Best 926 quotes in «musical quotes» category

Throughout her career, Ana Barbara has cultivated endless hits; each of her albums was a true musical surprise... this is why today she is honored with the title of Queen of Grupero.

Tiffany is wrestling in Jell-O.

Tina Turner gave me the highway blues.

To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.

To me, the camera is like a musical instrument. You use it to control the flow, shape, size and colors of images.

Too many students who are technically quite far advanced do not properly interpret the technically less difficult pieces they play, because they regard them as beneath serious consideration. This is a fundamental error in musical taste and judgment.

Trying to describe something musical is like dancing to architecture, it's really difficult.

Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.

Two years of close association with some of the best (as well as some of the worst) tunes in the world was a better musical education than any amount of sonatas and fugues.

Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness.

Violins are the lively, forward, importunate wits, that distinguish themselves by the flourishes of imagination, sharpness of repartee, glances of satire, and bear away the upper part in every consort.

Vocals are not central to what I do, and I've never liked singing live. I've always been more inspired by rhythm, texture, harmony than vocal melodies and lyrics. Plus, for me, I can better express my musical ideas through instrumental music than vocal music, the emotional interpretation of which can easily supersede the actual musical content or aim.

Underground hip-hop is, like, one of my foundations, I would say a cornerstone of my foundation of my musical tastes.

Watch me, diamonds shining looking like I robbed Liberace.

We all get as miserable as Erika M. Andersen sometimes, but we rarely approach her musical-ideas-per-miserable-minute ratio.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

We are still not in the Rock & Roll Hall of Fame but there are 3,000 Kiss products, a Kiss musical toothbrush, everything from Kiss caskets to Kiss condoms. There are no Radiohead condoms.

We live in a modern world, and in contemporary music the central fact is contamination. Not the contamination of disease but the contamination of musical styles. If you find this in me, that is good.

We don't make glamorous movies today. Everything now is very realistic, artistic - and depressing. When is the last time you you saw a wonderful musical or a fabulous fantasy?

We forget to thank the scientists that began these musical inventions and systems. The guy that invented the phonograph and gramophone - Thomas Edison!

We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess. Favored Nations will be branded as the home base for inspired musical talent.

We don't have a language for the senses. Feelings are images, sensations are like musical sounds.

We haven't truly had a zeitgeisty, 'songs on the radio' show, since...I want to say "One Night in Bangkok" was the last musical theatre song that charted. That was so long ago.

We know from our recent history that English did not come to replace U.S. Indian languages merely because English sounded musical to Indians' ears. Instead, the replacement entailed English-speaking immigrants' killing most Indians by war, murder, and introduced diseases, and the surviving Indians' being pressured into adopting English, the new majority language.

Well I had a musical background, but I still didn't know a lot about drums at the time.

Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.

Well my own impression of my musical pieces is that no matter how long I've been at it, there's not much improvement. So that's kind of regrettable.

We're in a period where society seems very attracted to flash, and that seeps into people's musical taste.

We really were a very musical family. In spite of the fact that we were so poor when I was a youngster that supper was often just a bowl of bread and milk, Father somehow managed to squeeze out enough pennies to buy us a small pump organ, and I just loved this instrument too.

We passed the hash pipe and played our Doors tapes.

We're living in a time when pretty much anything can happen in the music world. There are a lot of musical languages in which people work. When I think of common practice I think back to the time I was studying the flute, where I learned that in the Baroque period many things were not notated, since they were understood - that was because of common practice.

We've always talked about doing something else and Campbell Scott is always busy and I'm always busy. But when we came up with the idea of doing the potato famine as a hip hop musical, I wanted somebody who was going to bring gravity.

We shot 'High School Musical' in eight weeks. I spent longer rehearsing for 'Hairspray' than filming 'High School Musical'.

We thought of life by analogy with a journey, a pilgrimage, which had a serious purpose at the end, and the thing was to get to that end, success or whatever it is, maybe heaven after you’re dead. But we missed the point the whole way along. It was a musical thing and you were supposed to sing or to dance while the music was being played.

We sometimes feel like hamsters on a wheel, covering the same musical ground we did 20 or more years ago.

We thought it would be great to see if you could put pop music back into musical theater.

We thought of ourselves as musical terrorists at shows - were weren't biting heads off bats, but we wanted to annoy and confront people.

We've got to find a way to protect the process of making musical theater.

We went to see all the shows. American musical theater and jazz were very big.

We worked very hard on that untitled record to do something different and that we were proud of and to try a bunch of different ideas. It was like this gigantic musical laboratory that we were going to every day. I love that record, I think that's one of the high watermarks of us as a band.

What about Broadway? Yes, I'm involved with a new musical based on 'The Adams Family.'

What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.

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.

What can you do with it? It's like a lot of yaks jumping about.

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.

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.

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.

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

...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!

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