Top 1200 Sound Of Music Quotes & Sayings - Page 17

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

I believe that gospel is more than just a sound, it's a way of life. I don't really have any shame to talk about spirituality in my music. A lot of your favorite soul songs started out in gospel.

When I sing, the sound is a totally different range, color, all of it. It's all about the breath. You take in a breath and you make a sound.

What does New York sound like? For me, the Charlie Parker at the Royal Roost recordings on the Savoy label are the total embodiment of the New York music experience.

I love the universality of music and how it can viscerally connect people from culture to culture, regardless of anything. It kind of levels everything out and connects us. That universal sound thing is a big deal to me.

I'm not gonna sound like the next person. I could respect your sound, but I could also do my own - you feel me?

I write music, it’s performed. After all, my music says it all. It doesn’t need historical and hysterical commentaries. In the long run, any words about music are less important than the music.

Reformation is a return to the sound doctrine of the Bible. Revival is the practice of that sound doctrine under the power of the Holy Spirit.

We're all about exploring new sounds, so we don't have any limits whatsoever about how we go about finding them. We do tend to sample human vocals or sample sounds, which allows you to create your own sound. That's not our only way obviously, but that's a way you can use a sound no one's used before; it's not a sound in the synth. There's a lot of that going on in our songs in general.

Sound doctrine is sound politics.

Use she, he, it, one, they. You could call me mow mow, and I honestly don't care. A pronoun is just a sound. All I'm listening for in that sound is positivity.

There are a number of things that sound good, but frankly, we just can't afford them. And Obamacare doesn't sound good and it's not affordable.

I listen to all kinds of music - new music, old music, music of my colleagues, everything.

I now understood the secret of music and knew what makes it so infinitely superior to all the other arts: its incorporeality. Once it has left an instrument it becomes its own master, a free and independent creature of sound, weightless, incorporeal and perfectly in tune with the universe.

We believe that our truly urgent need is to make our nation secure, our economy strong and our dollar sound. For every American this matter of the sound dollar is crucial. Without a sound dollar, every American family would face a renewal of inflation, an ever-increasing cost of living, the withering away of savings and life insurance policies.

I started producing in California, and they called it mob music. When I moved to Atlanta, the sound was different. People in Atlanta didn't like to rap over West Coast beats. So I had to make adjustments to what was going on in the South.

The radio is playing jazz, and I listen to the sound of the trumpet playing a solo until I become that sound.

If you want the truth, I'll tell you the truth. Listen to the secret sound, the real sound, which is inside you.

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.

It's not only the wealth of sounds in Omnisphere; You're struck by the fact that you hear magic sound after magic sound.

I'm definitely nostalgic about the music of my youth; The Clash and Fishbone and that whole music scene. I still have all that music to this day. There was some great music going on in the late 70s and 80s.

I'd been making music that was intended to be like painting, in the sense that it's environmental, without the customary narrative and episodic quality that music normally has. I called this 'ambient music.' But at the same time I was trying to make visual art become more like music, in that it changed the way that music changes.

I believe in legacy. And I believe in making the radio sound better. If I gotta listen to it, I want it to sound good.

If you try to sound like somebody else, it will never work because we already have that person. You are noticed when you try to be an original sound.

I like to change and switch it up. I don't want to sound like anybody else or sound the same. I always have to reinvent myself.

Supercalifragilisticexpialidocious! Even though the sound of it is something quite atrocious! If you say it loud enough you'll always sound precocious. Supercalifragilisticexpialidocious!

It's too bad music can't be like movies. For me, playing music and listening to music and creating music is very environmental. It creates a certain environment; it sets a specific mood.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

Copyright's democratising effect is seen most clearly in the music business. Anyone who can speak, sing, rap or hum and operate a simple sound recorder can create a copyright song. Imagination is the only limit.

Electronic music lends itself to an abstract way of storytelling, so it keeps evolving. Theres a whole movement truly driving music further and there is no other music innovating as much as film music

I like things that don't sound particularly processed or mechanical or made by machines. I like music that contains human elements, with all their flaws. There's air in it, and you can hear a room of a bunch of guys playing. Those are the magic parts.

I didnt have any knowledge of the music industry when I first got to L.A., and I really didnt know on a creative level what I wanted to sound like, so I had to do a lot of experimenting. It led to a spiral of depression and being broke.

Divine sound is the cause of all manifestation. The knower of the mystery of sound knows the mystery of the whole universe.

I edited Big Funk, some of the footage was shot by Peter Care. We were film buffs as much as music buffs, and so there are film reference as well as sound references.

There are a lot of ways to be expressive in life, but I wasn't good at some of them. Music, for instance. I was a distinct failure with the cello. Eventually, my parents sold the cello and bought a vacuum cleaner. The sound in our home improved.

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'm usually the last man on the totem pole. Except for the sound effects and the final sound mix, the score is the last element to be added to a picture.

When you chant "Aum" or any mantra, do so softly and gently. Extend the sound. Focus your awareness on the sound of the mantra and become absorbed in it.

I love words; I love the way they sound. Once I've worked on everything else, the last drafts of my books come down to how they sound.

When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.

The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.

It's like soul music, isn't it all soul music? Otherwise what is it, non-soul music? I-have-no-soul music? Soulless music? People need to put a name on something to identify it, and I understand it.

The Zombies were really unique - they had elements of jazz and classical music in their songs and songwriting. They had a very, very different sound compared to a lot of their contemporaries at the time.

Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.

The group Bananarama has such a light, cutesy-pie sound that they make The Go-Go's sound like Led Zeppelin by comparison.

I can't just sing karaoke; I can't do anything to try to sound like other people. I have to find what I naturally sound like and emphasize that.

I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.

The sound is very much always in my head, I have to get the sound out of my head onto the recording.

Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!

Before I joined Kraftwerk in 1971, I played guitar in a band called Spirits of Sound, whose members included (at times) amongst others singer Wolfgang Riechmann (Sky Records released his only solo album Wunderbar shortly after his death in 1978) and drummer Wolfgang Flür (later on Kraftwerk, now solo). The music of S.o.S. in the mid 60's first was the English pop and rock music of the times (Beatles, Kinks, Rolling Stones ).

I loved 'Terminator 2' as a teenager and 'Sound of Music' when I was a kid. I also loved 'Requiem For A Dream' as a college student and 'Mulholland Drive.' And I have loved 'Lincoln' as an adult. They are all the same, as they are all good stories and extraordinary actors.

I don't think anyone has the same music sound as me. I can't think of anyone else.

It never ceases to amaze me. I'll be in a bank and I think the person staring at me is going to say, 'I saw you in 'Flying Doctors,' or whatever. But instead they say, 'You're from 'The Sound of Music.'

I was really inspired by intense nature and landscapes, and I'm always inspired by open spaces and giving room for things to grow sound-wise and visually. I have a bit of claustrophobia myself which I think translates into my music.

What's holding me up is I'm confused about the nature of the music. Because the modern music doesn't reach me. I mean to say the sound of the modern electric production. A lot of sequencers... synths. That's what people are buying. Because that doesn't reach me, it throws me back to like 1948, but I don't want to be there. Back there, I'm talking about blues records... The roots of rock'n'roll is rhythm and blues and that's like really where I'm at, where I was always at.

With 'Midnight Special,' the sound was used as a narrative construct. The audience is looking in one direction when a sound suddenly erupts from the other direction.

Technique is the main thing when it comes to success at the top level. The sound temperament comes into work only when you have a sound technique.

You are born with a sound; everyone is, less or more. And this sound has to be developed. I am not talking about vocal technique; I am not talking about how to sing. I am talking about how to produce a sound.

A lot of bands have managed to borrow parts of our style for their music. That's fine with me, because we've borrowed from people like the Stones. But we don't want to sound like we're copying anyone, including ourselves, so we're moving on.

Alas, the world has never known a sound social fabric, a fabric sound and clean to the core and kindly. For it has ever turned its back on Man.