Harold Prince Quotes

Music is changing. I'm just doing what I'm doing, and hopefully in the next 20, 30 years, some kids can take what I'm doing and change it again. If the music doesn't move, then it's dead.

The art music of the West has developed through out its history by means of individual geniuses, and out of the soil supporting them; non-Western musicians were born, and grew like the grasses of the field.

I would like, if I can, to broaden the possibilities of the musical theater. I think there's a better 'Oklahoma!' someplace, a better 'West Side Story.' And I'd like to be mixed up in it.

New music is absolutely integral to classical music.

Music should be pushed forward.

If my serenade of song and story should serve as a pillow for some composer's head, as yet perhaps unborn, to dream and build on our fond melodies in his tomorrow, I have not labored in vain.

Presenting the American songbook as a living, breathing entity that's expanding all the time is very important.

When you limit the word 'jazz' to one period of history, for the people who love that period, then maybe it can be dead because nobody plays like that anymore. But jazz is progressive music; it always has to progress, and musicians always have to find new landscapes and new ways to speak out, so of course it's always changing.

Obviously, you want to honour the sound of your music, but I'm definitely open to trying new things and making myself use a different palette of sounds.

As artists, we're always going to like the songs we just now made over the songs we made a year ago.

If you're not changing what you're doing and exploring different parts of your musical output, I think you're slowly dying.

I always want to keep moving musically and trying new things.

I think we are really in touch with what's going on around us in the world of music, trying to push the bar forward and try new and exciting things that our fans can react to.

Every so often, you have a producer or a songwriter or both or a team that comes along and really reshapes and redefines sonically what music is and the interpretation of it to the masses.

Music has to change. I don't want to stay the same forever.

Dream Theater has never been a band that hit at a particular fashionable point and said, 'OK, that's basically it.'

The Boston Symphony is one of the best orchestras in the world and has such a great tradition - which I want to cherish, of course, and to learn from and to continue and to add whatever I can add.

I didn't want to be a one-hit wonder. I really wanted to make albums that had a different aesthetic every album and a different sound.

That's kind of the nature of being in a progressive band - always trying new things, moving forward.

Music is constantly developing and changing.

Before 'AEnima,' we were just following our gut. There was a lot of anger in the air and we never tried to control that. But just as we mature as humans, with 'AEnima' we tried to be fueled more by spiritual ideas or more of a conscious mode of aiming things in the right place or trying to take more responsibility for our art.

We consolidated the style of 4Minute by experimenting with different sounds throughout the years.

I found that the flute was too limiting. Soon I bought a microphone, then loudspeakers, then an echo, then a synthesiser. Much later I threw the flute away; it was a sort of process.

Music moves forward so quickly; music is an accumulation of knowledge, and musicians keep getting better and better.

There are a lot of classic Goapele tracks that are obviously me. And I'm also just trying to keep evolving and grow as an artist. I've always had a wish list of producers I wanted to work with. I just wait until the feeling is mutual and go into the studio to see what we can come up with.