Music Quotes
Most Famous Music Quotes of All Time!
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Shaheed Diwas 2026
I'm not saying you can't be successful in the music industry without Spotify. But when I look at the future of music, I don't think scarcity is the model anymore. We have to embrace ubiquity - that music is everywhere.
It disturbed me that the music industry had gone down the drain, even though people were listening to more music than ever and from a greater diversity of artists.
I had two passions growing up - one was music, one was technology. I tried to play in a band for a while, but I was never talented enough to make it. And I started companies. One day came along and I decided to combine the two - and there was Spotify.
There are half a billion people that listen to music online and the vast majority are doing so illegally. But if we bring those people over to the legal side and Spotify, what is going to happen is we are going to double the music industry and that will lead to more artists creating great new music.
Music isn't like news, where it's what happened five minutes ago or even 10 seconds ago that matters. With music, a song from the 1960s could be as relevant to someone today as the latest Ke$ha song.
This is a way for artists to communicate directly to their fans. If you think of an artist like Bruno Mars, he's using Spotify, creating playlists and listening to music through it.
At Spotify, we really want you to democratically win as a musician. We want you to win because your music is the best music.
At the end of the day, I want the music industry to be larger than what it is today.
There are millions of people who consume music illegally every month. Just getting them into a legal service will make the music industry way bigger than it's ever been before.
In general, people are comfortable sharing their music. There are two exceptions, though - Lady Gaga and Britney Spears.
The main reason people want to pay for Spotify is really portability. People are saying, 'I want to have my music with me.'
My ambition is we want artists to be able to afford to create the music they want to create, and if it takes them five years to sit down and make the album they want to make, they should be able to afford that. That's my goal.
If you look at Adele, the reason she did so well was she created great music. It wasn't about a clever marketing trick.
When I think about music in the future, I don't make a distinction between what's radio, what used to be the music library, and so on.
For me, as someone growing up in a working-class suburb in Stockholm, I couldn't afford all the music. So back in '98, '99, I was really thinking about how I could get all the music and do it in a legal way while at the same time compensating the artist.
We are passionate about making it so that users enjoy the music that they want to enjoy but at the same time fairly compensates artists. That's not the same as saving the music industry.
We kind of look at music as something very natural in people's lives. I mean, most of us can relate to music in some sort of shape and form, and if you think about it, most of us remember the first time we kissed someone, what kind of music was playing or the song that was playing on our friend's birthday.
All our forms are unique - movies, music and literature - and you have to leave the person who is doing it to do their best.
When I was younger, I was able to write with music playing in the background, but these days, I can't. I find it distracting. Even when the music is just instrumental or has lyrics in a language I don't understand, the clash between the voices in my head and the song can be very disorienting.
I'm a sucker for any band named after a work of literature. Los de Abajo take their name from Mariano Azuela's famous novel 'The Underdogs,' and that says a lot about who they are and the music they make.
Beethoven's music tends to move from chaos to order, as if order were an imperative of human existence.
I love conducting. What I'm tired of is music administration. I don't want that. I just want to make music.
You can't expect someone born into a family with no music... to understand when I'm conducting the Schoenberg Variations.
An hour of violin lessons in Berlin is an hour where you get the child interested in music. An hour in a violin lesson in Palestine is an hour away from violence, is an hour away from fundamentalism.
For many people, music is here to let them forget the daily chores of life.
I maintain music is not here to make us forget about life. It's also here to teach us about life: the fact that everything starts and ends, the fact that every sound is in danger of disappearing, the fact that everything is connected - the fact that we live and we die.
I would like to be a terrorist for music education - to make a complete reform, all over the world.
Music means different things to different people and sometimes even different things to the same person at different moments of his life.
Beethoven's importance in music has been principally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure.
In Arab culture, music is for celebration. You don't play music at funerals.
The problem with listening to music today is that there's so much of it everywhere. We've got used to hearing music without actually listening to it.
I cannot be music director at La Scala and at Staatsoper. This would be unfair to one of the two institutions.
I am the conductor for life of the Staatskapelle in Berlin, which fills me with tremendous joy because I feel absolutely at one with them. When we play, I have a feeling that together we manage to create one collective lung for the whole orchestra so that everybody in the stage breathes the music in the same way.
I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.
Music is an art that touches the depth of human existence; an art of sounds that crosses all borders.
Either you live by the barometer of the music critics, or you live by your own. I choose the latter.
Playing and listening to music gives you a sense of fulfilment because you have to put everything in you at its disposal.
'Tristan' is a very unique case, not just in Wagner's output, but in music in general. It remains contemporary no matter what else surrounds it. There is something self-renewing about it.
Most of the dramatism in Wagner comes from a very close link between the music and the language of the text. So much of the expressivity of Wagner's music dramas comes from the singers' capacity to play with the sound of the language. This kind of thing you can do very well in concert performance.
I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.
Music is not a profession. Music is a way of life - one that requires much professionalism.
We need to take music out of the ivory tower - both for musicians and for the public. Otherwise, classical music will not survive the 21st century.
Children in schools need to have something to do with music and learn it the way they do literature, geography and biology.
When we talk about music, we talk about our reaction to it. One person might say that music is so poetic, while another says it's all mathematics. Yet another might say it's about sensuality, and so on. That's all true. But music is not just one of these things. It's everything all at once.
Music is very abstract. When we talk about music, we're not discussing the music itself but rather how we react to it.
On Nov. 5, 2012, my friend Elliott Carter died in New York at the age of 103. For me, he was and remains one of the most interesting figures of music history in the past century.
For me personally, Elliott Carter was and remains one of the most meaningful composers of the late 20th and early 21st centuries because he represents substance. He was the living proof of uncompromising, complex music, which at first seems inaccessible. But it becomes accessible if one digs in and sees the development through.
I am convinced that 100 years from now, people will talk about Elliott Carter as one of the most important figures in the second half of 20th-century music.
I always think of it in terms of music. You're not always going to be a huge rock star in music, but musicians can play until the day they die. With sports, it's different. You can't always do it until the very end, and that's a hard reality of sports.
We had some Stevie Wonder and Luther Vandross, but there’s a lot of hip-hop and other black music that I just never grew up on. My parents didn’t listen to anything other than black gospel.
There are a lot of things that are part of the music business that I’m very bad at. Organization, being on time - the stuff you need in order to function in the regular world.
Being from Canada, we’re in a unique position to fund the music and then, because we own the masters, reinvest the profits,” he explains. “I live still very modestly and I spend a lot of time living at my managers’ houses. We all believed in it, but I’ve had a lot of help.
I was raised in an intensely religious household and I think the influence shows through my music.
I ended up having to leave home to make the music I wanted to make, and to find myself. As cliche as that sounds; I like to think I'm getting closer.
I have to say that movies have as much impact on me as music. And that I learned as much about narrative from movies as I did from reading novels, how to arrange stories, how to juxtapose things.
That was one of the reasons I became a writer - I never really had that many friends. I would read a lot, and listen to music. And that was my life.
My parents were just really weird and protective about the music I listened to. Whenever I wanted to buy an album, they would have to buy it first and listen to it and let me know if I could have it.
I find that the kinds of music I'm drawn to are those that a lot of people take for granted.
I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.
I started out really making music in my dorm room, and it wasn't really producing or anything like that; it was you making something.
I'm into song-writing; I'm into melodies that break your heart a little bit. That's the thing that got me into music; that's what I look for in music for the most part.
When I don't have a good time making music, I think of quitting a lot. I really do. I can create something else. I'll do something else.
Music inspires me and puts me in the right mood, but to actually listen to it when I write - I find it gets in the way.
One of the first cassette tapes I ever purchased was the 'Rambo III' score. I was not allowed to see 'Rambo,' but my mom would allow me to buy the music, so I would listen to that score over and over and imagine the movie.
I'm a Christian, a wife, a mother, a homeschooler, a conservative, a citizen journalist, a talk radio host, an insatiable music nerd who plays a poor rhythm guitar, a blogger, a proud granddaughter of a sailor, and a proud tea partier in awe of the potential and the people in this movement.
Part of the great thing of looking back on how I went from the cattle ranch to the White House was, I was a country music DJ. I saw Garth Brooks perform for free in 1992 at the Colorado State Fair where I met this person who knew about this graduate school program.
There was nothing more I wanted to do than to see my dad react well to my music. I still do. I send him my demos all the time.
My dad is my biggest source of inspiration. He's a lawyer, and when he'd get home, we always sat down and listened to music.
But I really believe that you don't do music because you want to, you do it because you have to.
I always would dream of making music videos. Whenever I make music, I always have a visual in my mind. I always see things.
Music speaks to people in a way that breaks down boundaries that words and actions sometimes can't.
I've followed Tegan and Sara's music for quite a while, and I've been a fan of them and what they do and what they stand for. We've run into each other at one or two festivals over the years, and I kind of fanned out on them.
What Guitar Hero has done is to turn music inside out. Whereas the iPod made music very personal, very singular - you put your ear-buds in and you listen to it - Guitar Hero turned it around and made it very social. So it is fun to play. It's fun to play against people.
After school I moved to London to get involved in music. I took the whole thing very seriously.
Let's face it: pop music in its myriad permutations will always be sexually presumptuous, racially controversial and, frequently, politically charged.
Since the dawn of recorded music, every generation has felt shocked by the musical tastes of the next.
If we don't invest now in so-called priority neighbourhoods with music classes, athletic facilities, and skills training and mentoring, we will all pay more in the long run.
Sling your guitar to wherever you're going, and you'll be amazed by the connective power of music: It knows no boundaries, cultures or class.
No one does cool, catchy pop music like Robyn, and 'Hang With Me' is a testament to that.
What's completely insane to me is that people would consider music that's simple to be dumbed-down. Couldn't simplicity be a deliberate, smart choice?
You know, most people called rap stupid when it started, and it was one of the most innovative music forms of its time.
When I went to school, it was really just to immerse myself in listening to, studying, and making music.
If you've become a huge act and you're still doing the same music you wrote with your friends when you were making zero dollars, you're lazy.
Even if the music industry simply gave away all their music people would complain that they don't have the bandwidth to download all the stuff - the problem would merely shift from availability to distribution.
I can write a program that lets you break the copy protection on a music file. But I can't write a program that solders new connections onto a chip for you.
My upbringing made me think that real legitimate music is written, not heard.
My dad was vehemently opposed to electric guitars. He did not look on that kind of music as legitimate in any way.
I had never done TV. I think it's a foolish medium for, most rock 'n roll music. Nobody ever comes off well on TV.
Everybody always wants to rebel against their parents' music, but nobody listened to music louder than my dad.
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