Best 926 quotes in «musical quotes» category

I really just followed my musical instincts every step of my life.

I really like the old stuff that I cut my musical teeth on, and I loved it when the industry was just like that, without really a genre. Today, country radio's more aimed at a demographic than a genre. It just softens everything.

I really was kind of like a musical nerd. I would watch VH1's 'Behind The Music.' That was heavy when I was a kid. I would sit up and want to watch that all day instead of going outside sometimes.

Ireland, Italy and Brazil are the most musical places for me. They're extremely musical cultures and anything you pitch they basically catch.

I regard myself as a beautiful musical instrument, and my role is to contribute that instrument to scripts worthy of it.

Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.

I see music as one language. If one musical form eats its own tail, it dies. So it needs to be a mongrel, it needs to be hybridised.

I should mention that I took piano lessons beginning when I was four. My mother was my first teacher, and it was a wonderful way to bond with her. She was a terrific supporter of my musical career. I knew I wanted to be in music since I began lessons, and I enjoy the various facets that my career has led me.

I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!

I signed up for the musical Tommy in the West End, where I met my husband.

I started acting when I was 10, doing musical theater. I was a brunette at that time. I was always cast in all the exotic parts.

I started in theatre. I went to the Boston Conservatory and majored in musical theater.

I started out in theatre and I definitely have wanted to add extra musical elements to my music with both imagery and text.

I started producing in 1992 at the age of 15, when I found out music could be made with the help of a computer. I come from a musical family, but was always the family member not as good as the others. So once I found out I could release the music that was stuck inside my head through a computer, I knew I found what I wanted to do for the rest of my life.

I still look at that water, and I look at Moana's hair, and I'm just like, "How is this even happening?" It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.

I teach musical theater three days a week at the school that my wife and I graduated from.

I think different musical collaborators bring out different qualities in my songs and I like that.

I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.

I think a lot of actors, especially actors with a theater background, have a musical ear. A lot of actors just want to be musicians anyway, and a lot of musicians want to be actors.

I think every artist subconsciously wants to evolve themselves. Sometimes they get stuck in ruts because of pop culture, peer pressure, stuff like that. But what excites me most is exploring my own musical insights and expanding upon them.

I think English is a fantastic, rich and musical language, but of course your mother tongue is the most important for an actor

I think I could beat Joe Frazier singing. I was in a Broadway musical called Big Time Buck Wright.

I think speaking Italian affects your whole body movement. It's so musical and animated and passionate.

I think it's good to have an old fashioned musical as well as new musicals. There's a lot of room for different shows.

I think Philadelphia has been underrated over the years as a musical region.

I think that I am strongest in linguistic and musical intelligence, and I continue to work on my interpersonal and intrapersonal intelligence.

I think of music a lot when I paint. The theme of it to a degree is music. So instead of literally putting in music or literally putting in a musical instrument, I use only a hint of the instrument, but the brocaded pattern is like a line of Bach because of its order and the leaves going up are like passages from Vivaldi, and the emphasis on drapery is where the sound comes.

I think the compositional side of my productions have progressed and matured a lot more, and creating melodies is actually what I have always enjoyed the most, so my productions will always contain that strong musical element.

I think that's one of the problems with downloading mps these days. You never really get a chance to attune to a different logic, a different musical logic. If you hear a song and don't like it, you'll just delete it off your hard drive.

I think the brain is a dynamic system in which some parts control or suppress other parts. And if perhaps one has damage in one of the controlling or suppressing areas, then you may have the emergence or eruption of something, whether it is a seizure, a criminal trait - - or even a sudden musical passion.

I think there is no culture in which music is not very important and central. That's why I think of us as a sort of musical species.

I think we get on with living our lives like everybody else does. Where we're at in music is trying to explain what's going around us either directly or by analogy and trying to create a parallel, an analog, sometimes musical, sometimes dramatic, that might be truthful.

I think theres something strangely musical about noise.

I think there's that weird bastardization where musical theatre actors are treated as almost like vaudevillians or circus performers - that we're somehow not good actors because we sing and dance.

I think touring in America lives up to the myth, in all ways of what touring is. So many pretty cities, and it's pretty easy, compared to touring other places. I'm fascinated by America. Great crowds - people are very musical. I've been getting better throughout the tour in America, relating to people. At the start I was a bit stiff, and I'm starting to relax.

I thought it would be nice to marry Virgil [Thomson] to have a musical background, but I never got far with the project.

I thought about what I wanted to do besides playing violin and singing backup in a band. Don't get me wrong, playing and singing in That Dog was really fun, but I wanted to work on other musical projects and sing more. So I started a vocal project, i.e. Imaginaryland.

I think words operate like musical notes that the eyeball hears.

I thought I was managing my expectations, but on hearing the news I discovered new and unfamiliar vocal tones. Perhaps I should do another musical.

I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.

It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.

It is a miracle a musical gets up because of all the different departments and how much it costs. It is a miracle.

It is important to me to keep trying to push myself to try lots of new musical styles and approaches. To keep growing. It is my version of jumping out of planes.

It is the height of professionalism to be able to make an ordinary piece of music sound good. When playing routine melodic studies the player must treat them as if they are musical value.

It is music that welds spiritual and sensual, that can convey ecstasy free of guilt, faith without dogma, love as homage, and a person at home with nature and the infinite.

It may sound paradoxical, but verbal fluency is the product of many hours spent writing about nothing, just as musical fluency is the product of hours spent repeating scales.

It's a juggling act. Every time I get going on the album stuff or being musical, acting kicks in and I book a job. It comes down to a money thing.

Its almost scary how amateur I am when it comes to musicals - Im a musical goer, but I am not as obsessed with musicals as perhaps some of my theatrical friends are.

I totally love to act. I don't care if it's a musical, a comedy. I just like to work and interact with other people.

I tried to pay some small tribute to A Man and a Woman (1966) with the recurring musical theme.