Best 926 quotes in «musical quotes» category

  • By Anonym

    What excites me about a lot of the artists I love - and I realize, well, they created their own personal world that I could enter into through their music and through their songwriting. There's people that can do it instrumentally, like Jimi Hendrix or Edge of U2 or Pete Townshend. I didn't have as unique - a purely musical signature. I was a creature of a lot of different influences.

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    What happened during the previews of 'Taboo' [musical] was that it was the first time I'd ever been written about as a great song-writer - I cried. I absolutely wept, because it wasn't the usual stuff like, "Oh, he was a drug addict and he did this and that..." It was really looking at the music and it was really complimentary. It was a huge thing.

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    ...what's always exciting is when you hear something amazing when you least expected it. Every now and then I'll hear something for the first time that forces me to re-examine my frames of reference, and re-consider musical parameters in general, and that's wonderful . And what's even more wonderful in a way, is when you hear something that you know, and already think you have an opinion about, and then suddenly discover that it isn't what you thought it was, but something quite different, which makes it just as surprising as if you'd never heard it before. That's REALLY great!

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    What is usually called 'intelligence' refers to the linguistic and logical capacities that are valued in certain kinds of school and for certain school-like tasks. It leaves little if any room for spatial intelligence, personal intelligences, musical intelligence, etc.

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    What's totally terrifying is that, unlike a musician who has a musical instrument, or a painter that's got a canvas and a brush, acting is us. Our energy, our soul, our spirits. And it's so hard because it's so vul­nerable. You're exposing everything.

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    What I do I am driven to do. I follow the dictates of a looming and unseen force. I try to become like a musical instrument, intruding no sound of its own but bringing forth such tones as are played upon it by a master's hand.

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    Whenever Disney asks if you want to do a fairy tale musical, you say yes.

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    What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.

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    When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.

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    Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.

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    When I look back at what musical theatre music and show music meant to me, first of all - more than anything - what it meant to me was work. As I was growing up, I realized that singing and performing was my strong suit.

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    When Derek Miller and I started working together, we had a very clear vision for the sound of the band. It was one which combined our favorite musical elements: driving guitars, bombastic beats, and female vocals. We've always been interested in making music that is essentially pop but that steps outside of the traditional formula into a stranger, more abrasive world. We love that our music makes people dance with complete abandon and feel empowered. It's very uninhibited music, and that's what makes it so fun.

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    When I'm playing with the band or playing with some projects or some of my own stuff it's about the musical approach. That would be the more turntablist approach to things of where it's strictly about music.

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    When it's open and honest, that's when the real nature of who you are as a vocalist or as a performer, all of that stuff can finally start to become what it's supposed to be. Like a settling into yourself. It's not even a musical thing, it's a whole mindset, a whole acceptance of who you were supposed to be. Life sounds good

  • By Anonym

    When I'm writing a lyric, I totally forget about the music. I'm just looking at the lyric and thinking about it almost as a separate entity. And then I'll go to my keyboard with all the lyrics printed out and try to think of how to make this a complete musical thing. I've got a very basic keyboard with some presets.

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    When I was a little younger, I really did love musical theatre in the same hopeless dorky way that she does. I was obsessed with Jesus Christ Superstar and I used to reenact it in my room when no one was home.

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    When I was a kid, I went through a lot of musical phases, and one was when I'd learn everything that The Beatles ever recorded. After I started drums, I fell in love with their music so much that I just wanted to learn everything.

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    When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.

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    When I was writing, I wanted every word to be not only deliberate, but musical. Precious.

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    When I used to do musical theatre, my dad refused to come backstage. He never wanted to see the props up close or the sets up close. He didn't want to see the magic.

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    When people get together that come from different musical backgrounds, a lot of times there's is a good ... it's very enjoyable to say somebody, let me turn you on to some things, and the other person does the same thing. And they play you stuff that maybe you weren't that familiar with and likewise.

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    When the film and music industries declined in the wake of increasingly conservative Muslim laws and social customs in Pakistan, many of these musicians found themselves out of work. They were brought together at Sachal Studios by Izzat Majeed, who built the studio in order to preserve these musical traditions.

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    When I started I didn't know anything about music. I came from an absolutely non-musical, non-artistic background.

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    When punk rock came along, the one thing you were not supposed to be was musical.

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    When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.

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    When you're down in Texas, Bob Wills is still the king.

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    When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.

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    Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.

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    Which is more musical: a truck passing by a factory or a truck passing by a music school?

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    Who hears music feels his solitude peopled at once.

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    Why compose works that have to be re-created every time they are performed? Because definitive, once-and-for-all developments seem no longer appropriate to musical thought as it is today, or to the actual state that we have reached in the evolution of musical technique, which is increasingly concerned with the investigation of a relative world, a permanent 'discovering' rather like the state of 'permanent revolution'.

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    With an ear open to your musical dialectic, one can be young and become old, can work and rest, be content and sad: in short, one can live.

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    Why is it that whenever I hear a piece of music I don't like, it's always by Villa Lobos?

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    When they saw you kneeling, crying words you mean. Opening their eyeballs, eyeballs, pretending that your Al Green, Al Green.

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    With few exceptions, every major pop singer in the US during her generation has been touched in some way by her genius. It is Billie Holiday who was, and still remains, the greatest single musical influence on me. Lady Day is unquestionably the most important influence on American popular singing in the last twenty years.

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    With any level of success you get some non-musical things that come along - money, ego - and it's easy to lose your perspective and get off doing what you did to get there.

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    With Corpse Bride, I saw a lot more of it during the process because we were changing things a lot. When I came onto Corpse Bride, it wasn't a musical.

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    With Australian audiences, there's a certain level of education - as far as how much access and exposure they have to music from various genres. So when you do 'Big Day Out' and there are all these different musical acts, you see the same people in your crowd that were there for a completely different artist.

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    With respect to why some acquired savants are musical, and some are good at the arts, and some are mathematical, why aren't they all the same; I think that has to do with this genetic endowment that all of us have.

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    Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way--through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.

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    Without question the most unpopular medium of musical sound in the world.

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    Yeah, well I've always played comedy. My background is musical comedy theatre and that's really where my training is. As an actor, that's my training.

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    Yeah, it's a lot harder to find a musical partner than a love partner.

    • musical quotes
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    Yeah, I've always considered myself a musical person.

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    You can be born into a musical family and have an ear for music but being technically gifted, be it playing an instrument or songwriting, takes years to get good at. So for me, I'm excited to start over, and yeah, I have a few talents I can build off of. But I see this as a long process; it's a marathon.

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    Without a doubt, my richest relationships are my long-term friendships with musical partners, because we make music together. That's what we love to do with our lives.

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    Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.

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    Wrestling was my first success, the first thing that confirmed that I could be good at anything. Devoting yourself to wrestling, or tennis, or skiing, or dance, or to a musical instrument is a longing to be disciplined for a purpose.

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    You can't fake this music. You might be a great singer or a great musician but, in the need, that's got nothing to do with it. It's how you connect to the songs and to the history behind them.

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    You couldn't even write me a paper about the roles you would dream of playing in modern musical theatre.