A Quote by Mani Sharma

Any composer will not completely enjoy the process of creating a remix. Even if one adds their own elements, the song ultimately belongs to the original composer. — © Mani Sharma
Any composer will not completely enjoy the process of creating a remix. Even if one adds their own elements, the song ultimately belongs to the original composer.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
Sometimes, a remix is good because it reaches a whole new generation. But when it gets too much, it's irritating. Also, the original composer needs to be credited properly.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.
Music critics have made it quite clear that any composer who ever contributed a four-bar jingle to a film was to be referred to as a 'Hollywood composer' from then on, even if the rest of his output were to consist solely of liturgical organ sonatas.
The most important thing to remember is that the composer is a senior partner. You cannot force a subject on a composer if it doesn't inspire him. He has to take the lead, you are an enabler, and you are creating the enabling conditions under which he can write great music. Your words are secondary. Many librettists in opera collaborations in the past have forgotten this, or not known it, or refuse to accept it and tried to get out in front of the creative process and it just doesn't work that way.
It is always interesting and sometimes even important to have intimate knowledge of a composer's life, but it is not essential in order to understand the composer's works.
Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
If you want to give a twist to a song, I have no problem, but don't forget to mention the original composer's name.
At the end of the day, I am singing the composer's creation, and I follow the instructions given to me. What I feel may be a right take may not work for the composer or his vision on how he thinks the song should sound.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
The prerequisite of contrapuntal art, more conspicuous in the work of Bach than in that of any other composer, is an ability to conceive a priori of melodic identities which when transposed, inverted, made retrograde, or transformed rhythmically will yet exhibit, in conjunction with the original subject matter, some entirely new but completely harmonious profile.
The pressure is only from the producers and the labels. No composer, no singer would ever want to sing a remix.
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