Musical Integration Quotes

So I prefer to do the entire music for a film. And when I'm doing the background score, I can weave the whole film together in terms of themes and songs for a good cinematic feel.

We worked the medley on side two of "Abbey Road" out carefully in advance. All of those mini songs were partly completed tunes; some were written while we were in India a year before. So there was just a bit of chorus here and a verse there. We welded them all together into a routine.

Musical numbers should carry the action of the play and should be representative of the personalities of the characters who sing them.

I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.

The narrative shouldn't stop for the song in a musical. The music has to continue the narrative of the storytelling.

The trick with 'Nutcracker' was figure out how much, and where, we could the Tchaikovsky - using as much as we possibly could and still support the storytelling.

Music has always helped my films. In 'The Curse Of The Jade Scorpion,' you can hear 'Sunrise' by Glenn Miller, an idol of my childhood, in the surprise ending. I like mixing comedy with suspense and action.

We made the song a big part of the story [Sausage Party ] itself, in that it's kind of their prayer that they say every morning, because we found that just to have an arbitrary song felt too unrealistic within the reality of our talking food movie.

Whenever humans come together for any reason, music is there: weddings, funerals, graduation from college, men marching off to war, stadium sporting events, a night on the town, prayer, a romantic dinner, mothers rocking their infants to sleep ... music is a part of the fabric of everyday life.

I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.

It's really important to me that the songs not only stand out individually but work as a full body of work, too.

I think punk, pop-punk, and rock music is all meshed together and I think good music is good music.

Music creates order out of chaos: for rhythm imposes unanimity upon the divergent, melody imposes continuity upon the disjointed, and harmony imposes compatibility upon the incongruous.

The music I really like to get off on is the old rhythm 'n' blues and rock 'n' roll stuff... that's what I really dig. And I also dig to sing ballads as well. And I also dig writing my own songs. I was just trying to find a way of integrating the whole thing, taking a look at the total picture.

Music's been part of my entire life. It's in my DNA.

I wanted to do 'Manzanar' because I'd never done anything like it before. The spoken word there is between a drama and an essay, and I'd never worked in concert with an orchestra.

Yeah, well, it did earlier - but as Bobby and I have played together, our thing as a unit has become so strong that they kind of had to get in where they fit in. And most people do.

I would think, of all the saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.

Jazz has borrowed from other genres of music and also has lent itself to other genres of music.

My love of classical hit pretty early. I was 13 when it occurred, and that was really the only music I listened to for many, many years. I went to a conservatory, but I always knew I would be in the pop world, because A) it was more fun and B) you didn't have to practice as much and you could go out more. But I immediately saw this opportunity to inject my material with these sounds that most members of my generation really didn't know about, so it was a great way to differentiate myself from the pack.

The musical mystery is: How do you marry tuned percussion and voice? On a metaphorical level, everything that's really important - like the clouds, the sky and the earth - is a giant mystery.

Music was segregated in the '80s, and then in the '90s the boundaries started to break down, and rock kids got into electronic music. But then you got this reverse snobbery where people would only listen to electronic music and not rock.

I just listen to so much music that I like the role music can play in scoring something. I'm not doing song parodies or funny songs, I'm just adding some music to my words. So it's limited and specific, but as a performer I find it pretty enjoyable.

Very rarely can you bring someone new into a band and have them just fit perfectly, right away.

I wanted to make an album where every song is kind of interacting - where you can't tell what's the string arrangement and what's the song. I guess that came out of going to college, majoring in music, studying classical music, and even as a kid, being really drawn to classical music.