Musical Quotes
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Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
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Once more their weird laughter of the loons comes to my ear, the distance lends it a musical, melancholy sound. For a dangerous ledge off the lighthouse island floats in on the still air the gentle trolling of a warning bell as it swings on the rocking buoy; it might be tolling for the passing of summer and sweet weather with that persistent, pensive chime.
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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.
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Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
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I've been chasing my music dream for a very long time and the acting dream just came up. But there are musical things I want to show the world, so that's my next step.
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I start with the subject matter I want to write about. Then I make a musical base for that and create an atmosphere with the music. Once I've done that, the lyrics come last.
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I was a little worried that the familiarity would be a little weird, but I think for me everything is musical in my life. For me, timing is a rhythm.
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Always drawn to the theatric, Bowie also performed in stage productions of "The Elephant Man" and just recently collaborated on "Lazarus," an off-Broadway musical that's a sequel to his 1976 role in the film "The Man Who Fell To Earth."
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I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano.
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Harmony of period and melody of style have greater weight than is generally imagined in the judgment we pass upon writing and writers. As a proof of this, let us reflect what texts of scripture, what lines in poetry, or what periods we most remember and quote, either in verse or prose, and we shall find them to be only musical ones.
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I'd like to make all different kinds of movies. I don't think it would make sense though for my second film to walk straight into a musical even though I'd like to.
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Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.
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"I love you," he said, his voice almost musical with happiness. She shot him a scowl. "Isn't saying that a bit dangerous considering these aren't wooden swords and the ends aren't even taped?" He laughed.
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I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.
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It's quite funny that, 20 years ago, one would have thought putting out a fragrance would [negatively] affect your musical credibility. Now it may enhance it.
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The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
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People who carry a musical soul about them are, I think, more receptive than others. They smile more readily. One feels in them a pleasant propensity toward the lesser sins, a pleasing readiness also to admit the possibility that on occasion they may be in the wrong - they may be mistaken.
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We sometimes feel like hamsters on a wheel, covering the same musical ground we did 20 or more years ago.
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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.
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I, too, am deeply concerned with an overarching idea that dramaturgs are now authors . . .. I am not taking the position that all dramaturgs own copyright, deserve special billing credit, or should receive remuneration akin to that of the playwright. I know from my ears at the Dramatists Guild that almost everyone a writer encounters has suggestions of how to write and rewrite the play or musical to make it work.
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The trouble with this country is that everything is new. We don't have any consideration for the past... Just because something is old, you don't just rip it down. You can renovate it instead of ripping it down and building something new.
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The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.
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'Career' is not a musical term.
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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.
