A Quote by Mikis Theodorakis

Always I have lived with two sounds - one political, one musical. — © Mikis Theodorakis
Always I have lived with two sounds - one political, one musical.
I try to listen attentively to musical sounds around me. You can think of the sounds of daily life as being musical. So I try to absorb the intricacies of the sounds as I would if I were listening to a piece of music. I try to see the beauty in everything.
If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.
The Ultimate Rule ought to be: 'If it sounds GOOD to you, it's bitchin'; if it sounds BAD to YOU, it's shitty. The more your musical experience, the easier it is to define for yourself what you like and what you don't like. American radio listeners, raised on a diet of _____ (fill in the blank), have experienced a musical universe so small they cannot begin to know what they like.
Sounds of daily life are musical. I try to absorb the intricacies of sounds as if I were listening to music.
I come from a background of experimental music which mingled real sounds together with musical sounds.
Questions about political theatre always overlook America's most powerful and effective political theatre, which is always thriving: the American musical. The politics is conservative but, to my mind, effective and insidious.
All musical talent is absent in me, to the point of being unable to play board games that require you to hum a tune while others guess what it is, since all my humming sounds the same. Musical instruments have always seemed like alien artifacts to me, even as I really admire anyone who can play one.
So far as musical pedagogy is concerned - And by extension of musical creation - Nadia Boulanger is the most influential person who ever lived
I've always loved musical theatre. I've always been a big kind of closeted musical theatre nerd. I really have always dreamed about being able to do musical theatre.
'Story of My Life' was essentially a two-man musical play. In hindsight, I don't know if there was room for a two-man musical on Broadway.
We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.
To know the piano is to know the universe. To master the piano is to master the universe. The spectrum of piano sound acts as a prism through which all musical and non-musical sounds may be filtered. The grunts of sheep, the braying of mules, the popping of champagne corks, the sighs of unrequited love, not to mention the full lexicon of sounds available to all other instruments-including whistles, scrapes, bleatings, caresses, thuds, hoots, plus sweet and sour pluckings-fall within the sovereignty of this most bare and dissembling chameleon.
The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.
Castro has lived almost his entire life as a clandestine revolutionary. To such figures, truth is always malleable, always subservient to political goals.
I grew up with two different parakeets - one that lived for five years, and one that lived for 13 years - so I always had a bit of an attraction to birds and it's an oddly good fit to be in a movie about birdwatchers.
Looking back, I think I was always musical. My dad was very musical, and I think my mom was musical.
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