Digital music boils down the actual musical experience.
Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually.
Going back and forth between Western Arabic and African countries clearly created the various musical backgrounds I could have and obviously influenced my professional attitude, my way of approaching both music composition and singing, particularly phrasing.
The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.
Roy Orbison is singing for the lonely, hey, that's me and I want you only.
It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.
I think we get on with living our lives like everybody else does. Where we're at in music is trying to explain what's going around us either directly or by analogy and trying to create a parallel, an analog, sometimes musical, sometimes dramatic, that might be truthful.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
I dont want to work on a musical if Im not the lyricist.
I wouldn't succeed at musical theater.
There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.
Musical types tend to combine the burden of the author with the burden of the actor.
Perhaps two million years ago the creatures of a planet in some remote galaxy faced a musical crisis similar to that which we earthly composers face today.
Music should make you feel good.
Nine Inch Nails were the best and most popular industrial band of all time; as a consequence, industrial purists usually assert that Nine Inch Nails aren't an industrial band at all (this is a counterintuitive phenomenon that tends to occur with purists from all subcultures, musical or otherwise).
My operas usually come from musical ideas rather than ideas about subject matter.
I've found that musical theater is my passion.
What brought me to Disney was the new regime, which is now the old regime, came over with Michael Eisner, Frank Wells, Jeffrey Katzenberg, and all these people really wanted to reinvigorate the animated musical, so they came to Howard Ashman and me. That was my entry into Disney.
I try to look at most of my solos as a musical piece within the song, not, say, showing off.
Nothing pleases me more than to go into a room and come out with a piece of music.