Top 1200 History Of Music Quotes & Sayings - Page 4

I love pop music just as much as I like rap music, or ill-ass hip-hop music, or rock music.

Duke Ellington's career traces the entire history of jazz. The repertoire associated with him contains the most important elements in the music and provides concrete examples of some of the best ways to present the music in the widest variety of settings-radio, TV, recordings, movies, concert halls, festivals, solo, small ensemble, big band, symphony orchestra, opera, Broadway shows.... You name it, he did it!

When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.

I'm not sure if music got a future. We have all these electronic ways to download and steal music and get music, but there's no money in makin' music.

If Jesus Christ was who He claimed to be, and He did die on a cross at a point of time in history, then, for all history past and all history future it is relevant because that is the very focal point for forgiveness and redemption.

I was reading everything under the sun from music history to feminist literature to Shakespeare, which is why I'm not a complete idiot at this time.

I am interested in the study of music and the discipline of music and the experience of music and music as a esoteric mechanism to continue my real intentions.

My mom was a history teacher, so I couldn't really avoid history when I was growing up. But we're very light on American history. We don't really have great opportunities to study both the Civil War and the Revolution.

I was able to endure and play a special part in music history. And I always managed to keep working, even if I wasn't a big solo artist.

I always wanted to try to be a teacher even before I was in the music business. I liked history, and good teachers made an impact on me.

I have never acknowledged the difference between serious music and light music. There is only good music and bad music.

Music means communication to me. I say 'listen you people out there, listen to my music, let's be one.' Music is a friend to me when I am lonely, when I am blue. You can't define music 'cause music is cosmos and it knows no barrier or definition. You have to feel music to dig it.

I have always loved the process of making the music, reading the letters from the fans who get married to my music, have children to my music and play my music at their funerals.

You can't write about history without writing about politics at some point. History is about movements of people. 'What is criminality and what is government' is a theme that runs through every history.

Records can ruin you. That's why it's important to be as intimately familiar as possible with the history of recorded music, I guess. In a way, it's an argument for record collecting.

Take dance music: I like enough of it and its history to be able to say a word or two about this or that record, but I'm nobody's authority.

Growing up, my grandmother did not want worldly music in the house. Then when I went out to California, I started listening to Spanish music, mostly Mexican music. But were I in Egypt, I would listen to the music of the people, or if I was in Italy, I'd listen to Italian music.

We must consider how very little history there is--I mean real, authentic history. That certain kings reigned and certain battles were fought, we can depend upon as true; but all the coloring, all the philosophy, of history is conjecture.

Liberty has never come from the government. Liberty has always come from the subjects of the government. The history of liberty is a history of resistance. The history of liberty is a history of the limitation of governmental power, not the increase of it.

Hildegard von Bingen conveys spiritual ecstasy, if we're talking of Western music. What bothers me about Western music is that it doesn't have an esoteric dimension in the way the music of the East has, whether it be Byzantine chant, the music of the Sufis, or Hindu music.

I keep my music heartfelt and stick to making real music. I wouldn't even say it's hip-hop music. My music is 'reality rap.'

I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?

I have to throw in on a personal note that I didn't like history when I was in high school. I didn't study history when I was in college, none at all, and only started to do graduate study when my children were going to graduate school. What first intrigued me was this desire to understand my family and put it in the context of American history. That makes history so appealing and so central to what I am trying to do.

In America, much foreign policy seems contrived to be an exercise in political theory with no attention to history whatsoever. Yet there's a great reverence for history - though it's history as thumb-sucking, security blanket-nibbling self-congratulation.

My influences are jazz, blues, European classical music; they are rock music and pop music. So many kinds of music. World music from different countries like India and China. I think that would be a shame not to take advantage and do something... not unique, because I don't have this pretension.

I'm peripheral in Colab's history because others were involved in media, filmmaking, and music, and I was always a studio artist.

That's the kind of music I want SoulBird to represent: music with intelligence and heart, music that moves people in their souls and their bodies. Music with wings.

I know there's some kind of history to mountain music-like it came from Ireland or England or Scotland and we kept up the tradition.

Bob Geldof is a nauseating character. Band Aid was the most self-righteous platform ever in the history of popular music.

Pop music is a difficult term to define. I think about good music and bad music. Good music is good music whatever origin it comes from.

Believe me when I say that some of the most amazing music in history was made on equipment that's not as good as what you own right now.

There is history in condoms, there is history in lampshades, there is history in everything.

I'm from Louisiana, and that's where I got my start, in Cajun music. There's a huge music scene down there centered around our culture. Those are people that are not making music for a living. They are making music for the fun of it. And I think that's the best way I could have been introduced to music.

I believe there's no such thing as history; there's only historians, and in English, we've got this word 'his'tory, but what about her story? So that, in the end, the history of the world would be a history of every single one of its members, but of course, you could never get to grips with that.

The history of humanity is not the history of its wars, but the history of its households.

I listen to a lot of religion-based music, culturally rich music. Ethnic and world music. Music from Latin America has been influencing me in particular.

I don't need a sensationalized headline to sell music or to bring attention to my music. It's the music and it's always been about the music.

To trace the history of a river . . . is to trace the history of the soul, the history of the mind descending and arising in the body.

The best music to dance to is my music! Haha! I say anything that speaks to you. I personally enjoy dancing to hip-hop, R&B music, EDM/trap music.

People who make history know nothing about history. You can see that in the sort of history they make.

Music is music and I think music people are the delivers, the actors, when they put their music out they want to insert their character in it. So they call it such and such so you know how they live so to speak.

History is not everything, but it is a starting point. History is a clock that people use to tell there political and cultural time of day. It is also a compass that people use to find themselves on the map of human geography. History tells a people where they have been and what they have been, where they are and what they are. Most important, history tells a people where they still must go, what they still must be. The relationship of history to the people is the same as the relationship of a mother to her child.

Country music was the music I was brought up on. It's the music that's closest to my heart and the music that speaks to me the most, and it's always been a big influence on my own songwriting.

I grew up in Southern California, so the whole concept of a local music history is still kinda novel to me.

The course of history as a whole is no object of experience; history has no eidos, because the course of history extends into the unknown future.

Music, for centuries and centuries, was used to teach everything. It was used to teach language, mathematics, history. The news was music. Everything traveled by song. It was used to teach ethics. It was used to create conscience, probably more than anything.

And this is the origin of pop music: it's a professional music which draws upon both folk music and fine arts music as well.

I gravitate to rhythmic music, so I listen to jazz, world music, Indian music, Hawaiian music, all kinds.

Both European and American historians have done away with any conceptual limits on what in the past needs and deserves investigating. The result, among other things, has been a flood of works on gender history, black history, and ethnic history of all kinds.

Classic music will always come across better on the ice because skating has such a rich history, rooted in tradition.

What is Music? How do you define it? Music is a calm moonlit night, the rustle of leaves in Summer. Music is the far off peal of bells at dusk! Music comes straight from the heart and talks only to the heart: it is Love! Music is the Sister of Poetry and her Mother is sorrow!

When I was in school, all our history books were American, so we learned American history, not Canadian history.

There's music in the sighing of a reed; There's music in the gushing of a rill; There's music in all things, if men had ears; The earth is but the music of the spheres.

As a community organizer who holds a degree in history, I understand the fascination with history. However, there is a tendency for many of us to get engrossed in the recounting of our history, which often amounts to purely intellectual activity without material action.

I would find myself being inspired by things that I've heard as a kid: Nigerian music or African music, some French music or some Jamaican music. When it's time for music to be made, it's almost like my ancestors just come into me and then it's them.

If Beethoven had been killed in a plane crash at the age of 22, it would have changed the history of music and of aviation.

The very concept of history implies the scholar and the reader. Without a generation of civilized people to study history, to preserve its records, to absorb its lessons and relate them to its own problems, history, too, would lose its meaning.

History is no longer just a chronicle of kings and statesmen, of people who wielded power, but of ordinary women and men engaged in manifold tasks. Women's history is an assertion that women have a history.

Economics are part of our life. We try to treat them separately, like over there is the economy and here is history. Econ affects history and history often doesn't get it right if it doesn't respect econ.

I definitely love history. I'm not formally trained or educated in history, but you could say I did go back to college in 2008 to do Untold History of the United States. That took five years. Co-author Peter Kuznick has been teaching history for something like 35 years, at American University and other places. His group of researchers brought me into contact with a lot of books.