Quotes of All Topics . Occasions . Authors
I am definitely interested in soundtracks that one might associate with fantasy or sci-fi - they tend to be rich with musical ideas.
I think there is no culture in which music is not very important and central. That's why I think of us as a sort of musical species.
There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.
I see music as one language. If one musical form eats its own tail, it dies. So it needs to be a mongrel, it needs to be hybridised.
As a halfway decent college DJ, I had been exposed to some great progressive stuff and always took pride in unearthing musical gems.
There has been studies looking at like musical talent and it shows that there is actually a really large genetic component involved.
Syncopations are no indication of light or trashy music, and to shy bricks at 'hateful ragtime' no longer passes for musical culture.
I grew up listening to Steve Martin and Robin Williams, so I didn't ever intend to be a musical comedian. I sort of stumbled into it.
I don't get into politics, general or musical, but just call me if you get jury duty. Even in New Jersey I was able to help somebody.
The ear has to be educated if one wishes to appreciate musical sounds, just as the eyes must learn to distinguish the value of words.
No rock and roll ensemble, however inspired, can deliver the kind of musical variety obtainable with the resources of 110 instruments.
My musical education started in the limelight, because I found myself surrounded by real musicians, but after my career had taken off.
I don't think my record collection or musical knowledge is vast. I just listen to the radio all the time - I'm a pop music enthusiast.
My dad is a very quick-witted, sarcastic, dry, humorous guy, whereas my mom's very silly, and that side of the family is very musical.
I sure lost my musical direction in Hollywood. My songs were the same conveyer belt mass production, just like most of my movies were.
I'm hoping to do more with my music. I did the stage musical 'Spring Awakening' recently and it reignited the love I have for singing.
There is an uninformed myth circulating just now that makes dubstep way too important in the musical universe - don't believe the hype.
I still will sit down at the piano and play when I am wrestling with something emotionally or just want to move into the musical world.
If you take the creation of music and the creation of your own life values as your overall goal, then living becomes a musical process.
I do think that there is an almost more old fashioned mentality to the way musical theatre people and actresses especially are treated.
I like 'Guys and Dolls,' 'Singin' in the Rain' and 'A Star Is Born.' When it works, a musical is an amazing thing. But it rarely works.
The blues is a mighty long road. Or it could be a river, one that twists and turns and flows into a sea of limitless musical potential.
The window doesn't open, the fan is broke, and my face is turning blue. I haven't been in a crowd like this since I went to see the Who.
We thought of ourselves as musical terrorists at shows - were weren't biting heads off bats, but we wanted to annoy and confront people.
People listen to music with cavemen ears: Is it a bird song or the call of a lion? The audience at a musical is dancing in their hearts.
I think no woman I have had ever gave me so sweet a moment, or at so light a price, as the moment I owe to a newly heard musical phrase.
I feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.
I just wanted to have a look at my whole musical career, get right back to when I started and why I started doing it in the first place.
I would like to do a musical, if I could find a cool one. A song-and-dance role is closer to me personally than other characters I play.
I find it difficult to fully enjoy musical theatre songs if I don't know the storyline of the show they are from as well as the context.
It's interesting - years ago, I had such bad stage fright during musical theater auditions that I just gave up. And now I'm on Broadway.
There is an assumption that if you're young and pretty, you will get all these opportunities that are way beyond your musical foundation.
If I ever have children of my own, they will read Matilda. They will watch the movie. And you can bet they will see Matilda: The Musical.
I did a musical that I don't think anybody ever saw, called 'One Shining Moment,' and in that cast was Megan Mullally and Kevin Anderson.
It's been an amazing life. It's really just been the most magical thing for me - and I have these musical friends from all walks of life.
The pianoforte is the most important of all musical instruments; its invention was to music what the invention of printing was to poetry.
Anything you are shows up in your music - jazz is whatever you are, playing yourself, being yourself, letting your thoughts come through.
Not what you would call a musical family, but my father used to play saxophone, and I discovered many genres of music when I was a child.
I realised that if I wanted to carry on with my musical dreams, I had to change, so I started meditating, and I changed my life entirely.
No one should be allowed to make music as if he were made of wood. One must reproduce the musical text exactly, but not play like a stone.
I ended up doing a local AmDram musical when I was nine or so. We had to sing and dance and act. It was probably terrible, but I loved it.
We decided we didn't want to do a musical for TV because the idea of writing a musical that would be seen on television once seems insane.
It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.
Bobby [Fosse] was very difficult to work with, he wanted to be a big star at MGM, but it was the end of making musical movies at the time.
It was an amazing adventure, it was my dream to be in an American musical... I really hope you are going to love what you are going to see.
I went to School of the Arts in Winston-Salem, and we had a bunch of singing classes. My first job in New York was an Off-Broadway musical.
With an ear open to your musical dialectic, one can be young and become old, can work and rest, be content and sad: in short, one can live.
To survive in a profession like this, you have to have absolute discipline and commitment, and I did not quite have it for musical theater.
I am regarded as a usurper, as an imposter and dilettante, because I do technically come from the wrong side of the tracks in musical terms.
I was in my late 20s, in the process of shaping my musical outlook and what I wanted it to be about, when I first encountered Woody Guthrie.