Shreya Ghoshal Quotes

Every language has its own music.

I don't really care about a song or lyrics; I'm really just interested in the way people emphasize words. That's what makes a strong impact on me.

A speech idiosyncrasy, in the same way as an air quote, is really justifiable only if it's employed very sparingly and if the user consciously intends to be using it.

In a certain way, it's the sound of the words, the inflection and the way the song is sung and the way it fits the melody and the way the syllables are on the tongue that has as much of the meaning as the actual, literal words.

We will never have "a" Chicano English or Spanish because of regional differences. But I think that because of our bilingual history, we'll always be speaking a special kind of English and Spanish. What we do have to do is fight for the right to use those two languages in the way that it serves us.

I tried out the unfamiliar syllables. They fit. They cracked in my ears like a fist through ice.

Among the various vernaculars that are spoken in different parts of India, there is one that stands out strongly from the rest, as that which is most widely known. It is Hindi. A man who knows Hindi can travel over India and find everywhere Hindi-speaking people.

Italian is the language of song. German is good for philosophy and English for poetry. French is best at precision; it has a rigour to it.

Accents. I'm very good with accents. I'm exceedingly good.

I love accents. It's a great way to separate yourself when playing a role.

The most difficult problem in conducting is intonation. You must know what is wrong and how to correct it.

The most effective instruments do have a vocal quality.

Choose each word as a precision tool. Consider how it sounds, not how it reads.

A British actor will savour every syllable of a Shakespearean line, while a French actor will drive to the end of a sentence or a speech with a propulsive rhythm: the thing you never say to a French actor is, 'Take your time.'

Languages and cultures are disappearing at an enormously fast rate, and many of them are in Canada. These are extreme examples of removal of freedom of expression - to actually lose a language and the ability to express that culture.

I have never been too concerned about things you're supposed to be concerned about as a singer. Pitch is important, and so is sounding good. But I think there's something underneath all that.

I've always been very in tune to my voice and to other people's voices and how they express themselves vocally. And I always loved accents and dialects - I collected them like stamps.

One of the nice things about the United States is that, wherever you go, people speak the same language. So native New Yorkers can move to San Francisco, Houston, or Milwaukee and still understand and be understood by everyone they meet. Right? Well, not exactly. Or, as a native New Yorker might put it, 'Wrong!'

I still have perfect diction!

The most important thing is to make a percussive instrument a singing instrument. Teachers should stress this aspect in their instruction, but it seems that very few of them actually do.

We think of speaking as something we do naturally, without any effort. But like playing music, it requires attention and knowledge and practice.

I think the hardest thing about doing an accent, especially with a Missouri accent, is making sure that you're not mumbling with the words so your diction is clear.

I love dialects and accents; they're something that really resonate with me and that I find fascinating.

It's one thing to be writing in South or Latin America, where, except for Brazil, every country, however small and hard to find on a map, speaks Spanish, but quite another to be writing in, say, Hungary, a landlocked nation of 10 million people, with a language that very few people outside Hungary can read or speak.

My vibrato was my weakness. With romantic pieces, I could be a lot more schmaltzy. My wider vibrato fit that.