Quotes About Classical

Personally, I think young musicians need to learn to play more than one style. Jazz can only enhance the classical side, and classical can only enhance the jazz. I started out playing classical, because you have to have that as a foundation.

There is no essential difference between classical and popular music. Music is music. I want to communicate with the listener who finds Indian classical music remote.

Critics of Consequentialism have often assumed that hedonism (or preference-satisfaction) must be the theory of the good, that the deontic principle must be maximizing, and that the principle should be applied to individual acts. Indeed, this version is often called "classical utilitarianism" and attributed to Bentham and sometimes even to Mill. Rather than a "classical" view it is a recent construction foisted on to the tradition.

... Andres Segovia literally created the genre of classical guitar, which hadn't existed before around 1910. There was flamenco, which he borrowed from, but he actually arranged the works of Mozart and other classical composers for guitar, something that had never been done before ... Segovias' style is not slick or contrived, but it's still very clean and his timing is impeccable ... it's got a feeling of casual elegance, as if he's sitting around the house in Spain with a jug of wine, just playing from the heart.

Being a classical musician I'm fascinated with how my colleagues, not just singers, but every musician finds ways to express something else or something new or the same ol', same ol' in classical music. I'm always in dialogue with other musicians at least orally, if I can't be with them and a lot of dead musicians as well. I've learned a lot from dead people on recordings.

Classical physics has been superseded by quantum theory: quantum theory is verified by experiments. Experiments must be described in terms of classical physics.

Wherever and whenever I sing, if there is only one spiritual on a program, people will talk about two things afterward, and one of them will be the spiritual. What I bring to this is the best of my classical training - not all of it. I apply what is appropriate.

Quality in a classical Greek sense is how to live with grace and intelligence, with bravery and mercy.

The psychology of the saver and the psychology of the investor is very closely connected with Keynes' distinction between risk and uncertainty. When the future is uncertain, he thought that a lot of saving would be directed towards securing, securing more, getting more security in the present, rather than building wealth in the future, which was the classical view, you save in order to invest, in order to consume more later on. What he had called the propensity to hoard or liquidity preference would normally be stronger than the inducement to invest.

Classical music is far from boring - it has all the blood, energy, the sinister dark side, rhythm that rock music has, and all the refined, subtle sensuality that one can ask for

Classical music is the kind we keep thinking will turn into a tune.

Fire isn't always an element of destruction. Classical alchemical doctrine teaches that it also has dominion over another province: change.

I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.

Avant-garde, jazz, pop, classical, country and western, rock, free, straight-ahead, etc. are ultimately meaningless terms in the face of the music being discussed at best - at worst, those terms often serve as code words for what is in fact a cultural / political discussion more than a musical one.

Everybody loves classical music they just don't know about it yet.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

Contrary to popular opinion, classical music does not have to be enjoyed amid exclusive circles, there need not be any snobbishness attached to it. It's there for everyone. I play for the people.

When I was doing Shakespeare and I had spent a lot of time and effort in trying to become a great Shakespearean actress. That was how I started my career, was in the theater doing Shakespeare. And my ambition was to be a great classical actress. That was what I wanted more than anything. So, I really pursued that in the first four years of my career. And it was an uphill struggle. It really was. Shakespeare's difficult and Shakespeare in a big theater is even more difficult. So, anyway, it was a struggle for me.

I went to Europe to live in 1961. I'd never have written Julian if it hadn't been for the sequestered life that I led in Rome and the classical library at the America Academy.

When I found out after that first successful exhibition that the gallery wanted me to do another show like the first one, I come out two years later with four 6-foot drawings of classical nudes masturbating. The gallery director flipped the freak out!

I am not doing something that it is experimental music in relation to classical music.

We cannot pursue a classical and Christian education as a fad. We are not purchasing intellectual hula hoops for the kids.

I took classical piano lessons from the age of five.

You always have to be diplomatic with music, with classical, with whatever you do.

One should study the Bible alongside other intellectual traditions - such as British constitutionalism, Enlightenment liberalism, and classical republicanism - in order to truly understand the American founding.

We are used to discounting the river-gods and dryads of the Greeks as poetical fancies, and even the chief figures in the classical Pantheon-Venus, Minerva, Mars, and the rest-as allegories. But, forgetting that they once carried as much sanctity as our saints and divinities, we refrain from applying the same reasoning to our own objects of worship.

There's a richness to the old works if you look before the 1950s. The chord progressions and the language was more complicated, especially in the jazz and classical world.

With classical singing you have to put out so much air - you project, you emit force.

I started getting interested in the notes that I could hear being generated when I hammered on while playing a classical guitar.

I've been lucky that I've performed with a lot of the classical people I've wanted to work with so I'd like to do something that people didn't see coming. Like Madonna, or being Welsh - the Tom Jones thing. Or somebody suggested N-Dubz - that would be brilliant!

All the classical genres are now ridiculous in their rigorous purity.

What we're doing now, is to try to eradicate the limited notion of how people are interacting with each other through hyper-racialized ideas. A lot of it deal with, as an example, genre. If I ask you to visualize a trap musician or a hip-hop musician, you'll see one thing. If I say visualize a western classical musician, you'll see a very different thing. A lot of how music is disseminated to us is hyper-racialized. It's not something that we think about all the time, but if you take a minute to look back, it's why you get this argument when there's a white rapper.

When I was a young musician, the only option available to pursue secondary education in music was to attend a classical conservatory.

Classical theology has erred in its insistence that theology be 'God-centered,' not 'man-centered'.

This freedom of political discussion on the highest level is something which Western civilization has in common with that of classical antiquity, but with no other

One of the best known, and one of the least intelligible, facts of literary history is the lateness, in Western European Literature at any rate, of prose fiction, and the comparative absence, in the two great classical languages, of what we call by that name.

I did stand-up for a long time and I did classical theater. As much time as you could spend on a stage will always inform you and your job, as you evolve.

The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.

My father did not bother that I play not a classical music. He always congratulated me for my development in music, I mean in any music but, he hang on to continue training at the Academy of Music... however, I never mentioned to my teachers that I trained myself at weekends in clubs.

Classical music has been based on works people love and come back to for aural comfort.

Because I was a chemistry student and was never supposed to be a musician, I always felt like I was an outsider looking at music going "Why is this interesting to me? Why should I be doing this?" and I never felt like I was a natural musician. It came into my life, kind of, as a conceptual problem and I think all my pieces are, in a way, looking at some issue and sometimes veering toward an inside baseball model of classical music.

Chess is my profession. I am my own boss; I am free. I like literature and music, classical especially. I am in fact quite normal; I have a Bohemian profession without being myself a Bohemian. I am neither a conformist nor a great revolutionary.

Did Wagner really accomplish the first step towards the kitschy 'fetishization' of music that reaches its apogee in classical Hollywood?

A consistent pursuit of classical physics forces a transformation in the very heart of that physics.

Most of the classical citations you shall hear or read in the current journals or speeches were not drawn from the originals, but from previous quotations in English books.

On July 26, 1916, I announced to all my friends in America that from now on I resolved to write no more poems in the classical language, and to begin my experiments in writing poetry in the so-called vulgar tongue of the people.

Music was around in my family in two ways. My mother would occasionally sing to me, but I was mostly stimulated by the classical music my father had left behind. I had an ear for music, I suppose, so that's what began my interest in music.

Yeah, unfortunately [ films like Miss Julie are a dying breed]. And that is sad, because we need these. Like we need books, we need classical music, we need ballet, we need opera, to remind us really of who we are and why we are, and we need in movie houses - even to be in a movie - where you sit and see not only excitement and man-hero, woman-hero, you need quietly, just like that Hawking movie we talked about, to know how people overcome.