Violins are the lively, forward, importunate wits, that distinguish themselves by the flourishes of imagination, sharpness of repartee, glances of satire, and bear away the upper part in every consort.
I got started as an actress doing musical theater, and I always loved 'Grease' and 'West Side Story,' and all those kind of movies.
My commodity as a writer, whatever I'm writing about, is me. And your commodity is you. Don't alter your voice to fit the subject. Develop one voice that readers will recognize when they hear it on the page, a voice that's enjoyable not only in its musical line but in its avoidance of sounds that would cheapen its tone: breeziness and condescension and clichés.
When the musical keyboard was created in the 1970's, you had electronic geeks that had no background in music created these devises and gave them to musicians that had no background in electronics. The result was some of the wierd sounds that came out in the '70s.
I have always had severe problems with Austrians. . . . Musical, churchy, uptight. . . nice legs. . . hypocritical. . . authoritarian. . . always insist their dustbins are very clean.
I can't draw a stick person. I can't play a musical instrument. But I've always had a knack for making money.
What is usually called 'intelligence' refers to the linguistic and logical capacities that are valued in certain kinds of school and for certain school-like tasks. It leaves little if any room for spatial intelligence, personal intelligences, musical intelligence, etc.
It's a juggling act. Every time I get going on the album stuff or being musical, acting kicks in and I book a job. It comes down to a money thing.
Smacked her so hard I knocked her clothes backwards like Kris Kross.
I start with the subject matter I want to write about. Then I make a musical base for that and create an atmosphere with the music. Once I've done that, the lyrics come last.
I come from a musical family. My dad was in a group in the 70s, The Hudson Brothers. Now he's a songwriter and producer. So, I just kind of grew up with music and it was something I always knew I wanted to do.
For whatever reason, acting took the front seat but all of the projects that I've been doing seem to have some sort of musical element to them.
If someone said, "Here, you have your pick, you can do either a musical, Moulin Rouge type of movie, where you sing and dance, or an action movie, or a Shakespearian or Elizabethan movie," I would definitely love to do a movie that was based on a musical, where I would get to sing, dance and act, all at the same time.
People want to go to a musical to be razzled and dazzled, so to have an opportunity to do a musical that feels serious and moving is exciting to me. Especially since people think of me as a silly, funny person, so I like to be able to show that other side of me.
My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
If I need to cheer myself up, I will put on some fabulous '40s musical on video. But I'm very lucky; I seldom get depressed. Without question, I'm a 'glass half full' person. In fact, it's three-quarters full!
The private reader of listener can become an executant of felt meaning when he learns the poem or the musical passage by heart. To learn by heart is to afford the text or music an indwelling clarity and life-force.
Essentially my contribution was to introduce repetition into Western music as the main ingredient without any melody over it, without anything just repeated patterns, musical patterns.
Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.