Quotes About Rhythms

What I'm trying to do, in my own small way, is trying to bring African and Afro-Cuban rhythms into rock.

I always read poetry before I write, to sensitize me to the rhythms and music of language.

I spent my last year of high school in Latin America, and there's a edge of salsa under all of my rhythms.

All of our physical rhythms are being affected by sound outside us all the time.

I am tired of the imposed rhythms of men, Tethered time, restrained and trained To a monotonous beat Digital time blinking exactness Unliving.

I first heard African drum rhythms and chants at the movies. Then, when I had the opportunity to go to Africa and visit the villages, I heard the real, raw, true rhythms and realised the origins of the old Negro spirituals I grew up with in the South.

People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.

Sometimes I turn the TV just below where you can hear it and write down what I think they might be saying by the mumbles and rhythms.

Just as anyone who listens to the muse will hear, you can write out of your own intention or out of inspiration. There is such a thing. It comes up and talks. And those who have heard deeply the rhythms and hymns of the gods, can recite those hymns in such a way that the gods will be attracted.

Just as anyone who listens to the muse will hear, you can write out of your own intention or out of inspiration. There is such a thing. It comes up and talks. And those who have heard deeply the rhythms and hymns of the gods, the words of the gods, can recite those hymns in such a way that the gods will be attracted. JOSEPH CAMPBELL, Esalen, 1983

I use rock and jazz and blues rhythms because I love that music. I hope my poetry has a relationship with good-time rock'n roll.

My approach to writing rhymes went hand in hand with the music. I'd try to make different rhythms with my rhymes on the track by tripping up patterns, using multi-syllable words, different syncopations. I'd try to be like a different instrument.

When I started rhyming, my favorite rhythms were from John Coltrane and some of the things he did on sax. And certain rhythms that I hear on drums, I try to emulate with my words, dropping on the same patterns that them beats or them notes would hit.

Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with breathing.

I continued studying by myself in the field of jazz with my own technique of improvisation, walking bass lines, rhythms, all kinds of stuff, which I created for myself.

Thinking back to boyhood days, I remember the bright sun on Harlem streets, the easy rhythms of black and brown bodies, the sounds of children streaming in and out of red brick tenements.

yet voice is something like the fingerprint of the writer—not the persona on the page but the writer with her own particular linguistic quirks, sentence rhythms, and recurring images. The memoirist needs to have this fingerprint too, even if she only speaks as herself.

In poetry, you must love the words, the ideas and the images and rhythms with all your capacity to love anything at all.

I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know.

One must find rhythms others' ears don't hear.

He was following the Earth through its days, drifting with the rhythms of its myriad pulses, seeping through the webs of its life, swelling with its tides, turning with its weight.

Transformation happens less by arguing cogently about something new than by generating active new practices that shift the experience of the basis for reality. In other words, the best way of making ideas have impact is to embed them into the very rhythms and habits of the community in the form of common tools and practices.

It is through the "constant" that we develop our conscious awareness of existence. Material existence, for the soul, is very much about orientations, rhythms, and impacts that cause permanent changes.

From my music training, I knew that, some Spanish rhythms apart, 5/4 is a time signature used only in the modern era. Holst's Mars from the Planets is 5/4. But if you speak lines of poetry in that pattern you just end up hitting the off-beats. It's only when you add a rest - a sixth beat - that it sounds as it surely should sound.