A Quote by George Santayana

A musical education is necessary for musical judgement. What most people relish is hardly music; it is rather a drowsy reverie relieved by nervous thrills. — © George Santayana
A musical education is necessary for musical judgement. What most people relish is hardly music; it is rather a drowsy reverie relieved by nervous thrills.
But it is equally necessary to consider the implications for a society if there are fewer and fewer young people making music because we are economising on music schools or musical education in schools.
The virtuosos look to the students of the world to do their share in the education of the great musical public. Do not waste your time with music that is trite or ignoble. Life is too short to spend it wandering in the barren Saharas of musical trash.
If I were to do a musical, I think I would rather make a film musical.
When you step out and do a song in a musical, the easier thing to do is make it funny. But when those transitions become necessary, when they aren't camp, that, to me, is magic. I've done musical comedies and enjoyed them, but subject matter that's deeper and more realistic is always what's appealed to me most.
It is fruitless to search for a single musical style, or even any blend of musical styles, that can assist all Christians with true worship. The followers of Jesus are a far too diverse group of people-which is exactly as it should be. We need, rather, to welcome any worship music that helps churches produce disciples of Jesus Christ.
Nowadays, all students have access to and indeed most own computers and are comfortable with the software used to compose music. There are probably too many musical options for them now and the trick is to limit the number of musical ideas so as to develop structure and continuity in their work.
My earliest memories about music are connected with going to church and listening to organ music. I am not from a musical family, actually, and I remember my first musical fascination to be for organ music. I wanted to become an organist and not a pianist.
When I'm writing instrumental music, I try to find musical and non-musical inspirations.
Musical theater is an American genre. It started really, in America, as a combination of jazz and operetta; most of the great musical theater writers in the golden era are American. I think that to do a musical is a very American thing to me.
I come from a musical family, and Carnatic music made up so much of my childhood, my upbringing, and my musical transition.
Growing up in Sweden, musical education is something really special. There are music schools everywhere, and the education is very advanced.
Irish music in the local pubs was my first exposure to musical expression, and I feel like Irish music is very close to musical theater because it is always telling a story.
I certainly have a fascination with pop music as a musical form, not necessarily as a lifelong commitment. I guess you could say I'm like a Casanova of music. I can't seem to settle down with one musical form.
I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
So far as musical pedagogy is concerned - And by extension of musical creation - Nadia Boulanger is the most influential person who ever lived
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