Top 770 Musical Quotes

I play a musical instrument a little, but only for my own amazement.

I grew up in a musical family, but nobody was a professional musician.

I actually don’t see that strong of a connection between my background as a rock ‘n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.

A musical, like most religions, provides the audience or followers with a sense of belonging. Religious services, on the other hand, with their staged performances, invigorating songs, popular wisdom and shared experience, are almost a form of community theater.

We went for the best overall feel on each song. There are no musical overdubs at all. It’s a true live record; it’s one of the few true live records out there.

I believe that the brain has evolved over millions of years to be responsive to different kinds of content in the world. Language content, musical content, spatial content, numerical content, etc.

If we have any hope for survival of the music that we all love, compassion must replace name-calling, fairness must replace greed, and we need to come together as a musical community and try to understand each other’s problems.

I teach musical theater three days a week at the school that my wife and I graduated from.

I began thinking I would do musical theater because in high school that was really the only sort of curriculum they had as far as getting onstage and doing anything that anybody would see. So that’s what I did.

Ireland, Italy and Brazil are the most musical places for me. They’re extremely musical cultures and anything you pitch they basically catch.

There’s an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don’t exist.

My father was a classical singer of baroque music, and my older sister was in musical theatre, and I thought about doing the same thing but then realised straight acting was for me.

Hip-hop is rich in musical allusion. It takes something that already existed, respects it, and reuses it.

But I’m not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.

Broadway has changed tremendously from the early days when the shows were referred to as musical comedies. Musical Theater is now a more expanded art form. Back then, singer/actors were not the norm. From the 60’s to now, it is necessary to do it all to be a consummate Broadway performer.

We all have different musical instincts, and I think they’re precious and should be respected.

If you elect a matinee idol mayor, you’re going to have a musical comedy administration.

I came from the musical stage. My first show was ‘110 In The Shade.’ I started as a ballet dancer and then sort of gravitated toward musical theater, so any time I got asked to sing or dance, it was a joy for me.

I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.

The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.

When movement isn’t enough, you dance, or when speaking isn’t enough, you sing. When it’s organic, and it’s earned like that in a musical, that’s when it works, and then there’s nothing like it because it’s this thing that takes you to a whole ‘nother level, you know?

Harpo Marx looks like a musical comedy.

Kolkata is a musical city. What I like about people here is the lack of diplomacy. Some of the best Indian classical musicians belong to this place. Kolkatans do not go by fashion, but by passion.

When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.

I don’t let the children watch TV on weeknights. They practice playing musical instruments instead. Both my sons play piano, drums and guitar, so my husband and I listen to them in the evening.

I grew up doing musical theater.

Actually, the language in Shakespeare is wonderfully musical. You need to hear the music to connect with the words.

I like Rufus Wainwright a whole lot. He makes me wanna be even more musical.

The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.

My love of music comes from as long as I remember. I begged my mum to learn piano for a year when I was 4; she wanted to make sure I was serious, and I wanted to be Chuck Berry when I grew up! We were a very musical family; my mum would play guitar, and her, my dad and aunt would sing and harmonize!

My music had roots which I’d dug up from my own childhood, musical roots buried in the darkest soil.

My musical career was an accident.

I believe in using the entire piano as a single instrument capable of expressing every possible musical idea.

The fact is that great musical pieces take and hold the stage because they provide great emotional experiences.

I think English is a fantastic, rich and musical language, but of course your mother tongue is the most important for an actor.

Most people my age, their musical life ended in the ’80s. They stick with what they know. But my tastes are much broader. And I don’t want to stop learning.

As a movie-goer, I really like to watch all different kinds of movies and, as an actor, I always feel like I could do pretty much anything but a musical.

Every few generations there are people who come along that change the way we look at the world, for musical enthusiasts Monk is one of these individuals.

We live with incessant music, all the time. It’s like some weird musical purgatory, there is absolutely no rest for the ears, no space to absorb and reflect.

I want to do a big Broadway musical, at some point. I would love to do that. To do something there would be super-cool.

The issue I had with the Lightspeed albums was that usually the main purpose with them was to fulfil really dorky musical goals, like, ‘I wonder if I can do that,’ and it was all very personal. It was more that once I’d finished the goal of what the song was, I was kind of done. It was like ticking boxes.

Music is all about training in harmony, training to understand and use musical energy for our greater pleasure by attuning to the natural laws of the universe.

Because I was a dancer, I started going to auditions for musical theater, which forced me to sing.

My musical roots and inspiration lie not in rock n’ roll or metal music, but first and foremost in classical music, balalaika, and in underground house music.

‘Evita’ obviously would always be very special to me because it was the first major musical that I did on stage and created in the U.K. with Hal Prince directing.

When I was younger, in my living room, I used to put ‘Cats’ the stage musical video on and I used to copy Victoria.

I want to write a play. I’d like to do an original musical. I should probably put together a poetry collection.

I can’t draw a stick person. I can’t play a musical instrument. But I’ve always had a knack for making money.

You can’t listen to what people who aren’t musical have to say. When Anytime was released, I had bad reviews, and at first I was hurt. Your songs are like your children. You don’t want to hear, ‘Your kid is ugly.’ But I knew the record was good and it would sell.

No one should be allowed to make music as if he were made of wood. One must reproduce the musical text exactly, but not play like a stone.

I have been whistling songs from childhood. I suppose it compensated for a lack of singing voice and satisfied my musical appetite.

I first had the thought about making a musical of ‘Edwin Drood’ as far back as 1971.

I have musical ADD, so I like to switch things up.

The closest place that I feel like I come to having religious moments is always musical.

My musical development stopped when Frank Sinatra died.

I could hear music playing in the background of works by certain authors, like Poe and Shakespeare. And I discovered Nikki Giovanni when I was in eighth grade. Her writing has a musical energy with pulse and rhythm, almost like jazz or hip-hop.

Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz’s ‘Expresso Bongo’ of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.

That was more or less coincidental in the sense that my parents wanted me to come back to New York because that’s the center of musical activity still to this day, more or less, and so I auditioned for the Metropolitan Opera.