Quotes About Classical

Being from a classical environment, I've always been provoked by classical musicians thinking that classical music is so much greater art than pop. I've always been annoyed by that.

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.

When I listen to music today, it is about 99 percent classical. I rarely even listen to folk music, the music of my own specialty, because folk music is to me more limited than classical music.

Maybe one way I am original is that at heart I really am a classical actor. I haven't had my chance yet in the commercial world to show that. Movies aren't really made about classical people so much any more.

I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.

I used to do Korean classical music and started training to join an idol group after someone set me up an interview with my current agency. The common thing between Korean classical music and becoming a singer is that I get to go on stage which why I decided to get professional training for K-pop music without holding any bias.

I feel that classical music should be a more recognizable part of everyone’s entertainment. It has been my hope that through live concerts, motion pictures, recordings, international competitions, and interesting public forums, a larger group of people will learn to love classical music and attend live concert performances.

Al-Ghazali is the most important philosophical theologian of classical Islam, and Moderation in Belief is among his most important works. It sets out al-Ghazali's Ash?arite theology with unusual clarity and provides important background for such well-known works as his autobiographical Deliverance from Error and his attack on Avicenna in The Incoherence of the Philosophers. This first English-language translation, with notes that bring out the argumentation and background of the work, is thus very much to be welcomed.

It's not that people don't like classical music. It's that they don't have the chance to understand and to experience it.

Live action writers will give you a structure, but who the hell is talking about structure? Animation is closer to jazz than some kind of classical stage structure.

The naive is what is or appears to be natural, individual, or classical to the point of irony or to the point of continuous alternation of self-creation and self-destruction. If it is only instinct, then it is childlike, childish, or silly; if it is only intention, it becomes affectation.

With rock music, the amount of power that you can generate, the intensity behind the intentions of your lyrics that you can really reflect through rock music - you can't do that in jazz. You can't do that with classical.

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.

Classical tragedy was the war between good and evil. We wanted evil to be defeated and good to be victorious. But the battle in modern tragedy is between good and good. And no matter which side wins, we'll still be heartbroken.

In this same tradition, beauty is inextricably bound up with the principles of order and harmony believed to underlie the cosmos. Artists in the Classical tradition, inspired by Platonic idealism, strove to create images that represented not the world of particulars-with all its defects-but an ideal image conceived in the mind, which was taken as representing some absolute, pure, ideal form of which all particular, material forms are but a mere shadow.

So from Jazz, Blues, R&B, Soul, Classical and Country music, Hip Hop has introduced us to a little bit of everything.

I went to the Performing Arts School and studied classical ballet. That attitude is something that's put into your head. You are never thin enough.

Jazz, for me, is a closed circuit, like the term baroque in the world of classical music.

That mainstream English is essential to our self-preservation is indisputable . . . but it is not necessary to abandon Spoken Soul to master Standard English, any more than it is necessary to abandon English to learn French or to deprecate jazz to appreciate classical music.

[Phil Wood] knew about wine. He knew about food. He knew about art. He knew about classical music. He was interested in things.

I am a classical music lover - not necessarily the contemporary stuff, but the old stuff.

I still play jazz, and I've always got that trumpet very handy, but I'm coming to feel the classical venues are where my main focus is, in the realm of symphonic pops.

My father was a classical pianist, and my mother was a singer of just about everything.

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 heard about Bhagavad Gita very early in my childhood, from the age of five onwards. It was one of the earliest things I started to read when I started to read. And it was very much a part of my consciousness. In the beginning, I saw the "Bhagavad Gita" as a text that was very classical, much like the "Iliad" and the "Odyssey" - a mythical saga that showed the eternal conflict between good and evil. But much later, as I grew up, I realized that it was much more than that.

I'm sure there are a few things in my CD collection that might surprise people. I like classical music, the blues, and I'm a big fan of alternative rock.

Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.

The whole thing of singing on my own has been accidental and random. I sang a huge amount as a kid, and I was a boy soprano. I didn't do that much classical music; I did a little bit. I had a lovely voice. And then when my voice dropped, I didn't worry about it consciously because I wasn't that invested in my singing at the time.

The day is past when schools could afford to give sufficient time and attention to the teaching of the ancient languages to enable the student to get that enjoyment out of classical literature that made the lives of our grandfathers so rich.

I always wanted to be a journeyman actor. I wanted to be able to do comedy and drama, classical and contemporary. I like to do film and theater. And I pride myself on that diversity of being a journeyman actor.

I am a very good archer. I use archery as my way of meditation. I cannot sit down and just meditate in the classical sense. I am very active. So, I use archery. I have my bow, my arrow and I use this tension and relaxation in the second after throwing the arrow. And it is my way to meditate and this is the only thing that clears my mind. When I do archery, I am totally there with my bow, my target, my arrow, and I don't think, I am communion with the universe.

I used to like to set different film clips to classical music, not even my own songs, but make little movies.

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

Classical, Romantic, and Baroque music, that's what I really like.

I like rock music. I also like classical, if you ask me. I'm very adaptable, they say that. But I have certain preference too, be honest.

Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music.

Science spotlights three dimensions of nature that point to God. The first is the fact that nature obeys laws. The second is the dimension of life, of intelligently organized and purpose-driven beings, which arose from matter. The third is the very existence of nature. But it is not science alone that has guided me. I have also been helped by a renewed study of the classical philosophical arguments.

I listen to mostly-classical music, but mostly by radio - I'm not an audiophile.

What I wanted to do was music, until I was about 16. But it was jazz and rock, never classical music.

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

Students often have such a lofty idea of what a poem is, and I want them to realize that their own lives are where the poetry comes from. The most important things are to respect the language; to know the classical rules, even if only to break them; and to be prepared to edit, to revise, to shape.

I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.

But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.

We have to unmask this man [POTUS Obama]. This is a man that seeks to destroy all concept of God - and I will tell you what, this is classical Marxist philosophy. Karl Marx very clearly said Marxism requires that we destroy God because government must become God.

The first thing that strikes you about Timothy Murphys verse is the palpable texture of his line - that sound of sense practised by that other American poet-farmer, Robert Frost. And just as Murphys ear is trained on the rhythms of local speech and classical epigram, his eye holds fast on the image. This is an undeluded vision, sometimes bleak, often funny, and never less than painstakingly crafted.

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

For me, because I've had classical theater training, when people say, "Oh, my god, the play is amazing!," I'll never get to see it because I'm in it.