A Quote by Yasmine Hamdan
When I started, I didn't know how to sing in Arabic - it's a very complex and sophisticated music full of codes and modes and quarter-tones.
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I couldn't know about my culture, my history, without learning the language, so I started learning Arabic - reading, writing. I used to speak Arabic before that, but Tunisian Arabic dialect. Step by step, I discovered calligraphy. I painted before and I just brought the calligraphy into my artwork. That's how everything started. The funny thing is the fact that going back to my roots made me feel French.
There's a big difference between the Arabic and Western scales. One uses quarter tone system and one doesn't. So in order for me to compose real Arabic scale melodies, I would need an Arabic keyboard, and I don't have one. So I had to compose Arabesque melodies.
It's complicated for my music to be accepted, even in Lebanon and the Arabic world - I sing in Arabic, but there's no lute, no classical instruments. Maybe with the Internet opening things up, things will change.
I'm not a DJ - I don't know how to scratch or mix records, but I know how to party, and I know music. I grew up in Philly; it's a very musical city. My house was full of music.
The West has become very sophisticated, seeing love as a very complex thing. In Bollywood, it's not complex: it's an arrow straight to the heart.
At Bloomington, Indiana, I was invited to listen to music written in quarter tones for four harps and voices. I had to go out to be sick.
I had a fascination with the roots of African American music. That would have been my first education in music. I had a real passion for it. I wanted to play it, sing it. I could sing at a young age, but I started to teach myself bass guitar and started writing when I was 15.
moral codes and standards in our societies very rarely apply to all people equally. This is the most damning proof of how immoral such codes and standards really are.
It's striking and unique in London how you know to create this alchemy between the concept, the food, the music, the staff. From the beginning to the end, with all these different elements, it tells a full story that you know very well how to develop and cultivate.
I actually started singing country music at 4 years old, right when I started learning how to sing. I would cover a lot of Martina McBride, LeAnn Rimes, Trisha Yearwood, that kind of stuff, and it just feels very authentic to me. It's always been there through the years. Even when I was in my band, I still listened to country.
... each of the 24 modes in the Ramanujan function corresponds to a physical vibration of a string. Whenever the string executes its complex motions in space-time by splitting and recombining, a large number of highly sophisticated mathematical identities must be satisfied. These are precisely the mathematical identities discovered by Ramanujan.
I know that I can sing. That's the reason I started playing music when I was twelve years old.
A lot of people seem to think I started this business. But rock 'n' roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let's face it: I can't sing like Fats Domino can. I know that.
Because for me, '60s pop music is amongst the most complicated or complex music because it has so many resonances which strike you. The music itself is often simple, but the way that I interpret it, or the way I think it's interpreted culturally, is very complex.
Consonance, says the dictionary, is the combination of several tones into a harmonic unit. Dissonance results from the deranging of this harmony by the addition of tones foreign to it. One must admit that all this is not clear. Ever since it appeared in our vocabulary, the word 'dissonance' has carried with it a certain odor of sinfulness. Let us light our lantern: in textbook language, dissonance is an element of transition, a complex or interval of tones that is not complete in itself and that must be resolved to the ear's satisfaction into a perfect consonance.
To be very fair, it was Ian Marsh and Martyn Ware who started The Human League. They brought Philip Oakey in to sing, primarily because Philip was very tall. So it started out as their vision. I don't think anyone ever thought it would be as big as it became. Music evolves and people were looking for something different. We came out at the right time and were just very lucky.
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