Listening to music is such an uplifting, spiritual thing. Its far-fetched to some - I understand that. But the way dance music brings people together, its not a big stretch from hymns.
In a long meter hymn, a singer - they call it 'lays out a line.' And then the whole church joins in in repeating that line. And they form a wall of harmony so tight, you can't wedge a pin between it.
The song Of Heaven is ever new; for daily thus, And nightly, new discoveries are made Of God's unbounded wisdom, power, and love, Which give the understanding larger room, And swell the hymn with ever-growing praise.
And when you appear all the rivers sound in my body, bells shake the sky, and a hymn fills the world.
Music is sound, vibrations, whereas paintings are vibrations of whatever you pick up. It's not actually an energy vibration you get from a groovy painting, but music and sound seem to travel along vibrations, you know the whole thing with mantras is to repeat and repeat those sounds... it's vibrations in everything like prayers and hymns.
I grew up in the church, with traditional hymns, but at the same time I was beginning to listen to pop music, the mid-60s, The Beatles, which had just as much influence on me as those hymns did. Then the hippy stuff like Pink Floyd started to raise questions about how I lived my life and the world in which I lived.
I wanted to have more songs with religious backgrounds. The Christmas record has strong, traditional hymns, but it also has a song called 'Christmas in Heaven' about missing someone that you love that's passed on, and wondering what's going on up there on Christmas.
You either have it or you don't. You play your horn just like you sing a song or a hymn. If it's in your heart, you express yourself in the tune.
I certainly think there are things that impressed me as a child about the church. The smells and the sounds and the pagaentry of it remained with me. The aesthetic I really love. I think a lot of my sense of melody comes from singing those hymns and doing the renaissance music and stuff.
Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."
When we put too much hope in a candidate or a party we set ourselves up for disappointment. When I see a poster with [Barak] Obama's image with the word "hope" under it, something in me cringes - our hope is built on nothing less than Jesus' blood and righteousness, the old hymn goes, all other ground is sinking sand.
The Soviet Union needs thinking and critical friends, such as are capable not only of singing hymns in the hours of success, but of not shrinking in the hour of defeat and danger.
Last season when I was on set...for some reason I had The Battle Hymn of the Republic in my head but I didn't know all the words. It was one of those songs you had to learn when you were younger. It wasn't as important for people raised in the 80's and 90's as it was to people raised in the 50's, 60's and 70's so when I started singing "My eyes have seen the glory of the coming of the Lord," Jane [Fonda] heard me singing it and started singing the rest of it. Suddenly everyone on set everyone was singing. That's just something I can keep in my heart forever.
Storytelling has driven faith and religious practice, keeping them alive for millennia. Just as every hymn, icon, and stained-glass window in a church links to a story, brands have the potential to build holistic identities.
Religion stalks across the face of human history, knee-deep in the blood of innocents, clasping its red hands in hymns of praise to an approving God.
... it was religion that saved me. Our ugly church and parochial school provided me with my only aesthetic outlet, in the words ofthe Mass and the litanies and the old Latin hymns, in the Easter lilies around the altar, rosaries, ornamented prayer books, votive lamps, holy cards stamped in gold and decorated with flower wreaths and a saint's picture.
Let us say with one voice, the words of James Cleveland's great freedom hymn: "I don't feel no ways tired. I come too far from where I started from. Nobody told me that the road would be easy. I don't believe he brought me this far to leave me."
It's more in retrospect as I've thought about it over the years and look back at what I wrote, how I wrote things - like there's a song that Ralph Stanley later recorded with me that he had guested on my record what was called "Travelers Lantern" that I wrote as basically, you know, a hymn.
I listen to hundreds of those hymns sung repeatedly over the years of my life. And I know that they probably influenced a rhyme scheme maybe to certain extent. They influenced the pentameter of placement of words, etc. And it's not something that's a conscious thing that occurred.
Those songs [from church], I think, shaped to some degree how I would evolve as a writer, pentameter of songs, the melodies of those kind of hillbilly hymns - I used to refer to them - because they were not Southern gospel as much as they were passed down from Scottish Welsh Protestant hymnals.
They both sang. My grandmother had a very haunted mountain voice and would sing hymns. My grandpa would sing but in a very, very subdued way.
When I did the Abyssinian mass, I went through the whole history of the church music and the gospel music, even with the Anglo American hymns, the Afro American hymns, the spirituals and how it developed, up to Thomas Dorsey and the Dixie Hummingbirds, going through the history of the music, jazz musicians.
I think ultimately the film 'Room' is a kind of hymn to motherhood and to the everyday heroism of parents who find their smiles in terrible times.
We tap our toes to chaste love songs about the silvery moon without recognizing them as hymns to copulation.
Faith converses with the angels, and antedates the hymns of glory.
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