially more likely than non-attenders to read, to take newspapers and magazines, to listen to classical music, to attend symphony concerts, operas, and stage plays.
Everybody was on the same page. Nobody has really gone out there on a different musical journey. When we got back together again, we all wanted to do the same kind of music.
I slowly started to drift back into music again. I finally got the call from John... about getting the band back together again. It was so out of the blue. I almost thought that the moment had passed.
When it comes to Fashion Week, I'm over the too-cool-for-school runway experience with loud music in a raw space that's inconvenient for everyone.
I don't make music for the radio. And when I was being played on the radio a lot, I didn't.
Half the battle is selling music, not singing it. It's the image, not what you sing.
I admire how Tarantino finds music that's semifamiliar and not famous: undiscovered gems.
I think I'm always adopting a persona. That's how I look at pop music. I don't feel like I have to be myself. I feel like I have to be true to myself, but I don't have to show an exact picture of who I am.
The music industry used to be able to control a single dance on the very smallest level of when people are supposed to hear it, and when they're supposed to start liking it, and when they're supposed to start buying it. And that's trashed, you know, that big machine that takes control and works albums for a long period.
Everyone's talking about how no one is buying records any more, but to me it's quite logical. In the 1990s, music was so hardcore-marketed to a certain group of people that I think a lot of kids felt taken advantage of.
Being onstage and communicating with an audience was part of my life since I was very little, but I was never pushed into singing. My parents were so uninterested in me making music.
When you're listening to club music, there's no reward. The reward isn't, 'Oh, here's the chorus, here's the lyric that makes sense.' You have to enjoy what it is. You have to enjoy that there's no conclusion.
That excitement of how music makes you want to dance - that's what got me back into it, and that's what 'Honey' is about. Me just being able to enjoy myself again.
To me, dance music is a lot of space - to listen to other things than melodies. I think club music and dance music really require a different way of listening.
When I say dance music, it's anything that makes me want to dance. It could be Timbaland and Missy Elliott, but it could also be disco music and samba music: It's not relying on melody in the same way; it's more about rhythm.
I listen to music very intensely as well: When I listen to an artist I really love, I feel like I know them. I feel like I understand what they're thinking about, even though I've never met them or talked to them.
As a kid, I didn't know much about Prince - who he was and all the complexities of his personality - but I could still feel very close to him when I listened to his music.
While other kids played with cars and toys, I listened to music all day. I wanted to sing it and learn it.
Some people go to college. For me I studied music my whole life. That was my college.
I really try to wake up with my music the same as I do with my life, and that is with no expectations. I just feel what I feel that day and follow it.
The ability to make music is a gift that you're born with; it's not something you can learn.
The music that was popular in your youth seems to be the music you recall most vividly - and most nostalgically - for the rest of your life. But so is the music that was popular in your parents' youth.
The Bee Gees were always heavily influenced by black music. As a songwriter, it's never been difficult to pick up on the changing styles of music out there, and soul has always been my favourite genre.
Films go into vaults, art into museums, and music into halls of fame. Most fashion is worn for a few seasons and off-loaded into the recycling bin or, worse, some landfill.
If somebody for some reason, for music or for movie, becomes famous, it's because they have something, something special.
Everything in Wagner's work - the music, the acting, the staging - stemmed from the text. Everything served to interpret the text.
I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
Anybody who thinks pop music's easy should try to make a pop single and find out that it isn't.
I play music a lot but on my own mostly, so it was nice to be around other people. There was a certain sense a relief in the physical act of just playing and being with other musicians.
There are singers that I have enjoyed, from Nina Simone and Ray Charles onward. But the music that made music the number one thing for me as a youth was jazz.
When there is a voice in a piece of music, we tend to focus on the voice. That is probably something from when we were babies and we depended on hearing our mother's voice.
Once you're successful with a certain kind of music, it's hard not to have faith in it as a means to stay successful.
My hope is that out of all the anger and seeming hostility that we hear in some of today's music will come some sort of coalition that will become politically involved.
I didn't know how well my first album had done; it was enough to get me to do the second album, which was a continuation of the music I'd worked on and perfected.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
That's all I ever do, just try and do the best I can and cater to the song, cater to the music.
You want your fanbase and new fans too, to embrace the music, the new music.
Don't make music to make money, because that's not why you should be doing it. Have fun, be creative, and embrace the past.
The intelligent use of contemporary music in film has an enormous audience.
Believe me, were I ever to accomplish anything, it would be in music, which has always attracted me; and, without overestimating myself, I am conscious of possessing a certain creative faculty.
The flame that is naturally clear always gives the most light and heat. If I could blend my talent for poetry and music into one, the light would burn still clearer, and I might go far.
My symphonies would have reached Opus 100 if I had but written them down... Sometimes I am so full of music, and so overflowing with melody, that I find it simply impossible to write down anything.
I think maybe chance works better in a situation like music because music exists over a period of time, and you don't maintain constantly the you can't refer back from one area to another area.
The last thing a young artist should do in poetry or any other field is think about what's in style, what's current, what are the trends. Think instead of what you like to read, what do you admire, what you like to listen to in music. What do you like to look at in architecture? Try to make a poem that has some of those qualities.
When I was a teenager, just about the only thing I could do right was play music. In my graduating class, I was certainly not voted 'Most Literary Boy.' I can assure you I was not voted 'Mostly Likely to Succeed.' I was voted 'Most Musical Boy.' And the music led to the poetry.
When I die, I want to be the only person in the world not to have seen 'The Sound Of Music.'
Reading music is something that's inherently hateful to me. It makes music like mathematics.
When a movie opened - if you lived in New York, you would see it at Radio City Music Hall where it would play a couple of weeks, and then you moved on to the next movie. Now you can see it the rest of your life - it's going to be on Netflix and DVD.
My access to music when I was growing up was through pirate radio, you know, transistor radio under the pillow, listening to one more and then 'just one more' until your favourite track comes on.
The music I heard growing up, since there was no TV or cinema or record covers, I didn't know if it was black, white, hip, square, male, female... whatever. I'd hear melodies and things and got intrigued on that level.
My listening changed when I heard music from Stax, Atlantic, Motown because by that age I thought anything that my parents listened to must be square. So I had to find my own rock n' roll, as it were, and I found it in black soul music.
I love Slipknot. But then I like Jao Gilberto... It's the spirit that comes through in music.
I hardly ever get asked about music. I do, however, get asked about the 'Addicted to Love' video and my suits on a daily basis.
My parents were part of a crowd that was attached to all the different navies stationed in Malta. When they would have parties in each other's houses, I would get taken along, and that's where I heard all this great music. I didn't distinguish particular styles; it was all music to me.
I loved the music, but the excesses of rock n' roll never really appealed to me at all. I couldn't see the point of getting up in front of a lot of people when you weren't in control of your wits.
I believe that my music is just about feelings, and the style is just a side effect.
I make up cassettes all the time - to take on the road with me - a song from this album, a song from that album. That's the way I listen to music; it's like one of those K Tel things: it's from all over. I listen to Fred Astaire, I listen to African folk music, I listen to Talking Heads.
I never presumed that a technique of composition or an idea was so special that just using it would guarantee the quality of the music.
I was never worried that synthesizers would replace musicians. First of all, you have to be a musician in order to make music with a synthesizer.
One always has to remember these days where the garbage pail is, because it's so easy to make sounds, and to put sounds together into something that appears to be music, but it's just as hard as it always was to make good music.
My training as an engineer has enabled me to design the stuff, but the reason I do it is not to make music but for the opportunity to work with musicians.
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