Quotes About Classical

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.

Too much horsing around with unrealistic stances and classic forms and rituals is just too artificial and mechanical, and doesn't really prepare the student for actual combat. A guy could get clobbered while getting into this classical mess. Classical methods like these, which I consider a form of paralysis, only solidify and constrain what was once fluid. Their practitioners are merely blindly rehearsing routines and stunts that will lead nowhere.

Obviously there are pieces of classical music that are some of the most beautiful music ever written, for me anyway is a lot of classical or contemporary music, so it's a different kind of space that you enter when you're listening to it.

A lot of my colleagues just don't really realize that they have to work in order to get the interest of an audience, especially with young kids, especially because it [classical music] is not that popular. You don't see it on TV, you don't hear it on radio, so you really gotta put an effort into promoting classical music.

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.

There are many influences in my music, not only blues. R&B, Motown, gospel, old timey, jazz, even classical are all part of what I do. I started with classical, then country, then blues, and after that I started listening heavily to Motown and gospel. My earliest efforts as a songwriter were soul. Aretha Franklin, Curtis Mayfield, Wilson Pickett, Gladys Knight, James Brown, Otis Redding, Marvin Gaye and Fontella Bass are just a few of the names that come to mind as the God's of soul and Motown.

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.

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.

I love the theater and I particularly love the classical theater and I love doing Shakespeare. It pays the soul, but it doesn't pay the rent.

Thank God for movie music. It preserves the rich vocabulary in classical music through challenging times.

For young players, their minds are not overloaded. I am 54 with four kids and I do many other things. Even if I stopped everything else, spent months working just on chess, for a long match against most of the top players, a classical match, six hours, say, I don't stand a chance. I have a better chance in shorter matches. Rapid is 25 minutes, or blitz events where you have five minutes to make a move, or bullet games, where it is one minute. For blitz, five-minutes chess, I would be top ten, top five. But longer games, no chance.

Classical music fulfills for me the function of narrative. I spend 90 minutes a day listening to symphonic music - Beethoven to Bartók - some chamber pieces, and that's my enrichment.

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.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

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

It was a grey day, that least fleshly of all weathers; a day of dreams and far hopes and clear visions. It was a day easily associated with those abstract truths and purities that dissolve in the sunshine or fade out in mocking laughter by the light of the moon. The trees and clouds were carved in classical severity; the sounds of the countryside had harmonized to a monotone, metallic as a trumpet, breathless as the Grecian urn.

I did all the musicals in high school, and I loved it. And then I got to theater school at college, and was like, "No, I'm a serious actor. I want to do Shakespeare. I want to do classical theater." I took myself very seriously.

A bride should look at everything she possibly can...just so she can experiment and see what makes her really feel beautiful or glamorous or classical or whatever she desires to be on that particular day.

I had to listen to the classical music because it calms me down, calms my nerves down.

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

Classical and romantic: private language of a family quarrel, a dead dispute over the distribution of emphasis between man and nature.

Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music. It's like making a stew. You put all these various ingredients in it. You season it with this. You put that in it. You put the other in it. You mix it all up and it comes out something neat, something that you created.

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.

I did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.

When I first became an actress, I expected to do regional and classical theater; I just love the whole creative process.

I come from classical theater training and when I went to college it was a bunch of kids that were hand-picked from around the world. I was around such brilliant young minds and incredible artists with incredible teachers.

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.

I listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.

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

Classical music gradually lost popularity because it is too complicated: you need twenty-five or thirty skilled musicians just to hum it properly. So people began to develop regular music.

Now that rock is turning 50, it's become classical in itself. It's interesting to see that development.

As a rule, my focus is on classical music, but I love jazz. I love everything, actually.

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

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.

When I was younger, studying classical music, I really had to put in the time. Three hours a day is not even nice - you have to put in six.

Piano was - well, all musical instruments were taught in this very rigid, formal, classical method when I was young.

A system such as classical mechanics may be 'scientific' to any degree you like; but those who uphold it dogmatically - believing, perhaps, that it is their business to defend such a successful system against criticism as long as it is not conclusively disproved - are adopting the very reverse of that critical attitude which in my view is the proper one for the scientist.

If repression has indeed been the fundamental link between power, knowledge, and sexuality since the classical age, it stands to reason that we will not be able to free ourselves from it except at a considerable cost.

Obviously classical music tends to be stuff that is usually at least a hundred years old.

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

His wardrobe was extensive-very extensive-not strictly classical perhaps, not quite new, nor did it contain any one garment made precisely after the fashion of any age or time, but everything was more or less spangled; and what can be prettier than spangles!

All of my knowledge, of both science and religion, I incorporate into the classical tradition of my painting.

Certainly we do not need quantum mechanics for macroscopic objects, which are well described by classical physics - this is the reason why quantum mechanics seems so foreign to our everyday existence.

What is classical music if not the epitome of sensuality, passion, and understated erotica that popular music, even with all of its energy and life, cannot even begin to touch?

Writing detective stories is about writing light literature, for entertainment. It isn't primarily a question of writing propaganda or classical literature.

I play piano and trumpet. I studied classical guitar.

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.