Quotes About Classical

I only knew classical music, which to me was the only true music. The only way I could survive at the bar was to mix the classical music with popular songs, and that meant I had to sing. What happened was that I discovered I had a voice plus the talent to mix classical music together with more popular songs, which at the time I detested.

I have been writing JavaScript for 8 years now, and I have never once found need to use an uber function. The super idea is fairly important in the classical pattern, but it appears to be unnecessary in the prototypal and functional patterns. I now see my early attempts to support the classical model in JavaScript as a mistake.

Its a small community, the classical music community, along with the excitement of new places and new things and this feeling of being at home wherever you go because thats where your community is.

The most important application of quantum computing in the future is likely to be a computer simulation of quantum systems, because that's an application where we know for sure that quantum systems in general cannot be efficiently simulated on a classical computer.

I got obsessed with classical music, I got obsessed with Chopin, with playing the piano.

Classical music is one of the best things that ever happened to mankind. If you get introduced to it in the right way, it becomes your friend for life.

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.

If classical music is the state of the art, then the arts are in a sad state.

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

The analogy between the mind and a computer fails for many reasons. The brain is constructed by principles that assure diversity and degeneracy. Unlike a computer, it has no replicative memory. It is historical and value driven. It forms categories by internal criteria and by constraints acting at many scales, not by means of a syntactically constructed program. The world with which the brain interacts is not unequivocally made up of classical categories.

I listen to classical music very much. There's a lot of jazz that I don't enjoy listening to.

Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.

The road has been viewed as a male turf. If you think of the classic "Odyssey," of, you know, classical literature or Jack Kerouac or almost any road story, it's really about a man on the road. There's an assumption that the road is too dangerous for women.

I write my music with the idea that it will appeal to all of those people, and I want them to go in with all the history that's within all of us - all the things that they've listened to in the backs of their minds, whether it's country music or minimal techno, or classical music or whatever. I want them to bring that excitement, that love, or that hate, or whatever it might be, to my music. I feel that my music draws on so many different things.

All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.

This duality has been reflected in classical as well as modern literature as reason versus passion, or mind versus intuition. The split between the conscious mind and the unconscious. There are moments in each of our lives when our verbal-intellect suggests one course, and our hearts, or intuition, another.

Artists, whether they're classical musicians or pop musicians, they have always been the reflection of society, and in many ways a healing part of whatever is wrong in society, and I think it's important for us to continue to do that, and I don't see enough of it today.

I learned some classical music history, which I had done quite a bit at of Performing Arts. But I got some more with a great teacher named David Noon, who I've been in contact with quite a bit in recent years.

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.

I know I’m an African-American, and I know I play the saxophone, but I’m not a jazz musician. I’m not a classical musician, either. My music is like my life: It’s in between these areas.

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

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.

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

I started playing classical music, and I still do. I think music ultimately is kind of on a theoretical level, is about collecting and learning as much vocabulary as possible. It's kind of like writing. It's kind of like writing because the more you read, the more you hear people describe things. The more you soak in, as far as vocabulary, the more access you have in order to express yourself accurately and vividly.

I love Gustavo Dudamel and I love what he does for classical music, and I love what he comes out of, El Sistema and the old man Abreu. When we were in Venezuela, I had the chance to go to his building. He had, like, five or six orchestras playing of kids from the hood playing, like, Mahler's third symphony and Shostakovich fifth and Beethoven. Man, it's unbelievable. I mean, they could play.

In classical oil painting, there seemed to be a radical turn to seeing things as the camera sees them, with that technological modification. I began to have a tremendous problem with all of this.

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.

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

I find that jazz loosens up the deep place of my mind, lets me find my own strange rhythms. Generally, I find the knottier the jazz, the better. Anything with singing is a distraction. Listening to classical music tends to have the unconscious effect of making my writing too smooth.

I went to the University/Resident Theatre Association auditions. Deans come and watch you in this theater. You have three minutes, and you have to do two contrasting monologues - at that time, this is 2003 - one classical and one contemporary.

I loved getting classical training in terms of acting. I would've stayed in acting school for the rest of my life if I could have. It was this amazing period of my life where everything was so safe.

I like to mix and match things so I'm infusing a little bit of jazz, a little bit of classical, a little bit of soul, into the whole blues idiom and I'm coming up with something that I'm really interested in.

A classical education enables you to despise the wealth that it prevents you from achieving.

I wanted to give people - which is fairly bizarre considering my whole life is contemporary dance really - I wanted to give people a really fulfilling sense that they had seen a white classical ballet - in a very pure form.

I still prefer going to the classical writers, the modernists and the nineteenth century writers. Much of what has been done since then has just been repetition. A lot of it is marvelous but the forms haven't changed.

'Participant' is the incontrovertible new concept given by quantum mechanics. It strikes down the 'observer' of classical theory, the man who stands safely behind the thick glass wall and watches what goes on without taking part. It can't be done, quantum mechanics says it...May the universe in some sense be 'brought into being' by the participation of those who participate?

The musical instuments may be western but my voice never wavers away from my own ragas. it is good to make experiments and I do a lot of them but my thoughts always round the centre and that centre is the tradition of my elders and it is classical music...

I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.

Yes, I have been studying piano since I was six. Classical, jazz, compositional, Broadway, everything. I just love it all.

A classical work doesn't ever have to be understood entirely. But those who are educated and who are still educating themselves must desire to learn more and more from it.

Shook is the musical universe I created. I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.

Rip Torn thought I was being a wise guy, and one afternoon he got pretty angry with me after telling me to do something and he thought I was pretending like I didn't know what he meant.But he was very frustrated. He was very frustrated as a director in trying to get his little theater group going. It was called The Sanctuary Theater Workshop, I think, and he wanted to do these classical plays by people like August Strindberg, and he was fighting hard to get his show up and be good and be professional.

Maybe in 10 years,I'll only be doing "classical" comedy. Or crashing my car into trees.

I love Adele and Lykke Li. I also listen to classical music as well.

I first heard Laura Branigan sing live in my brother Nesuhi's apartment, where we had gone because he had a very good piano. I immediately realized that she had a great pop voice, in the classical sense. Laura had an instinctive feel for music and melody, and her delivery was sensational. Everybody at Atlantic knew that we had a winner in this young lady, and she came through with great hits that will be remembered for many years to come. I consider Laura to be one of my best signings, and I am proud to have had such a great singer in my career in the record business. We miss her dearly.

When I was at drama school I wanted to do classical theatre. It just so happened that I did a film when I came out and I moved that way.