Music Quotes
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I liked the opera very much. Everything but the music.
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I think music is poetry in the sense that I think the condition of poetry I'm going for has some qualities of music that it aspires to.
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I was always the type of person, and still am the type of person, that I cannot be creative and use substances. So from a very early age I knew that if I wanted to make music, successfully, in any capacity, I was going to have to get sober.
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I like how pure the expression is in music. You can go straight to the heart of an audience rather than through their brain.
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I listen to music two ways: As a person, you have an instinctive, personal, emotional response. But as a music supervisor, you have a secondary response, which is, 'Will this sit well under dialogue?' 'Can people die to this?' 'Can people kiss to this?'
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I want the people who listen to my music to feel the feeling that I feel, to cry the cry that I cry - justice. I want them to feel in their hearts the need for justice.
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I don't have a problem with how people receive the music. I feel like it's for everybody.
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It's a cool feeling to see how far my music has been spreading.
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To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
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I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.
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English urban artists were very used to making secondhand American music, and I thought that was boring.
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Yoga is almost like music in a way; there's no end to it.
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I hitched up to Haight-Ashbury in the Summer of Love, you know? And I was very much politically aligned with that whole mentality, the whole ideology of that generation, the music, the culture, the behavior.
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When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.
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I really like conducting my music in concerts because I'm convinced it's not just for films; it has its own life. It can live far away from the images of the movie.
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I dropped out of high school when I was, like, 15, so I just focused on doing music. It's all I wanted to do; I didn't want to work or anything else. I took all the negativity and obstacles that came with life, and I just put it in the music.
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I'll write for a while and then I'll find an appropriate song and in a weird way the music will keep me in the mood. I find music to define the mood of the movie, the rhythm the movie is going to play in.
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I'm touched by Jon Hendricks. I want some of my music to reflect that. And when I write, you're going to hear it.
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Folk-punk artists like This Bike Is A Pipe Bomb or Paul Baribeau were popular in the Florida punk community. I saw people early on combine roots music with more aggressive music.
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'Music Hop' in 1963 was my first hosting job of a variety program.
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I'm obsessed with the power of music and image together. There's also something about music videos that are incredibly glamorous - there's a fetishistic aesthetic to them that you don't really see in movies in the same way.
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I gotta new strategy it's called no strategy. And I gotta way to sell more music its called make better music.
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Music and improving the world are two sides of the same coin.
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Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
