Top 1200 Hear Music Quotes & Sayings

I got so much love for classical music and I hear so much incredible music.You should know a bunch of music and have respect for all sorts of genres and styles of music.

The mall is good for hearing new music because you hear music everywhere. I like to walk around the mall and hear what the kids are listening to, or what's the feel of Middle America, cause that's what the mall is.

If I'm reading about a river or the trees or the wind blowing or the stars at night, if you can hear that in the music in some way, you've wedded the two and your imagination takes off. To be able to hear that in music is really important.

Partisans present some of the most refreshing music I've heard in a long while, uncompromising, very well written and very well played. It demands serious attention. I hear in these players a sense of common purpose and resolve, and a strong command of a dialect uniquely suited to this music. It's heartening to hear music that looks to find its own particular place.

there are two kinds of music - good music and bad music. Good music is music that I want to hear. Bad music is music that I don't want to hear.

As in music, when we hear the crescendo building, suddenly if the music stops, we begin to hear the silence as part of the music.

With the exception of maybe Vegas or Miami once or twice, other than that, it's all the same to me. I can't hear anything in the club with the loud music, so you're in there, and you're like, 'I can't hear you because of the loud music.' I hate that, yelling back and forth. And I don't drink, so it's kind of pointless.

Jimi Hendrix once said, 'You will never hear surf music again.' Well, tonight, you will hear 'serf' music again - S-E-R-F music.

The climate suits me, and London has the greatest serious music that you can hear any day of the week in the world - you think it's going to be Vienna or Paris or somewhere, but if you go to Vienna or Paris and say, 'Let's hear some good music', there isn't any.

You don't understand music: you hear it. So hear me with your whole body.

I hear music Mighty fine music, The murmur of a morning breeze up there The rattle of the milkman on the stair Sure that's music.

It's always interesting to me that we all hear music differently. It's an awesome experience to hear what other people hear.

When you hear the music of these celebrated Dutch superstar-DJs nowadays... my God, I wouldn't even feed their music to my dog. I don't consider that to be my sort of dance music.

When you're in Jamaica, unless you're in a tourist spot, you don't hear Bob Marley; you mostly hear dance hall music.

There was once a fiddler who played so beauitully that everybody danced. A deaf man who could not hear the music considered them all insane. Those who are with Jesus in suffering hear this music to which other men are deaf. They dance and do not care if they are considered insane.

Every day, we hear that somebody got saved to our music from all over the world. The music reaches people. It can encourage them. I feel like I have to do it because there's somebody out there who needs to hear the gospel.

When I act, I hear it like music. In my head, I hear the dialogue like music.

Musically, New York is a big influence on me. Walk down the street for five minutes and you'll hear homeless punk rockers, people playing Caribbean music and reggae, sacred Islamic music and Latino music, so many different types of music.

When I write a book... it's the same essential approach to music as with books. It has to be something I want to hear or read. Hopefully the audience comes along, since that's the only way you can write righteously. I have to ask, 'What do I want to hear?' not 'What do people want to hear?'

If I can hear the music then no, I don't hit a wrong note. But if I can't hear the music because the audience is screaming or the sound system is bad, then I'm subject to stray.

The way I look at music, what I'm interested in is not necessarily creativity - in many ways I think creativity is overrated, actually. What I think is important is authenticity. I want to hear music that has the resonance of the people. I want to hear music that is an amplification of them. Because then, I can experience the people. But because the music has become so institutionalized, everyone is learning and regurgitating the same material in the same way.

I knew it straight away when Twitter first came around, and also Facebook, where it was so easy to post, that this was another way to speak directly with people listening to my music. If they found my music and they like it, most likely they want to hear more from me and hear what I'm about. I've put an enormous amount of time into that and it's played out well for me.

I think you can hear, when you listen to someone's music, whether or not they're enjoying making it - it's so great to hear music where you can tell the person making it was just having a blast. That's really important to me as far as my process goes. That's probably why my music ends up being so poppy!

I'm a businesswoman. I am a music lover. I like for people to like my music. When you listen to top 40 radio, you hear pop stuff. You hear rock stuff. You hear all these different influences.

We deliberately used elements from Brazilian music and from African and Asian music. Now people can hear that but then it sounded so abstract, they couldn't hear it.

You have to get past the idea that music has to be one thing. To be alive in America is to hear all kinds of music constantly: radio, records, churches, cats on the street, everywhere music. And with records, the whole history of music is open to everyone who wants to hear it.

I've written arrangements for choirs and strings in the past, but I usually write music with my voice or a keyboard and then I'll get someone who is good at writing scores to write it out. Or, if I have the luxury of time, I will go in a room and hear the people perform and then change it through what I hear, not on paper. I can read music OK, but I probably rebelled a little - music changes into something else when you read it.

You know, I never did music for money. I did music to hear myself in the club, and to hear my creation on the radio.

Music has brought me some of the highest moments of my life. I don't even hear the music. I don't even hear the notes. I'm not aware that someone has turned on a tape machine - I'm in another world.

When you set out to carry on a tradition as deep rooted as folk music is, you've got to have your story together. You've got to study and have a foundation. Jeffrey Foucault has that foundation, and you can hear it in his voice, and feel it in his music. He's got an understanding that you don't hear that often.

All songs have those X factors. I couldn't even explain or describe what will grab me about them but it's all music that I'm usually listening to. I'm always looking there to hear new music and see what's going on so that's usually when I'll hear something and be like "Wow, that melody is really crazy.

England is so surrounded by the boredom of conventionalities, that it is all one to them whether music is good or bad, since they have to hear it from morning till night. For here they have flower-shows with music, dinners with music, sales with music.

I don't listen to music, actually. Obviously I go to clubs; I stand in elevators; a lot of my friends are musicians; I hear music all the time. But I don't have my own collection of music.

If you are involved with the intensity of crescendo situations, with the intensity of tragedy, you might begin to see the humor of these situations as well. As in music, when we hear the crescendo building, suddenly if the music stops, we begin to hear the silence as part of the music.

I was raised a musician and I played classic music, violin, in orchestras and music comedy theaters, I have music running around in my head all the time, and if I hear music that's too interesting, I have to pay attention to it.

I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.

What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.

Music and time have such an interesting relationship. Music makes time fall away like almost nothing else. You hear a song from another moment of your life and it really is like you're still there. That's why the music of our youth ends up being particularly powerful. The coming of age music that you grab a hold of as the symbol or the expression of your independence and hopes for the future and anger and rebellion or whatever it is you're feeling is so powerful for the rest of your life when you hear it.

To me our music is like Jamaican stuff - if they can't hear it, they're not supposed to hear it. It's not for them if they can't understand it.

When I hear music that parents hate, or older musicians hate, I know that's the new music. When I hear older people saying, 'I hate Rap or Techno' I rush to it.

When I hear bluegrass today, I hear so many new sounds in it. It's almost like country music in a way.

When people hear my music, they ain't really hearing about no shiny stuff, the glamorous life. They're going to hear that gritty, slum.

While human nature largely determines how we hear the notes, it is nurture that lets us hear the music.

My husband is a composer, so he plays piano all the time and I sit there and clap telling my unborn child, 'Hear me clap, hear the music.' I know music, in general, is supposed to be good for babies to hear.

I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.

I'm a businesswoman. I am a music lover. I like for people to like my music. When you listen to top 40 radio, you hear pop stuff. You hear rock stuff. You hear all these different influences

Everybody has they're own audience you know what I'm saying. I write rhymes and make music for the people that I fell wanna hear my music. They write rhymes and make music for the people they feel wanna hear they're music.

The first thing I heard was spiritual music, which was imbedded. The second thing I heard was swing. And shortly, along with that, I began to hear the blues. And then I began to hear Latin music. Each one left its mark.

Music should be judged on what you hear, not what you think you might hear.

In difficult times, people just like to hear music. They like to be moved by what they hear. And music speaks different languages.

When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.

My favourite music is the music I haven't yet heard. I don't hear the music I write: I write in order to hear the music I haven't yet heard.

Sometimes I prefer when I can hear other people conduct my music so I can sit out and actually hear it. When you are in the middle of it, sometimes it's a little bit hard to hear and get the whole effect.

All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.

You know, when I hear music, I just hear the whole thing.

I think that if you hear music young, whatever music you hear influences you. I'm white, but I've been influenced by black music.

Make the kind of music you love even if you never hear it on the air. This was the basic lesson I'd gotten from Alan [Lomax]. Alan said, Pete, look at all this great music around. You never hear it on the radio, but it's right there, great music.

When you hear Bach or Mozart, you hear perfection. Remember that Bach, Mozart and Beethoven were great improvisers. I can hear that in their music.

Music is made to be heard, whether you hear it in concert, you hear it on the radio, or you hear it in your car. It's not for two people to sit in a closet and go, 'That's my band, the only band I've ever heard, and I'm the only person that's going to hear it.'

To me, our music is like Jamaican stuff - if they can't hear it, they're not supposed to hear it. It's not for them if they can't understand it.