A Quote by Maya Beiser
I grew up in a kibbutz in the Galilee, but we were surrounded by Arabic villages, so I heard all these sounds and all this music. My father was very close friends with one of the Bedouin tribes, so I would always go there, to weddings, and I was always very fascinated by that music.
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I grew up in a house that was always happy, and my family was always music, music. I started playing percussion very young, because I had some uncles who were musicians and all my aunts were singers.
My parents had a love for music. There were so many records, so much music constantly being played. My mother played piano, my father sang, and we were always surrounded in music.
I grew up always around music through my father - I would play in music studios with him as I was growing up - and my high school, Fiorello H. LaGuardia High School of Music and Art and Performing Arts.
Irish folk is probably the biggest influence musically that I've ever had. My mother's Irish. And when I was very young, both my brothers were very into traditional music, English and Irish. They were always playing music, so I was always brought up with it.
Listening to the birds tells you different things about a place. I heard bird sounds I'd never heard before. I heard street sounds and country sounds and city sounds that are very different from what it is I'm used to and I get very fascinated about how that marks a place.
I've always liked monster movies and I've always been fascinated by - again, growing up in a culture where death was looked upon as a dark subject and living so close to Mexico where you see the Day of the Dead with the skeletons and it's all humor and music and dancing and a celebration of life in a way. That always felt more of a positive approach to things. I think I always responded to that more than this dark, unspoken cloud in the environment I grew up in.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
Music's always been a big part of my life. Because of my father, I was always surrounded by music and musicians, and in school, I was in the chorus, and I played various instruments.
I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.
Well, I was very lucky. I was brought up west southwest coast of Scotland and my mother and father had a music shop, and so I was surrounded by pianos and drums and guitars, and music, of course.
In terms of exploring an identity in the country music world, what I realized very quickly was that there are people who have been performing country music since they were kids. It's very much a part of who they are; very much that jazz and blues are a part of who I am, because I grew up listening to and playing that kind of music.
As a child, I was always very interested in music and had friends who were in the music business. I kind of accidentally fell into it and loved it. There was no reason not to - it was a great career.
People in my family and camp who grew up listening to rap music love 'We Are Young.' I've heard it play at weddings. I've heard it in graduation parties. It's a big idea and big song.
I'm always interested to meet my friends' parents, or who they were raised by. Where they grew up, I always find very interesting.
I grew up in my neighborhood with salsa, of course bachata, but also hip-hop, Nirvana - it was just like a mixed culture. It was a beautiful thing for me because at the moment I started creating music, having all these different sounds and elements, it was very organic because I grew up with all these types different music.
The music defied classification. If I had been writing a review of the show, I would have labeled it progressive, guitar-driven rock ’n’ roll. But the guitars made sounds guitars didn’t always make. Symphonic sounds. Sacred sounds. The music dug in so deep you didn’t hear it so much as feel it, reminding me of a dream I used to have when I was a kid, where I would be standing on a street corner, I would jump into the air, flap my arms, and soar up into the sky. That’s the only way I could describe the music. It was the sonic equivalent of flight.
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