A Quote by George Marsden
Nonbelievers may hear all the notes of science, but without a theistic context and perspective they will not hear the song.
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Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.
You may hear the most beautiful things, you may hear promises, you may hear everything you want to hear but if the person you're dating is not following up with their actions then they're just words.
You can publish a poem you think is a very important poem, and you don't hear a word from anyone. [...] You can publish a book of poetry by dropping it off a cliff and waiting to hear an echo. Quite often, you'll never hear a thing. So doing that, using older work, puts it in a context, and that sort of forces the reader to realize what its importance is-if it has any. Everything needs a context. You're not going to recognize a poet unless you have a context.
It's always a blast playing the new stuff. But I feel like songs, in a way, are never finished. You get to a point where you're comfortable enough to put a stamp on it and send it out there, but even after recording it, when you're playing it live, you hear different harmonies, you hear different notes, you hear different tempos or peaks and valleys in the song.
The way of presentation is different according to each religion. In theistic religions like Buddhism, Buddhist values are incorporated. In nontheistic religions, like some types of ancient Indian thought, the law of karma applies. If you do something good, you get a good result. Now, what we need is a way to educate nonbelievers. These nonbelievers may be critical of all religions, but they should be decent at heart.
Now I will do nothing but listen to accrue what I hear into this song. To let sounds contribute toward it. I hear the sound I love. The sound of the human voice. I hear all sounds running together.
The bottom line is fans just want to hear a good song. Some people will look underneath to see who wrote it, but they just want to hear a good song. And if they don't hear it, they're not going to buy it just because you wrote it.
I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.
You hear a song like 'Wait For It,' you hear a song like 'Dear Theodosia' - if you get one of those songs in a musical - one - it's worth dropping everything to sing that one song.
Usually when a song comes to me, I don't ask a lot of questions; I hear something, and I just let it out in song. It's like making a salad. Everything I hear, and everything I am, I mix together in a different way in each song.
If you go to planetary science meetings and hear technical talks on Pluto, you will hear experts calling it a planet every day.
Whenever I get an idea for a song, even before jotting down the notes, I can hear it in the orchestra, I can smell it in the scenery, I can see the kind of actor who will sing it, and I am aware of an audience listening to it.
While human nature largely determines how we hear the notes, it is nurture that lets us hear the music.
And hear the pleasant cockoo, loud and long - The simple bird that thinks two notes a song.
I don't need to hear Bill to go through a song. I need to hear Keith to go through a song. I know Bill will be playing what I'm playing anyway. I need to hear Keith because it's all there: the time, the chord changes, and all the licks you have to follow.
I don't like karaoke. But maybe that's why I'm so perfect for 'Lip Sync Battle,' because I get to still hear the song I love and watch the performances that I love without having to hear someone sing.
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