Yasmine Hamdan Quotes

However, very recently I have come to an understanding that complex music is not necessarily pleasant.

Our tunes aren't just sing-along tunes: they're very complex. After a few days of that, you gotta take a break.

There are so many ingredients that are contained in 'The Wall' that were not necessarily contained in other Pink Floyd records, particularly following on from 'Animals,' which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.

Mozart is always a bit of a challenge - you know, even though it is often given to very young singers, it is actually the most complicated to sing in many instances.

I listen to music all the time, and I just choose things I like, or things that I've not used before. Sometimes I work with music that's very difficult - that I don't even particularly like, per se, but that is really complex or interesting.

I don't understand why Europeans and South Americans can take more sophistication. Why is it that Americans need to hear their happiness major and their tragedy minor, and as jazzy as they can handle is a seventh chord? Are they not experiencing complex emotions?

What's completely insane to me is that people would consider music that's simple to be dumbed-down. Couldn't simplicity be a deliberate, smart choice?

I've always been a fan of instructional videos. The bass-player ones are insane. The music on them is fascinating. It's not something you hear on CDs or would really ever play in bands. You listen to it and are like, 'What is happening?' It's this blizzard of notes in weird time signatures, and they're trying to teach you that.

Since her landmark 'Tapestry,' Carole King has both oversimplified and over elaborated that masterful album's style until her music has become something more overtly but less effectively personal.

To my mind and ear, there is simply nothing that compares to the musical sophistication of a late Beethoven, Bartok, Schubert or Brahms work for minimal forces.

Harmony is an obscure and difficult musical science, but most difficult to those who are not acquainted with the Greek language; because it is necessary to use many Greek words to which there are none corresponding in Latin.

It seemed like the more complex the music we were playing, the less able we were to guarantee its consistency.

When you do a lyric for 'April in Paris,' those who have heard it before can hear it in a different way now. It can add perspective to a great piece of music that does not have a lyric and may be inaccessible to lot of ears because people don't deal with complex music very well.

For me personally, Elliott Carter was and remains one of the most meaningful composers of the late 20th and early 21st centuries because he represents substance. He was the living proof of uncompromising, complex music, which at first seems inaccessible. But it becomes accessible if one digs in and sees the development through.

Our music is becoming more mature.

I'm not a total chump. I write stuff that's reasonably musically complex.

Just because something is melodic or catchy doesn't mean that it doesn't have depth and substance and progressive sensibilities.

Our music is harder to play than it sounds. It's the small details you don't realize are there until you try and re-do it.

Progressive metal is one of the hardest styles of music to pull off live, especially while providing a tasteful show.

Americans' distrust of the conspicuously intellectual - a habit we learned, I suppose, on the frontier, but which remains a feature of the national character - has the virtue of puncturing the pretentious and exposing the fake, but it may also have impaired American listeners' patience for music that is especially complex or austere.

I came from a Conservatoire background where the idea of complexity was very much bound up with good music - good music was seen as complex and difficult to understand.

I don't think any of the early Romantic composers knew how to write for the piano... The music of that era is full of empty theatrical gestures, full of exhibitionism, and it has a worldly, hedonistic quality that simply turns me off.

Listen to the triple fugue in 'Magnificat' - the first subject is seven voices, the second one has 52 different voices, the third uses five; then I combine all together. Such textures you cannot call primitive.

We all know that jazz demands a cultivation of the mind.

After 'City of Evil,' the world was still kind of apprehensive about Avenged Sevenfold. They didn't know if we were a serious band or just some kids trying to play really ambitious music with crazy guitar parts that would be here one minute and gone the next.