Top 1200 Sound Of Music Quotes & Sayings - Page 14

Music has charms to soothe a savage breast, to soften rocks, or bend a knotted oak. I've read that things inanimate have moved, and, as with living souls, have been inform'd, by magic numbers and persuasive sound.

The sound body is the product of the sound mind.

Since the one thing we can say about fundamental matter is, that it is vibrating. And since all vibrations are theoretically sound, then it is not unreasonable to suggest that the universe is music and should be perceived as such.

Just blow in it and sound bad for about a year and then make it sound a little bit better, and you get a little band together, and then you get a few jobs. You take four guys that sound half bad, but if they're 25 percent each, they can give 100 percent, you know?

We don't make a distinction between an acoustic instrument as a source of sound and any sound in the air outside or on a manufactured tape. It's all electric energy, anyway.

I am very honored and excited to have 'Devotion' released as the first DVD Audio disc... surround sound is amazing... The music comes alive and is so vibrant - it's unlike anything you've ever heard before!

I had done a cover of the song 'Nenani Neevani' and put it up on Sound Cloud, which Sunny M.R., the music composer of Rowdy Fellow, came across. He liked it and approached me for 'Yedho.'

I think people are complacent about sound, because we're so limited by the textures and timbres we hear in music, but in our everyday life we hear the most incredible things.

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.

When griping grief the heart doth wound, and doleful dumps the mind opresses, then music, with her silver sound, with speedy help doth lend redress.

the relentless touring and endless repetition of the same songs over and over again promoted a creeping awareness that my music had begun to sound like my washing machine.

Our music may sound big emotionally, but that's more to do with the playing, the level of musicianship and the full-on energy. Often, the lyrics are often quite small and focused.

Ryan Reynolds and I can be doing a scene facing the camera and somehow our back and forth and our rhythm, we know when to stop and when to volley, when to make the sound. It's like music.

I feel like, a lot of times, when you have a specific sound that you want and are searching for, you want the right group to help you put the kind of music out that you want.

I was never part of the Bristol scene. My sound was a Knowle West sound. Massive Attack wouldn't come to my area because they know they'd have got beaten up there.

Don't be precious about anything-much less a certain guitar sound. There is always another interesting sound or effect just waiting to be discovered.

Nepotism can be one of the factors that affected the industry in the past, but today, what matters is good content, talented artists and good sound. That's what every music label, director or producer is looking for.

Everything-everything-was communicated through the sound of the music. There were no other signals of any kind ever-no count-offs, head nods, spoken instructions...nothing.

I personally do not listen to a lot of music. It helps keep my mind free. I don't want to sound like someone else from the get-go. I want to express myself and the world in my head.

The repercussions of what you put out and what people gravitate to in your music never registered at all. I never had that thing that maybe other bands have - a specific idea of what they are and what their sound is.

On 'Overpowered,' there was a nostalgia for disco and early house music. But I'm a modernist and futurist as well. I do believe - and this is going to sound really pretentious, I know - that humanity will figure it out, so I'm optimistic about the future.

Subconciously, the things you listen to and you believe in, those things are going to come out, you know what I mean? I think you take that and make it your sound; that's what I do when I'm putting together genres of music.

What's good is that my music is different from everyone else's. It's got the soul element, like Duffy, but it's not very retro. It's a contemporary, pop, fresh sound. That's what makes it different.

When I make music, I often sound better singing as a woman, go figure, so I like to tweak the format and pitch and suchlike of my recorded voice. Sounds better.

I think my prose - mine and that of others - sometimes slips into a cadence or rhythm that can replicate or come close to the music in a wonderful poem, and then it returns to the sound of prose.

My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.

As for documentary, it was a natural progression from my earlier career in journalism. The two media are connected, but of course making films is much more complicated, because you have image, sound and music to work with, not simply words.

To me music is music. A person of faith, a person that calls themselves a Christian, they are the Christian and they make music. Some music has more to do about God than other music, but in reality what makes the difference between "secular" and "Christian" music is simply a marketing channel.

I'm not going to say I'm not a fan, but I'm a fan of house music, essentially, and kind of indie, and I was always into the kind of sub-pop Seattle Mud Honey and Pearl Jam kind of sound. But my kind of big love was house music ever since I was 15/16, going to raves when I was 15 or 16 years old and not going to school, like a naughty boy.

It really surprises me that people in this day and age still write such busy music and fill up every space with layer upon layer of sound... it's like musical landfill.

A rich man cannot enjoy a sound mind nor a sound body without exercise and abstinence; and yet these are truly the worst ingredients of poverty.

A sound body keeps a sound mind.

I don't even want to say I'm trying to necessarily popularize classical music, I just want to take this thing, this cello, this sound, and make it artistic so people can understand it today.

I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.

Diatonic, he heard the word in his head. Chromatic, pentatonic, hexatonic, heptatonic, octatonic, each iteration of the scale opening innumerable possibilities for harmony. He thought about the Pythagorean major third, the Didymus comma, the way the intervals sound out of tune rather than as though they were different notes. This, he thought, was where his brilliance at mathematics bled into his love of music; music was the realm in which his mathematical brain danced.

When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.

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.

Why do comparisons of words and tone poems (poetry and music) never take into consideration that the word is a mere signifier, but that the sound, aside from being a signifier, is also an object?

I'm always trying to evolve my sound. I love the simplicity of my setup. I play Gibson guitars and Marshall amps. So it's kind of like the standard rock sound.

But the idea of taking things and mixing them together is what I do in my music. I take hip-hop, R&B, pop, dance, funk and soul and mix it all together to get my own sound.

I felt that I really couldn't be creative with opera. You're supposed to sound this way here. You're supposed to crescendo here. You're supposed to do that. I had no sense of identity while singing that kind of music.

I remember singing around the house to records that were playing. All kinds of music. And the great James Cleveland was often in our house, and I grew up with his sound as well.

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 am consciously not trying to bring in World Music elements. The ways that I work and feel are completely different in how they sound than someone playing the Kora in Africa would play it.

Music was language in our house. It was air.....I feel certain that if I absorbed any lessons at all in the first months and years of my life, they must have been about the work that went into making a beautiful sound.

English and world music were something that I had immense love for, and to get together with a fellow Indian and bring this sound and vibe to the world feels great.

The great Initiates in the spirit world have vast and imposing plans for the musical future. What is this plan? It is to use music as an occult medium through which to develop altered states of consciousness, psychic abilities, and contact with the spirit world. Music in the future is to be used to bring people into yet closer touch with the devils; they will be enabled to partake of the beneficial influence of these beings while attending concerts at which by the appropriate type of sound they have been invoked.

I think that if people realize that with an mp3, you're only getting five percent of the sound that's there. But when you hear the entire thing... I think it would save the music business. It's such a drastic change.

Sound is the basis vibration of the universe All those little vortices may get sent going the other way. Sound is really very powerful.

There's a lot of music at my fingertips that I can be influenced by. And just because I play a horn, I don't need to sound, or try to capture, what was happening before me. I can just respect it and learn from it.

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.

My sound is, at its core, a mix of things. Definitely an imperfect mix, but one that incorporates elements of the music I love - a bit of indie rock, super rhythmic rapping, and lots of synths.

When 'The Sound of Music' aired live on NBC, 18 million people were talking about theater the next day. That's incredible. 'Grease' felt like a chance for me to participate in that landscape.

I don't really care about labels that much. I wouldn't really call our music retro. There are influences of things from the past, which there is in everything. I think we're quite a modern band, actually. We don't record with old equipment. We use computers and programmed drums. We don't use any guitar amplifiers. We're very much a modern band in the sense that we love computers and what they can do to music. I guess we're just good at a different sound.

If you're in the U.S. and talk to someone on the phone who's in Iraq, you'll experience sound delay. It isn't long, but the sound has to go to a satellite and back, it's used for everything. I'm proud to have that be something I invented.

In this age when people expect to get their music for free, we have to work out how we can protect the rights of creative artists so they are compensated fairly and that the record business itself remains sound and healthy.

I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music.

Sound economy is a sound understanding brought into action; it is calculation realized; it is the doctrine of proportion reduced to practice; it is foreseeing contingencies, and providing against them.

Your argument is sound, nothing but sound.

I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.