Quotes About Music

It's a really unfair world because life is, where I am all day long we listen to American music. So I don't see why the radios in the U.S. cannot even put aside one hour a day just to play music that is not American.

and I put on "All My Love" and watched the sun rise yet again and thought thank you Robert Plant for all your love but do you have anymore?

I had a vision how it should sound and I put all my knowledge into this product and it is a fantastic product. People still tell me that I have the best musical thing there.

There is no roles. No one is keeping any roles. The drummer is also answering everybody and everything. So it is a constant conversation and communication between musicians on an extremely high level with extremely valuable material, motifs, and melodies.

I basically started playing violin at the age of six. That lasted about three years because my previous teacher died and the second teacher didn't really know how to successfully get me going.

There was the best teachers from the Czech Philharmonic, highly dedicated people, some of the best musicians in the world passing on the knowledge about the country, about the principles, and about the music.

I want kids of this generation to see that everything is cool, that there's some kind of unity in hip-hop. We all found something that's really important to us, and music is all we've really got.

Masjid turns on the radio, and Rabindra Sangeet adds the perfect soundtrack to the scene: "Por ke korile nikot bondhu"—you bring the distant near. One of Baba's favorites.

I portatori bravi tenevano le mani sui fianchi e si muovevano insieme, facendo oscillare la portantina al ritmo della bella e triste melodia suonata dai musici, per far capire che dietro ogni felicità si cela sempre una sofferenza.

I met Elton John at an Interview dinner, and we just sort of became friends. He's got such a wicked sense of humor.

When I'd asked for a drum machine for Christmas my family had been confused – none of them knew what a drum machine was. But I'd noticed that a lot of my musical heroes who'd started off as punk-rockers, like New Order and Killing Joke, were now using synthesizers and drum machines, and I wanted to join them.

Then I thought, Maybe it doesn't need a bass part as much as it needs a bass sound. I turned on my Roland Juno-106 synth and created a very simple and understated bass sound. All low end, no attack, no high end. Just simple, anchoring bass. I played it over the chords and it worked. Most people wouldn't even notice the bass; it just sat there underneath the song, holding it together.

Two years earlier there hadn't been a rave scene in the States. And now, seemingly overnight, the world had changed. Every decentsize city in North America now had DJ record stores and rave-clothing stores. Musicians were trading in their guitars for synths and making techno records that were becoming globe-spanning anthems. It was 1992 and the rave scene was blossoming like a shiny, DIY flower.

Club kids were generally urban and gay, ravers were generally suburban and straight, and goths lived in basements and spiderwebs. The ravers and club kids shared a love for techno and ecstasy, while the goths loved electronic music and old churches. So the Limelight became home for all three tribes.

I'd heard "Rhapsody in Blue" a thousand times and it always amazed me. It was so humble and then so bombastic. It was beautiful, bright, and terrifying: old and new, European and American. At times it sounded like Debussy, at times it sounded like Stravinsky, and at times it sounded like the Lower East Side in 1910. "Rhapsody in Blue" was a quintessentially New York work of art, but it was also about moving from east to west, from the old world to the new...

La musique est accoutumée à ne point faire ce qu'on veut.

Time now seemed to have receded, to be an enormous empty room which she must furnish, like any other aimless woman, with celluloid shadows of other people's happiness, with music that worked one up for nothing.

I like to say, jazz music is kind of like my musical equivalent of comfort food. You know, it's always where I go back to when I just want to feel sort of grounded.

I was no good at all at the jitterbug, as I have just now demonstrated, but then this other song came on, a song from a movie. . . . "Tammy." About a girl falling in love. I haven't thought of that song for years. Debbie Reynolds sang it, in a voice that would put you in mind of maple syrup.

a thousand songs that made people bite their lips and bob their heads, recalling a place they once lived, a person they once loved, a version of themselves they'd forgotten.

When I was a teenager, I began to settle into school because I'd discovered the extracurricular activities that interested me: music and theater.

Only in the eleventh century was the staff of parallel horizontal lines invented to indicate pitch. At the same time the notes were named ut, re, mi, fa, so, la, from the opening syllables of the successive lines of a familiar hymn: Ut queant laxis / Resonare fibris. . .

Laymen were able to make a career as composers and performers. Every prince and cardinal had his musical staff and cappella, his private orchestra. Especially in northern Italy, a public of musical connoisseurs existed, stimulating composers to seek subtle, tenuous effects. Technical mastery and the conquest of difficulties were recognized and applauded.

The earliest compositions for instruments alone date from the thirteenth century. These were performed at courtly functions. We hear of a fourteenth-century concert by an orchestra with thirty-six kinds of instruments.