Music Quotes
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Everyone in my family has been in music - my cousins, my grandmother, my grandfather - so it's quite a big family tree.
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I left home the day after I graduated from high school because I knew we weren't going to make any dough to pay the rent in music.
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I'm a hip-hop head, I grew up with it. So I've always loved the music.
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Exquisite nature, daydreams, and music say one thing, real life another.
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Once the music gets in you, it doesn't leave you.
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I've done a lot of movies that don't have any music in them, and I've always sort of had a kind of wary attitude about music because it can be so manipulative, and also because with pop music, I feel like everybody kind of has their own relationship to songs.
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I was born on September 30, 1939, in Rosheim, a small medieval city of Alsace in France. My father, Pierre Lehn, then a baker, was very interested in music, played the piano and the organ, and became, later, having given up the bakery, the organist of the city. My mother Marie kept the house and the shop.
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I would like to be known as an 'artist'. Whether that be music, acting, sketching, cooking, whatever. I'm interested in all of those things.
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What's important is that people realize that I can't be put into a box musically. I've studied all forms of music; I know probably more Jay-Z songs than the biggest Jay-Z fan. I've studied R. Kelly to the Isley Brothers to Stevie Wonder to Sting and Sade. You don't have one personality every day. You don't have one mood.
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I think if you're able to make the music you want and you can do it in the right kind of context, you don't have to be a circus ringleader to be successful.
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I listen to music every day and that is a fact. My son pointed out the other day that there's not a day that goes by without him listening to music in our house. I'm still an avid punter when it comes to either checking out bands or buying new music.
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There is no piece of music that could relate to anything else but itself and its world. It is truly an independent. The one thing coplanar with music is the compositional aspect, the fact that you are composing something. Architecture is essentially a score, and what happens with it depends on the people who play it, enjoy it, use it, or hate it.
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I love music; it's my passion.
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I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'
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The first music I was ever exposed to was Irish folk music, like the Clancy Brothers. My father plays that and Christmas songs.
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Listening to all these different musical genres from all over the world and listening to my father's record collection, the Irish folk influences from home. Of course they're all in there somewhere hiding within the lyrics and melodies. But rap music was the biggest influence on my way of writing and my performing.
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The idea of a musical comedy was something we had had in mind for many years, but the project 'Igudesman & Joo: A Little Nightmare Music' has a history that goes back five years. I can say that this is the most successful project that we have ever done.
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The difference between noise and music is in what the musician does with the sounds.
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Music and the blues, they have taught me a lot. I think in this book, 'Book Of Hours,' there is this blues sensibility. There are moments of humor even in the sorrow, and I'm really interested in the way that the blues have that tragic-comic view of life - what Langston Hughes called 'laughing to keep from crying.'
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I was thrilled to be rehired for the 1919 'Follies.' Mr. Ziegfeld himself hired me. To me, that particular 'Follies' was his greatest 'Follies' of all - not because I was in the show, but because of the great cast and memorable music.
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Music was massive from an early age. My parents were huge music fans, especially soul, and they played records in our house all the time, and me and my brother and sister would dance and sing about the living room.
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I listen to my own music now because I'm busy writing now--I started hearing some things--I'm writing all the time. When you write you have to listen. Writing music is very difficult. At a certain level the work begins to dictate itself. I write the piano score first, then I'll set down a bass line. Sometimes I'll give the bass the bottom and I'll play subordinate tones. I use very close harmonies. I like strong rhythmic ideas, too.
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Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.
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We keep our music simple, no big gimmicks. We tell stories people can relate to, not hard to understand.
