Best 926 quotes in «musical quotes» category

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

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

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.

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 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 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.

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

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.

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

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

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

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

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

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 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 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 words operate like musical notes that the eyeball hears.

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.

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

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 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.