Best 926 quotes in «musical quotes» category

I'm glad I can do both full-band electric and solo acoustic performances. It's nice to have contrast, so if you get fed up with one, you can just switch to the other one. It's great to go to a town and play an acoustic show, and then you can come back a year later and play electric, and the show's really fairly different. The repertoire will be 50 percent different. The musical energy is completely different.

I'm grateful to be working. The most exciting thing for me is that I never get bored - I've done comedy, drama, musical theatre and now Shakespeare.

I'm hoping to do a Broadway musical on the life of Rasputin. He's someone I can definitely identify with.

I'm hoping to do more with my music. I did the stage musical 'Spring Awakening' recently and it reignited the love I have for singing.

Imitate, assimilate, and innovate.

I'm learning to play piano. And also the musical saw.

I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.

I'm not denying that in the world there's been some tremendous musical happenings, like DJ Shadow or whatever, that kind of thing. But when it goes into the weird thing where you get a remix done by a certain person because they need a brand name, that's when it becomes really discouraging.

I'm not in "Bend and Snap." But, I will say that when I first heard they were making Legally Blonde into a musical, I thought, Well, of course, there's going to be a bend and snap number, because it's just, I think, one of the most natural moments in the movie to expand into a musical number.

I'm not into music - the only music I like is musical theater, but I have every Ween album.

I'm not saying every musical theater actor can do film or television, but a lot of them can. A lot of them are brilliant actors who absolutely don't need to sing to prove their ability and don't get the opportunity.

I'm not shutting doors on myself, in any way, within theater, musical theater, TV and film.

I'm obsessed - not just interested, obsessed - with folk music, street music, the parallels between a country's street music and its so-called classical and intellectual music, the way certain scales have travelled right across the globe. All this ethnological and musical interaction fascinates me. Have you heard any trance music? That's the thing.

I'm personally more struck by visual things more than musical.

I'm very eclectic in what I like and what I listen to. But my favorite musical ever is "The Sound of Music." That was actually one that inspired me to sing.

I'm trying to bring a new generation into the musical theater and to create a new audience.

I'm working on my life story. I'm not decided if it's going to be a musical or a movie with music in it.

I'm very happy with the things I do. Maybe I'm just lucky I like to do so many things. I don't remember any musical job that I did only for the money. Even when I worked as a music supervisor on cruise ships I did it for romantic reasons. When I work for TV it's because I want to.

I'm very influenced by landscapes, not so much the way places look as the way the names sound. In this country we've got so many cultures, and the place names - the Spanish names and the Indian names, which are so incredibly musical.

I needed another basis for musical structure. This I found in sound's duration parameter, sound's only parameter which is present even when no sound is intended.

I never consciously tried to conceive of what my sound should be...I never tried to imitate anybody, but when you love somebody's music, you're influenced...I really don't know how I developed my sound, but it comes from a combination of my musical conception and no doubt the basic shape of the oral cavity.

I never learned to verbalize an abstract musical concept. No thank you. The whole point of being a serious musician is to avoid verbalization whenever you can.

I never knew I'd be in a musical, let alone win an award for one.

I never danced a step in my life so naturally. My first motion picture was a musical, and Bob Fosse was the choreographer. I didn't exactly dance for Fosse, I just did the best that I could to do what he taught us to do.

I never played a musical instrument growing up but I knew kids who did and took it very seriously.

I never thought about becoming a professional singer, but I am in touch with Bono about releasing a musical movie. It will be about an Irish band during the '70s who are looking for fortune in Las Vegas. I should play the singer of the band but I don't want to sing in front of anybody.

I never solicited myself as a singer until I realized I could use that to a musical standpoint. I loved musicals growing up. Classic films were some of the only ones I watched. So when the opportunity came for the show to audition, of course it was all of a sudden, "I sing! I sing! Send me in, please. I beg of you.

In Gypsy [Rose Lee] the musical, her mother, 'Mama Rose', is portrayed as a slightly eccentric, pushy, ambitious stage mother, but that version doesn't come close to the truth.

I never wanted to get a job of musician. That was kind of my thing. I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.

In musical theater, if you have a song, it has to advance the plot. If you have a song in a musical and it does not advance the plot, it gets dropped.

In Moulin Rouge, Baz Luhrmann takes the most thrilling moments in a movie musical-the seconds before the actors are about to burst into song and dance, when every breath they take is heightened-and makes an entire picture of such pinnacles.

In most musical instruments the resonator is made of wood while the actual sound generator is of animal origin. In cultures where music is still used as a magical force, the making of an instrument always involves the sacrifice of a living being. That being's soul then becomes part of the instrument and in the tones that come forth, the 'singing dead,' who are ever present with us, make themselves heard.

In our culture we have such respect for musical instruments, they are like part of God.

In my mid 30's, after a decade or so of giving full time to the music thing and finding myself with about $10 in the bank and no assets other than my musical equipment, I realized I needed to get serious about making a living.

In order to do a musical now, a style must be developed that works for today's audience.

In my own musical existence I don't feel that being a guitar player is like the best thing on earth to be. I would rather be a balanced musician. Playing in a group, I'm tending to think more about the music and less about the guitar. That's just me getting older. I'm not interested in being a virtuoso guitar player or anything like that.

In reality everybody has got musical thoughts. If you are able to overcome the part of it which is muscle training, which is what most musical playing actually is, performance actually is, is muscle training, and you are able to convert your ideas directly into music, you're a musician, too.

In terms of brain development, musical performance is every bit as important educationally as reading or writing.

In Seesaw, I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I dont get to use... the comedy and the singing and the dancing.

In some ways, comedy and something like a musical do go hand-in-hand.

Instead of weeping when a tragedy occurs in a songbird's life, it sings away its grief. I believe we could well follow the pattern of our feathered friends.

In terms of theater itself, no story is too strange or method of telling it too impossible these days. In many ways, musical theater has caught up with straight theater in that it's allowed more surreality and breaking of form, and that's really exciting to me - the challenge is getting people to produce those shows.

In terms of music, each novel is different but I usually find my way into an era through the music. In this novel the New People, I listened to a lot of 90s hip-hop, which was just so genius. Also, all the musical references in the book from the Peoples Temple one and only album to Luther Vandross.

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

I realized I was not a great musical technician, if I was going to make anything interesting it would have to come from the creative side of me and not the craft side of me.

In the first movement alone, I took note of six pregnancies and at least four miscarriages.

In the scientific community you find competent teachers and original researchers, just as in the musical community you find many good performers but very few good composers.

I played Tina Denmark in Ruthless the Musical when I was 9 at the Theatre on Broadway in Denver.

I really don't know whether any place contains more pianists than Paris, or whether you can find more asses and virtuosos anywhere.

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