In essence, we string theorists have been trying to work out the score of the universe, the harmonies of the universe, the mathematical vibrations that the strings would play. So musical metaphors have been with us in science since the beginning.
The person that always comes to mind, and it's odd now because we've become pals, is Ben Folds. I've always considered him like a musical older brother, from afar, in the sense that I always felt I had a much better understanding of what he was singing about five years after I was listening to it.
One of my oldest friends from Kansas, his sister was married to Ben [Folds] and wrote lyrics on his first couple of albums. I got to meet him the first time I saw them in concert at The Bottleneck, a great bar in Lawrence, Kansas. Then, he was the musical guest my first or second week as a writer on SNL. I was like, "I don't know if you remember me?" And he was like, "Oh my god, yeah!" He's a big photography fan, as am I.
I feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.
I think I was just lucky to be brought up in a very musical family. My two older brothers were, and still are, very musical and very creative, and music was a big part of my life from a very young age, so it is quite natural for me to become involved in music in the way that I did.
To be in a beast of a musical (I mean it's huge!) gave me a sense of I don't want to say "a sense of confidence" because you already have a sense of that to get out on stage. But I think I just have a better sense of myself. It was a learning process, I really had to conquer a lot of fears and my own little struggles. I feel a little self-empowered, like "bring it on!" Bring on the next thing because if I can conquer this, I can conquer that.
When I was a little younger, I really did love musical theatre in the same hopeless dorky way that she does. I was obsessed with Jesus Christ Superstar and I used to reenact it in my room when no one was home.
My parents say it all began with my role of Percy the Polar Bear back in nursery school! I began dance classes at the age of five (you would never guess though) and then I went on to join my local theatre group, Glantawe Players, at the age of eight and then Swansea Amateur Dramatics Society. I then joined the National Youth Music Theatre, so I really can't remember a time when I wasn't interested in Musical Theatre!
I'm not in "Bend and Snap." But, I will say that when I first heard they were making Legally Blonde into a musical, I thought, Well, of course, there's going to be a bend and snap number, because it's just, I think, one of the most natural moments in the movie to expand into a musical number.
But if you get a kick out of "The Jerry Springer Show," you're going to love it! The idea of hearing these lyrics and profanities - like the chorus at the top of the show - the idea that we're going to hear it in Carnegie Hall is just genius. It's been written with real care! It's not some crappy little musical that somehow found its way off-Broadway with vulgar-intentions. This is really beautiful, operatic music. It has a place in Carnegie Hall.
Frankly I don't listen to lyrics (a problem in that I apparently work in musical theatre) I just want a good tune that doesn't require the use of too much grey matter.
There is nothing wrong with loving musical theatre, but I think that it's naive to hold it superior any other musical classification, especially since these other genres have been influencing Broadway more and more in recent decades.
I've heard of people stopping their cars, having car wrecks, all kinds of things. But most of the banjo players I know had that moment when they heard Earl Scruggs. So, for me, it transcends the technique. It's the musician in him and his personality, his musical personality, such great taste, such great technique, very, very creative.
I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general.
I always like to think I build in historically accurate musical in-jokes that are so precise that like maybe there's 7 or 8 people in the world watching the show that will sit up and go, "Oh my God the music being played is the right kind of music!"
I'm somebody who grew up listening to a lot of musical theater, so getting to finally write musical theater songs and songs that sound that way - the emphasis being on the storytelling, but the arrangements and the orchestrations can be really varied - I found that to be, actually, a really joyful discovery.
For anyone that's ever had a musical breakthrough in their career, it's always followed by the departure period right after.
I've always been more visual-based. I've kept my musical tendencies kind of in the closet.
It's quite funny that, 20 years ago, one would have thought putting out a fragrance would [negatively] affect your musical credibility. Now it may enhance it.
I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.
The term "black metal" has become a lot looser, or can include a larger range of sounds and extra-musical aesthetics, not just Satan and power chords.
I wasn't looking to be an Indian brass band, but to be a band that reflected my complete identity as an American. The America I was born and raised in intersected with people of all ethnicities and beliefs and that, coupled with my parents' instilling of good values, made me the individual I am now. Within Red Baraat, there are varied musical backgrounds and personalities and that lends itself to many great thoughts and ideas; it's what makes social science, or more precisely, social interaction so interesting to me.
Musical talent is maybe something, but there are no unmusical people. You're moved by music. It's total rubbish to say, "Oh, I'm unmusical." It doesn't exist; it's ridiculous.
My family is very musical, I was surrounded by it. And from four years old I was the one that asked my mother could I take piano lessons.
I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
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