Top 1200 Folk Music Quotes & Sayings - Page 2

Jazz is the folk music of the machine age.

When I really started liking music was when I could play some of it myself, and after a couple of years of playing folk music, I kinda rediscovered those hits that were on the radio all the time when I was a kid.

Music is in Mississippi's DNA, whether it's the blues, country music, folk, or rock 'n' roll. It's not just a source of cultural pride, but also a strong contributor to our economy.

Folk is bare bones music.

I feel just as passionately about experimental electronic music as I do about folk music.

I started off as a mimicry artist, have sung 'Gaana' folk music and popularized pop music in the South before I got into acting.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

I find a difference between what gets called world music - a fusion of western music and music from different cultures in more of a modernized version - and Explorer Series stuff, which is completely undiluted indigenous folk music. That's a lot more powerful than a lot of the super-processed stuff that comes out now.

The way I see it, rock n' roll is folk music.

I don't really know what 'folk music' means anymore.

Music, that has mostly earned a 'film music' status in our country, leaves genres like jazz, folk and classical to the niche. But, something common ties all the genres of music, the skeleton of the sounds - the instruments. Instrumentalist in our country are not given their due, at least not as much as they deserve.

And whether or not you're interested in opera or classical music or folk music or the theatre, I think that for a nation's health and well-being it's very important that the arts scene is supported.

Most people's intuitions are drowned out by folk sayings. We have a moment of real feeling or insight, and then we come up with a folk saying that captures the insight in a kind of wash. The intuition may be real and ripe, fresh with possibilities, but the folk saying is guaranteed to be a cliche, stale and self-contained.

Bill Monroe spoke of bringing 'ancient tones' into his music with echoes of British and Irish fiddle and bagpipe music, while also delving deeply into American blues, gospel, folk hymnody, and hill country dance music. To that gumbo, he added the invigorating rhythms and harmonies of hot jazz. It was a new kind of American music, named in honor of his band The Blue Grass Boys to be known, simply, as bluegrass.

I always thought I was singing American folk music.

With 'Mirzya,' we went deep into folk music. The film, unfortunately, did not do well because it was not marketed well. But we got freedom to do the music the way we want.

After touring the first album, we went into the studio and started making music that was influenced by all the freaky folk music we'd been listening to. Lots of Canterbury scene stuff from the 1960s and '70s. Robert Wyatt, Soft Machine, Caravan, Gong.

I mean, the genuine roots of culture is folk music.

Punk is just as much a form of folk music as anything is!

So, you know, there are a lot of the biggest records of the year. There's great music in hip-hop and jazz and, you know, and folk music.

I came late to the genre of folk music.

Hymn tunes are the nearest we've got to English folk music.

For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.

The thing that is making jazz healthy today is that people are coming out of other backgrounds - from rock, folk, from ethnic music. It's changing the music, and for the better.

My dad is a huge folk music fan, so growing up, there were always records playing in my house. Carole King, James Taylor, Simon and Garfunkel, the Beatles - I grew up with this music, and I was aware of how special this music was to a lot of people.

I didn't know folk music growing up, no. It's something I've come to study, really, because I think there's so much to learn from traditional music in the sense of the way music began as a way of communication, the traveling storyteller, the bard, the minstrels.

Folk music is a bunch of fat people.

My family owns a music store in Claremont, California, called The Claremont Folk Music Center.

I'm obsessed with the countryside: woods, forests, fields, lakes, mountains. I'm really into folk music and folklore. But more so I'm into electronic music. I'm into bands that have both aspects, like Boards of Canada is a perfect example. You could listen to that type of music running through a woods. It's kind of what I wanted to achieve.

I've always loved Country, folk, and the acoustic end of music.

I was reared on folk music.

I went to school in Gainesville because it was a huge punk and folk town. So I went to class twice a week, and then I went to shows and wrote. I did a lot of music writing before I actually started playing music.

My music is basically perceived as folk or softer rock.

I grew up listening to a lot of soul music, and a lot of folk music.

The Swedish folk music - I can't hear any connection between my music and fiddle tunes, but I guess since I grew up with that, kind of, Swedish tone or harmony.

I love all those great 'f' words - feminism, folk music.

People seem to think that folk music is people with acoustic guitars. Or punk music is people with mohawks, leather jackets.

That's really always been the music that I've been in love with, always the music that I've written growing up. Even through Pentatonix, folk music has been really my heart and soul.

Folk-punk artists like This Bike Is A Pipe Bomb or Paul Baribeau were popular in the Florida punk community. I saw people early on combine roots music with more aggressive music.

If we have to put music into baskets, then the progressive rock bands I fell in love with as a teenager made sounds that shaded into jazz, folk, metal, and in the case of the wonderful (and sadly missed) Jon Lord, modern classical music.

I've spent hours and hours doing research into Appalachian folk music. My grandfather was a fiddler. There is something very immediate, very simple and emotional, about that music.

There is a black folk music audience. They're just very small.

The way I approach things is from an experimental folk music standpoint.

Bare Foot Folk and is full of really interesting songs, Ange Hardy takes folk tales and creates new folk songs that sound traditional around the story. This is one she's called mother willow tree, it's beautiful

What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.

Folks out in the country couldn't afford to pay for anybody else to make music. They had to make their own. So the peasantry had their music, and it was about a hundred years ago given the name "Folk music".

Folk Music is the map of singing.

I usually don't go into record stores to buy folk music.

Music was in the air when I was growing up. My siblings Katy, Dave and Phil were musical; my dad worked in inner-city New York where a musical revolution was taking place - folk music, rock n' roll, gospel music. My sister taught me to sing. My brothers taught me to play.

All these years, I have never forgotten what my parents have given me, and that is why I take special pride in composing music based on ragas and used folk music in films like 'Apne Paraye.'

Folk rock was my real roots. I did a few gigs as a folk artist, in the style of Fairport Convention.

We have to preserve folk in its authenticity. Else folk will become fake.

The 1960s were big for folk music, and the Kingston Trio led the way. They were the ones who started it all. The music was fresh and alive. College kids loved it and their parents did, too.

I read a lot - surveys of vernacular music. A lot of it is the Harry Smith Anthology of American Folk Music, which I've loved since I was in high school. They had it at the library and I always thought that was interesting, even when I was into punk and stuff. Just the history of storytelling and the amount of melancholy a lot of old music has.

I enjoy bluegrass, folk, gospel, and classical. I don't listen to music when I write. I sometimes listen to music just before I sit down to write.

With 'Ta chuma,' which is a Garhwali folk song, I feel that there will be a strong connect which people will feel and they will get closer to folk music.

I think that anything is a form of folk music. That's just me being glib, but the thing I like the best about humans, and there are not many other things besides this, is that humans make culture. If you're an artist, a big part of folk is noticing what other people are doing and incorporating it and changing it - the way that songs warp and change over time.

I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.

I was listening to a lot of bebop. And to Miles Davis. Everyone thinks I was just in the folk world in 1966, but in 1963 and 1964, I was absorbing enormous amounts of music, from baroque to jazz to blues to Indian music.

There's not that much English folk music that is really that appealing.