Classical Quotations

In New Classical theory, periods of declining employment - business cycle downturns - may be caused by an unexpected decline in aggregate demand, which leaves workers mistakenly holding out for nominal wages that exceed the new market-clearing level.

After attending the gymnasium between my eighth and seventeenth years, I studied classical philology at Berlin University for two years under Boeckh and Lachmann, and with the friendly support of Emanuel Geibel and Franz Kugler, I dabbled in all sorts of poetry.

My big influences are Joni Mitchell, and a lot of classical and Indian music, as well as Nina Simone and the personal blues and jazz of Billie Holiday. Other influences for me include Bjork, Nick Drake, and Sufjan Stevens.

Because in classical music cello is not regarded as a popular choice, it's always playing the long, boring notes.

Yes, I tried to change the classical style in a way that people who don't understand it can enjoy.

In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.

I came from a really musical family. I studied classical piano because my grandparents were piano teachers, but started doing musical theater at age nine in Fresno, California, and went to a performing arts high school. That was my life.

In the late 1960s, the New Classical economists saw the same weaknesses in the microfoundations of macroeconomics that have motivated me. They hated its lack of rigor. And they sacked it.

I want to do all kinds of things. I want to do some comedy. I'd love to do a romantic comedy, and I'd love to do some period pieces with classical text. I'd love somebody to cast me as Macbeth, but for a film. I just want to be all over the place.

Writing detective stories is about writing light literature, for entertainment. It isn't primarily a question of writing propaganda or classical literature.

For me, let's keep jazz as folk music. Let's not make jazz classical music. Let's keep it as street music, as people's everyday-life music. Let's see jazz musicians continue to use the materials, the tools, the spirit of the actual time that they're living in, as what they build their lives as musicians around.

The cello is such a versatile instrument. It can rock like the hardest rock guitar, and it can sing like the human voice. We couldn't do what we do without the classical training. It's a hard instrument to play. There are no frets, and it takes finesse and technique to play.

Classical music is always a really great way for me to get my chops to where I want them to be.

In these confused times, the role of classical music is at the very core of the struggle to reassert cultural and ethical values that have always characterized our country and for which we have traditionally been honored and respected outside our shores.

In Bonn, where I studied for a year, I changed from classical to Romance philology, taught there by its great founder, F. Diez, and at the beginning of 1852, I received the doctorate for a dissertation on the refrain in Provencal poetry.

I used a baritone guitar with a very unusual tuning that became the body of the composition, while the classical guitar is on top of it with the main rhythm part.

I know this will blow your mind, but most people would probably never ever get it, but I listen to classical music when nobody else is around. It calms me down and I can get into this, like, deep thinking mode, you know, because there's really no lyrics to it, so you're not following something that - that you're listening to a story.

In Elizabethan England or classical Athens... theater was at the center of, not culture, but society and politics and religion and civic engagement. Those things have a different audience.

My musical background is like almost every non classical musician in the world. One day a special record was heard and that was it. I was hooked, started trying to play various instruments and was off to bar land to become a rock star. What else?

I had this exceptional classical music voice. If I'd followed a true path for my talent, I would have ended up being an opera singer.

No one intuitively understands quantum mechanics because all of our experience involves a world of classical phenomena where, for example, a baseball thrown from pitcher to catcher seems to take just one path, the one described by Newton's laws of motion. Yet at a microscopic level, the universe behaves quite differently.

I'm a self-confessed geek, and my whole concept of music at first was entirely electronic. In many ways, it turned out to be an advantage. I was so green, so utterly naive about the nature of classical music, that I did things that made me look totally, deliberately unorthodox.

With a computer, there are too many choices, and I always liked working within limits. You know, if you look at Mozart, who had this strict classical framework - an allegro, an andante, a scherzo and a finale - you see that within that formula, he got results he might never have gotten if he had all the options in the world.

What music I listen to day to day changes very, very much. I can go from bluegrass to heavy metal, to blues, to classical and big band and then go to pop and rap.

I was a musical theater major at the University of Arizona. And I primarily trained with Marsha Bagwell. It was a classical program, so we did Chekov and Moliere and a lot of Shakespeare.

My mom was in a band for over 30 years, and my brother, sister, and I start taking classical piano lessons when we were three. She's really the reason why I'm still playing piano - she made me practice every day before school and made it a priority even when we didn't necessarily want it to be.

Even back when I played 'straight-ahead,' I mixed it up. I played some free-form, classical adaptations, solo flute stuff. It was New Age in its own way.

I've always had a close connection to both rock and classical music.

Soon afterwards I studied the inversion of sugar in the light of these considerations and immediately found that this classical reaction, too, was determined quantitatively by the same property of the acids, as was of course to be expected from the previous results.

I would love with all my heart to be able to speak Greek, classical or modern or both. It is a beautiful language, both aurally and in terms of the intricacy of its construction. I took four semesters of Ancient Greek in college, but it's all rusted away now - and I never learned to speak it anyway.

One of the most beautiful things that recruited me to join the LaRouche movement is its emphasis on Classical singing and composition, especially with the Negro Spirituals, adding a new depth of profundity to songs I had sang while growing up.

I started making music with my band in the '80s, so I am more product of post punk than classical music, and I have always carried on this way.

They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer.

Even in classical music, the cello doesn't get a lot of respect because the piano and the violin get it all.

'The Tudors' was ground-breaking in the sense that it did ruffle the feathers of classical historians and alter the way people did period drama at the time.

My parents being Bengali, we always had music in our house. My nani was a trained classical singer, who taught my mum, who, in turn, was my first teacher. Later I would travel almost 70 kms to the nearest town, Kota, to learn music from my guru Mahesh Sharmaji, who was also the principal of the music college there.

In college, I had an early introduction to classical genetics from Professor Dan Lindsley, also an extraordinary teacher who influenced me greatly.

Early economic theory was rooted in the Italian, French, and Spanish traditions, which were subjectivist oriented. Then it shifted onto the terrible path by Smith and Ricardo and the British classical tradition, which is 'objectivist' - values are in inherent in production.

The classical music scene was completely unfamiliar to me. It was something that I didn't have the most fun associations around. A lot of people don't - they think of older generations and stuffiness. But it's not. You listen to the Overture of 1812, and you can hear a rock n' roll catharsis.

The law of right-left symmetry was used in classical physics but was not of any great practical importance there. One reason for this derives from the fact that right-left symmetry is a discrete symmetry, unlike rotational symmetry, which is continuous.

As people's lifestyles have improved, they've become more and more sensitive toward animals. It's becoming a universal value, like Western classical music.

I grew up on Bach and Beethoven, and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff.

I don't think you can mix classical music and reggae. It's not possible. But some producer in, like, Norway is going to put it together.

Television has dried up for my generation, so it's plays and films. You get used to being lazy doing films, but classical theatre's going to finish me off.

Pop concerts create an audience for Pops concerts, not an audience for classical symphonic concerts.

My mother did play classical piano, not that well. And actually, my father sang with the big bands - he sang with Bob Crosby's band - but he had to give up show business when his father died. He had to come back to Montgomery and take over the furniture store.

I took piano lessons as a kid, and my daughter's played piano since before she started kindergarten, so classical piano is something I really love.

When I was younger, I used to do that a lot: I would hear a part of a song that would really relax me and then put it on repeat. That would send me to sleep. It was quite obvious classical music, people like Penguin Cafe Orchestra, Erik Satie, Claude Debussy, Maurice Ravel.

For me as a writer, Albanian is simply an extraordinary means of expression - rich, malleable, adaptable. As I have said in my latest novel, 'Spiritus,' it has modalities that exist only in classical Greek, which puts one in touch with the mentality of antiquity.

I'd like to explode a few myths about what we call classical music. It's not high art for the titillation of a chosen few.

We have this idea of artists being on the fringe and being debauched and strange. I don't think that people who commit themselves to classical arts should be exempt from that.

In his day, the audience was well aware of the music, of the classical beat.

Although my music is electronic, it has a lot of influences from my past, which is all sorts of genres; I've been in a rock-metal band for a long time, and I still feel like, personally, I have a lot of influence from that. My classical influence, you can find spots here and there.

Many classical musicians lack pulse and rhythmical strength and precision, so for us it was very important to acquire and learn those.

In contrast, traditional classical music starts from an abstract musical schema. This is then notated and only expressed in concrete sound as a last stage, when it is performed.

It'll help you be imaginative if you listen to classical music. It helps you understand dynamics and how important they are to create an environment.

Originally I studied as a musician, a classical pianist. That was my career before I took up acting in my late 20s.

I'm trying to learn classical piano, Mozart and Beethoven and stuff. I took lessons when I was younger and now I sort of sight read the music and play it by ear. It's fun. It takes up a lot of time. I practice a couple of hours a day, but I find it soothing.

I thought the best route to being the great actor I wanted to be was to play the great classical parts.

The Four Seasons was making me popular in Britain, but EMI America had no interest in making that happen in the States, so I just had a classical career there.

Copland was the first important American classical composer to go to work for Hollywood.

If you look at the history of music, you have classical composers, church music, pop music, etc. Music that's existed for centuries. I think there are some songs that are close to immortal. They will last longer than we will in this lifetime.

To me idealized characters are so boring to play, especially having grown up in the classical theater. That's a great experience, but as a woman, especially, you've played a lot of idealized characters. So when you've got someone who has weaknesses as well as strengths, that's interesting.

Because the completion of labour service was a precondition for permission to study at the university, I was able to begin my studies of Germanistics and Classical Philology during the summer term of 1939.

While classical mechanics correctly predicts the behavior of large objects such as tennis balls, to predict the behavior of small objects such as electrons, we must use quantum mechanics.

We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.

Reality shows that, contrary to other countries in southern Africa, we have no basis for a classical guerilla struggle. We have never had a hinterland, and we do not expect to.

Secular thinkers have no more been able to work free of the centuries-old Judeo-Christian culture than Christian theologians were able to work free of their inheritance of classical and pagan thought. The process... has not been the deletion and replacement of religious ideas but rather the assimilation and reinterpretation of religious ideas.

I write in the most classical French because this form is necessary for my novels: to translate the murky, floating, unsettling atmosphere I wanted them to have, I had to discipline it into the clearest, most traditional language possible.

I go back and research, say, every reference to the Gorgons, and I find what the classical writers said about them and it's so much richer than you might get in an average Greek mythology text. I feel like an archaeologist - I'm dusting off these things that people have not seen for thousands of years and bringing them into the modern world.

Actually, I've had very little classical training, although I love listening to classical music very much.

From the spiritual came the blues, gospel, and rhythm-and-blues. I heard all of that music growing up, and that has influenced how I approached classical music. I'm sure of it.

Classical music has become rarefied, like a maiden aunt that nobody wants to talk to.

So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.

My favorite song is called 'Reachout.' There are so many different stories told in that song. I think anyone who listens to it will gather a different meaning, but each answer is true. I also like the sound of it, period - there are a lot of classical influences.

Economists of a classical bent lay a large part of the decline of employment, and thus lagging output, to a contraction of labour supply.

We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.

'Hugo' is made in the classical style of the 1940s.

I'm saddened to see that everyone's pitched out the baby with the bath, in that we say that it can't be one or the other, it could be both. I mean, just because we listen to classical music doesn't mean that we can't listen to jazz.

I went to L'Academie de Cuisine in Gaithersburg, Maryland, and I think French cooking is the basis for a lot of classical cuisine, a foundation of a lot of other cuisines. That said, it's not the only way to approach a cooking career.

Andres Segovia, the great name for guitar, he put classical guitar on the map. He was the proponent of it, the best in the world. So I was listening to a record that he had made, and a little bauble happened in the middle of the record. A finger slipped, and I said, 'Wait a minute. He's not allowed to make mistakes,' - my mind.

In the olden days, I believe Mozart also improvised on piano, but somehow in the last 200 years, the whole training of Western classical music - they don't read between the lines, they just read the lines.

My mother was an opera singer and my grandmother a concert pianist, and they only liked classical music. If I put on a pop record, they would tell me to turn it off, so I only listen to classical.

My husband is a former rocker and in charge of our humungous music collection, and I've recently been asking him for classical music.

The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.

For us, it is all about breaking the boundaries between different genres of music and combining different styles of music and performing what we are passionate about. We are so lucky that we can experience both worlds: the more intimate classical world and the wild and crazy world of rock n' roll.

I just loved classical music, but I also loved playing rock guitar, and I loved playing piano, so it was a natural thing that those things would merge at some point.

Although cover notes for classical music albums tend to say that the trill of flutes suggests mountain streams and so on, I don't think anybody listens to music with the expectation that they're going to be presented with a sort of landscape painting.

I became a professional musician and played all kinds of music. I played bluegrass, I played classical music, and for many years, I played jazz.

When I did 'Amadeus,' I hadn't done a play for five years. And I was so happy doing it and felt so foolish that I hadn't done a play for such a long time that I wanted to go back and really kind of reach out for a classical career.

You know I'm a bit of a dag because I listen to classical music. I recently bought myself an iPod and downloaded every piece of classical music that I had access to onto that.

Of course we had the best possible classical education, which gave us a very strong foundation and tradition. But we also learned a lot by collaborating with different pop/rock artists and especially by recording and working in the studio.

Before I was 5, I did have a lot of time on my hands. I had no job and really no career, and I spent an awful lot of time listening to records. It was more the classical ones, really - Prokofiev, and I think there was some Mozart in there, and more impressionistic composers like Delius.

My mom had this romantic notion of her children playing classical music. The idea is you learn it when you're still learning language. It's using the same part of the brain.

I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.

In my 20s, I became obsessed with the role-playing game 'Romance of the Three Kingdoms,' named after a classical Chinese novel, and later 'The Sims,' a life-simulation game, and 'StarCraft,' a science-fiction game.

Regular church-goers are substantially more likely than non-attenders to read, to take newspapers and magazines, to listen to classical music, to attend symphony concerts, operas, and stage plays.

My brother had a house in Paris. To it came many Western classical musicians. These musicians all made the same point: 'Indian music,' they said, 'is beautiful when we hear it with the dancers. On its own, it is repetitious and monotonous.'

Cities are about juxtaposition. In Florence, classical buildings sit against medieval buildings. It's that contrast we like. In Bordeaux, we built law courts right next door to what is effectively a listed historic building, and that makes it exciting.

It's wonderful doing concerts in places like New York and London, but I feel a responsibility to also bring my work home, to bring world-class, classical music to Somerset.