Best 926 quotes in «musical quotes» category

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 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 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 played a musical instrument growing up but I knew kids who did and took it very seriously.

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.

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 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 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.

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

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.

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

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

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

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

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

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

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

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

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

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

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

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.