Top 1200 New Music Quotes & Sayings - Page 5

Never Mind Nirvana is the first novel I’ve read that makes music as important as food, clothing romance — a fresh twist millions will be able to identify with – and the music of Lindquist’s language is a perfect match for the subject. I think he’s the writer to watch in the new millennium.

My hope is to continue to make new music and go with the flow. I think I'll always be creative. I want to keep making good music, put myself into positions where I need to rise to the occasion of playing in front of an audience, and continually get better at what I'm doing.

Great music can come from anywhere around the globe. And there has always been a music business. It just wasn't recorded, nor was it centered in New York, London, Los Angeles or Nashville but rather St Petersburg, Vienna, Berlin, Milan and Paris.

We have such a great depth of human history in all of the arts, whether it's opera or mathematics or painting or classical music or jazz. There's so many things to study, new books to read, and certainly always ways to transform old ideas and to come up with new ones.

I loved this idea of always being a foreigner. There's this thing where people bring cultures, bring the music together. I love it when the music, when the cultures collide and something sort of new comes out of it.

Sometimes it's hard to listen to new music and get motivated, because it's elementary to me - no disrespect to new artists, because that's where we started, too. But it's like they're way back there in first grade, and I'm in college.

What's New Orleans without music? And what's music without dancing?

In the beginning, Babymetal received critical comments since the genre was new, but now we have an impression that Babymetal's music is getting accepted and spreading as one genre of music.

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.

The art of remaining consistent is keeping your ear to the street and the new music. Embracing the culture for what it is. You can't get a nice heat wave and then forget about the people. The more you put out music, the more strength and power you possess.

As a firm believer in the power of songwriting, I feel privileged to be part of a team that continues to help us all understand the true force and impact of lyrics and music around the world. Genius is special - it's remixing the digital playbook and owning a new space in music and tech.

There's so much excellent new music around that I can't afford to buy it all and I haven't the time to review as much as I'd like. I can't remember a better time to be a musician or to listen to music!

Most of my work in New York has been on new musicals. And all through the preview process, they throw you new songs, new lyrics, new choreography, new scripts; you're constantly getting new material. You might get it in the morning and put it in the show at night. It happens every single day, so those muscles are pretty toned.

Staying enthused about finding things; discovering new beauty in the world that can translate into music. That's the most precious sort of resource. You have to pull stuff from outside of the musical realm. Whatever muscle it is that it takes to listen to music and stay focused, in me, is really strong.

...for me the only way I can thank God for his ever-present creation is to offer him a new music impressed of a beauty which nobody had previously understood .... the music we play is one long prayer, a message coming from God

Music is the most important thing. I'm thinking of my future. There has to be something new, and I want to be part of it. I want to lead an orchestra with excellent musicians. I want to play music which draws pictures of the world and its space

When you get new people around you, the excitement is new because they have different take on your music. They play it in a different way, and that's always exciting to be around. It elevates everybody onstage.

I love all Yes music and love to play it live, but I'm most interested in making new music with Yes.

Just be comfortable. Sometimes, when open up for a bigger artist at a conventional concert, you can feel unwelcome. But when you're playing a festival, people come to see music in general - so don't be fearful. The people are there to enjoy and discover new music so approach the show with confidence and optimism.

I don't listen to music. I very rarely listen to music. I only listen for information. I listen when a friend sends me a song or a new record.

I don't see why people want new plays all the time. What would happen to concerts if people wanted new music all the time?

I keep recycling and repackaging music that I've done in the past, as though I can't write anymore. Like, okay, I'm done with that. But I need to kind of prod myself again into come on, Herbie, get off your duff and start writing some new music.

Its a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because thats where your community is.

'New Jack City' was a perfect marriage of music and film. They used a lot of musicians: myself, Christopher Williams. People that were popular because of their music were given the chance to act. And the soundtrack was incredible.

It's a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because that's where your community is.

BMG has been an awesome partner throughout my career, and with New London, we plan to continue bridging the gap between soul, pop, London, and New York - uniting them through music.

Just like there's a hole in the ozone layer, there's a hole in the musical ecological layer [wrt lack of successful "conscious" music]... 'Traditional' music was brand new at one time... When you hear R&B today, do you believe it?

The way the music industry is now geared, it's fewer accolades towards new and upcoming acts. New bands offer bright creativity. It's a set format. A venue would rather hire a DJ than a band, and that's a problem.

My love is new music, I tend to go and see a lot of bands, while [co-producer] Mark Cooper spends his time reading the press. It's often the new acts that strike a chord, because they aren't seen on other shows.

I feel like I have a very unique perspective especially for someone in the hip-hop genre. I'm not afraid to explore it, and how my upbringing then shapes my music and being a New York kid and all of that stuff...that's really the most unique thing I can offer to the music in general.

My interest in making music has been to create something that does not exist that I would like to listen to. I wanted to hear music that had not yet happened, by putting together things that suggested a new thing which did not yet exist.

I think there will always be great new music and bands. As long as there's people around, there's going to be great music. I think there's bands like Wolf Eyes, Q & Not U, the Evens and many others that are doing great stuff. The music that doesn't please you, you just don't listen. No one makes me listen to Nickelback, so long may they wave.

Our sons are the next generation who are more clued into the new trends of music. So if I want to understand the vibe of the new generation, and if I want to stay relevant with time, they are my source of learning.

I think L.A. has one of the most innovative and forward-thinking jazz scenes in the world. New York definitely has the volume - there's more music happening in New York than anywhere else. But to me, L.A. - it's kind of a gift and a curse.

People are looking for something new at the end of the day, and I think when people can do something new and unique to get people's attention, that's what is needed. There's so many people that follow the trend, and then it gets to a point where it gets a little stale. So, in music, I mean, whoever's the new trendsetter, that's who people follow.

There's nothing cutting edge about what I'm trying to do. I'm not creating a new sound. I'm not like Bjork, who's an alien from another world. I'm of the earth. You could extract any measure of music out of anything I've ever done and you could find its affiliations in music history.

Essentially, the [New York] Philharmonic is just like any other orchestra-they all have the spirit of kids, and if you scratch away a little of the fatigue and cynicism, out comes a 17-year-old music student again, full of wonder, exuberance and a tremendous love of music.

I don't want to know what people are doing. Like, I don't need to know who's got a new music video and who's got a new lipstick.

I come to New Orleans so often that, one day soon, someone's going to declare me a native. I love the food. I love the music. I serve on the board of the New Orleans Jazz Orchestra.

People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.

Pleasures First look from morning's window The rediscovered book Fascinated faces Snow, the change of the seasons The newspaper The dog Dialectics Showering, swimming Old music Comfortable shoes Comprehension New music Writing, planting Traveling Singing Being friendly

The reason I like Steve Aoki is because I can trace my love of electronic music all the way back to when I was listening to not just new wave but to YMO [Yellow Magic Orchestra] which, to me, was the ultimate Japanese band and launched synth electronic music.

My whole childhood was filled with classical music and going to concerts of the New York Philharmonic and other New York ensembles and organizations, but interestingly, I didn't become conscious of wanting to be a musician until I was about 11. I was a rather late starter.

I had a project called 'Cover Art,' which was the first project I did under the new name Anderson .Paak. I went through this process where I was recording new music for about six months straight.

Honestly, I'm just consumed by the work. Everyday, I'm trying to come up with new stuff and do new things. I don't take time off. I'm always recording and working on my brand beyond just the music.

We always get back to old soul singers like Nina Simone, and how her recordings sound. Also new music like Tobacco, or people that use a mixture of analog and electronic music.

My first kiss. A new kind of kiss, like the new kind of music still playing, softly, in the distance - wild and arrhythmic, desperate. Passionate.

Electronic technology has been a part of music making and music listening for a century. We always treat it like it's new, and cutting edge, but it's actually omnipresent, so we should just treat it as part of the arsenal today.

I get a chance to see new bands and new music. I've seen a lot of amazing local bands, bands that I think 'have what it takes', that they could become the next big thing. More often than not it doesn't happen.

At first people thought I was really arrogant and a snob about music because I'm so intense about my production and sound, and because they knew I didn't like new music so much.

In an odd way I thought I was lowering the bar for myself, in saying, well, I'll make a pop album. But in a way it's kind of harder to make pop music. It's like the more abstract you get with music, you get into that emperor's new clothes thing, where you can go anywhere, and just claim that your audience may not be prepared to go with you. But with pop music, I think everybody understands the form, everybody knows what it's meant to do. So I would say it's harder to write that kind of music.

With this new album, I prepared for it a long time, and I was happy with the songs and the production. I felt that I proved myself with the first album, and with this new album, I just want to share some of my music. And that was always my feeling and my intention.

I see everybody arguing about what the value of music should be instead of what I think the bigger conversation is, which is that music has value, it's subjective and we're moving to a new era where the audience is taking more responsibility for supporting artists at whatever level.

Beale Street is a very famous street in the history of America. You know, American music in particular. From the blues to jazz, it's a connecting city from New Orleans that goes all the way up to Buffalo through New York.

Obviously given good health, and a continuing audience and a record company that allows me to do music. So given those things yes, I'm introducing some new music that people haven't really heard me do in quite this fashion.

At this stage, most of the awards I get are concerned with my longevity. Even I'm amazed at myself because there have been new generations since I've been born and new music that they create, so it's amazing to still be on the radar.

It's one thing to just play a tune, or play a program of music, but it's another thing to practically create a new language of music, which is what 'Kind of Blue' did.

My father was a musician, and I've always loved writing. I grew up in New York City during a time when hip hop music was surrounding you with the hip hop culture, and it felt natural. I was a really huge fan of the music.

We wanted to establish a new fan base over here. And second, we wanted to challenge ourselves. We wanted to bring what is ostensibly new music to fresh ears and see what lights them up.

I think, for me, a way to really come up with new ideas and come up with new ways of writing music is to create a unique sound palette or soundscape for all the films I'm working on.