Music Audience Quotes Page 2

I feel a great responsibility to deliver for our audience .

.. I am like their servant, but there's only one honest way to lift people up, which is to feel genuinely elevated yourself. And the way to do that is follow your heart. That's all we try to do.

When you're on stage, the audience becomes your other half.

It's the ultimate high you can reach as a musician - an incredible feeling. And no matter where I am it's still the same; there's a reason we call music the universal language.

I look forward to my first visit to Israel.

Music is a universal language that is meant to unify audiences in peace and love, and that is the spirit of our show.

I think that the audience intuitively understands the idea of sampling and remixing stories. That's why electronic music is global.

Singing is my passion, my first love and the secret of my energy.

Music to me is like finding my inner self, my soul. It gives me a great joy to see audiences enjoying with me. I have given my heart to singing. When I sing, I can feel romance in everything around me.

My American gay audience have continued to dance and sing to the music I make in a way that straight Americans haven't. I am grateful to them for that.

Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.

I like any and all of my associations with music: writing, playing, and listening. We write and play from our perspective, and the audience listens from its perspective. If and when we agree, I am lucky.

Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.

Given that there was that era of girl group music and it's still very popular, but I think if you looked at the chart from that time you would see many more men on it. Because the industry, they were catering to young girls. I mean, that's what they thought their audience was.

If my musical tastes are continuing to grow up, and I am not really too interested in the music that my kids listen to, then I assume that the audience is doing the same.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

Frank [Zappa]'s music was never for the mass audience.

His music contains specific kinds of information that you won't find elsewhere in rock and roll.

I have no interest in making music solely for a white audience.

If that's what our audience is, I don't really feel responsible for that.

I'm so lucky that I get to write my own music and write my own stories, so every single time I look down in the audience and I see somebody singing the words back to me, it makes it all worth it.

There is no reason why a joke should not be appreciated more than once.

Imagine how little good music there would be if, for example, a conductor refused to play Beethoven's Fifth Symphony on the ground that his audience might have heard it before.

It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.

I don't know if I could write ten easy ways to connect with an audience.

I know you have to believe in what you're doing, you have to believe in your music, believe in your ability, believe that what you're doing is honest and true and real.

My father, good or bad, mistakes or no, had a direct line from his heart to the music to the people, to the audience. He played with logic and his own inner truth.

Mother loathed the all-black B movies Hollywood made for the "colored" audience, where the stereotypes were broader and more offensive to her, and where the musical interludes did no justice to real talent, she said, but trivialized it.

Wanting to be understood by an audience that didn't know Russian, I tried to paint musical pictures by emphasizing the phrasing, using voice color more boldly, and varying the shade and nuance.

I'm playin' music for a certain type of person.

Fortunately, there are more and more of us. At least there are more comin' to see me than there were 30 years ago or so.

I have no experience performing that music live in front of an audience.

So that remains to be seen. I'm very excited to see what that's going to be like.

Keep making music.. Keep improving your music.. If there's no viral action on your music, you're just not good enough. Don't get mad at the audience, get mad at yourself. Either give up or get better.

It's amazing how fast generations lose sight of other generations.

One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

Since I have always preferred making plans to executing them, I have gravitated towards situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend towards the roles of planner and programmer, and then become an audience to the results

There are always new things to experience, internalize then write about.

This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.

If you have a recital to do, you have to memorize the songs.

I never use music when I do recitals. It produces an instant barrier, both for yourself and the audience.

Obviously given good health, and a continuing audience and a record company that allows me to do music. So given those things yes, I'm introducing some new music that people haven't really heard me do in quite this fashion.

It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.

One of the things I love within music and within sports is how often musicians and athletes thank their audience. In the art world, you would never hear that.

What I'm trying to do is make music that people relate to, that talks about ideas that are personal but also make that connection to trying to make revolutionary change, and I don't need to change my music to get to a certain audience.

There's music in my films but you seldom hear it.

Very early I got the idea that the important things in films were people - the actors. They are the intermediary between the director and the audience. They make direct contact. People to people communication.

If the audience lets that stuff wash over them, you know - almost like music, rather than dialogue - and doesn't fight it, then they'll have a much easier time rather than being sort of frustrated and confused otherwise. But if you get in the right state of mind it really does work quite well.

Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.