A Quote by Terry Teachout

No, I don't know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they 'should' like Schubert and Stravinsky has already lost the battle.
Jazz sometimes can be really complicated and inaccessible to people because they don't know what to start with. You can start with something that you love, but if you start with something that you hate, then it's like, 'You know what, I hate jazz.' It took me a lot of time to catch on to jazz, too.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I used to think that running an organization was equivalent to conducting a symphony orchestra. But I don't think that's quite it; it's more like jazz. There is more improvisation. Someone once wrote that the sound of surprise is jazz, and if there's any one thing that we must try to get used to in this world, it's surprise and the unexpected. Truly, we are living in world where the only thing that's constant is change.
You know how it is in the symphony when you are listening to the symphony, the last notes die away, and there's often a beat of silence in the auditorium before the applause begins. It's a very full and pregnant silence. Now theology should bring us to live into that silence, into that pregnant pause.
If you're listening to a symphony, you're getting all the information, including the audience around you, the delay from the sides of the concert hall, the whole thing. If one of those musicians is sharply out of tune or starts to play a different piece of music than all the others in the orchestra, you immediately notice. When you analyze systems by listening, you can just listen, and you can tell whether the system is healthy or unhealthy. What I've created for you is a perfect model of how we should be listening to our stock market, rather than trying to see it graphically.
Have you seen a symphony orchestra? There is a person at the back carrying a triangle. Now and again the conductor will point to him or her and that person will play "ting." That might seem so insignificant, but in the conception of the composer something irreplaceable would be lost to the total beauty of the symphony if that "ting" did not happen.
I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
You know you have that zealousness of the young person that feels like you can go out and do it all. You know you save the world, save your gente, save women and before you know it if you try to do that you will burn out very quickly. My feeling is that I always think that and my advice to young people regardless of what times in these decades we've been living in there's always work to be done. The point is what can you do personally that you can live with so that you can get up the next morning and have the strength to start it all over again.
I got alright GCSEs, but I was lost. I didn't know what to do, whether to continue with education, go to uni, go to art school - then again, I was like, 'Maybe I should just go and get a job, start early and make money.'
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
You are great young people. I have said again and again, we have the finest generation of young people ever in the history of this Church. I believe it. You know the gospel better. You come to seminary and you learn about the things of the Lord here. You know more about the gospel than those of my generation at your age did without any question. I am satisfied of that. Furthermore, you are intrinsically better. You are wonderful young people!
He gives me a kiss that barely touches my lips – it means nothing or everything. After he’s gone, I think, Happy birthday to me. Jack says, ‘That was the guy?’ ‘That was him.’ Jake shakes his head. ‘What?’ ‘He’s not for you,’ he says. I say, ‘How do you know?’ but what I mean is, How do you know? ‘He’s like Ashley Wilkes,’ he says. ‘Any one of these guys is Rhett-ier than he is.’ Again, I ask my benignly inflected, ‘How do you know?’ ‘How do I know?’ he says, tackling me into a bear hug. ‘How do I know? I know, that’s how I know.
When you go to Nashville and start co-writing, you start doing it as a job and the more you do it the better you get. You know if you build houses for 30 years you're better than you were the day you started. You know the ins and outs, you know all the nuances.
I never want projects to be finished; I have always believed in unfinished work. I got that from Schubert, you know, the 'Unfinished Symphony.'
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