Musical Quotes - Page 16

Nothing takes you inside the soul of a human being like a musical does.

Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.

The musical heritage of Yorkshire is deep and wide.

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 don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general.

I can't even tolerate my own playing on electric keyboards. It's not about the musical ideas - the sound itself is toxic. It's like eating plastic broccoli.

One reason I left local news was that I was tired of the constant musical chairs among news directors.

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.

If it is true that the violin is the most perfect of musical instruments, then Greek is the violin of human thought.

I was there when the quote-unquote golden age of musical theater was flourishing. I met everybody who worked in theater or was famous in theater from the '40s on.

Don't bother to look, I've composed all this already.

Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you're instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do.

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.

When the American people get through with the English language, it will look as if it had been run over by a musical comedy.

I come from a background of experimental music which mingled real sounds together with musical sounds.

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?

Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently

I had no musical or athletic ability, and I wasnt particularly good looking. Comedy was something I could do for attention.

I always felt a love for music, but I never got my nerve up enough to try a musical instrument in school.

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."

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

I thought I was managing my expectations, but on hearing the news I discovered new and unfamiliar vocal tones. Perhaps I should do another musical.

The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. . . .

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.