Music in sentence

6351 examples of Music in a sentence

People agree that paintings or movies or music are beautiful because their cultures determine a uniformity of aesthetic taste.

For us moderns, virtuoso technique is used to create imaginary worlds in fiction and in movies, to express intense emotions with music, painting and dance.

Our powerful reaction to images, to the expression of emotion in art, to the beauty of music, to the night sky, will be with us and our descendants for as long as the human race exists.

A woman came from Africa with music.

A heavyweight boxer punches you straight in the face: 58 Gs. (Music) In case you missed it, we'll look again.

We are missing the story of Fareeda, a music teacher, a piano teacher, in Sarajevo, who made sure that she kept the music school open every single day in the four years of besiege in Sarajevo and walked to that school, despite the snipers shooting at that school and at her, and kept the piano, the violin, the cello playing the whole duration of the war, with students wearing their gloves and hats and coats.

Music as we know it was reshaped by the Great Migration.

And they converted this music into whole new genres of music.

And got the chance to record this music, this new music that they were creating, and to spread it throughout the world.

And when he got to be a grown man, he decided he wanted to go into music.

It turned out that there he was, surrounded by children of the Great Migration whose parents had brought this music up with them during the journey.

But here, I'm being told that the piece of music is very quick.

So therefore, if I translate this piece of music, we have this idea.

However, what I have to do as a musician is do everything that is not on the music; everything that there isn't time to learn from a teacher, or to talk about, even, from a teacher.

In the same way, I look at the music; I get a basic idea; I wonder what technically might be hard, or, you know, what I want to do.

You know, music is about listening."

And so what we would do is that I would put my hands on the wall of the music room, and together, we would "listen" to the sounds of the instruments, and really try to connect with those sounds far, far more broadly than simply depending on the ear.

And not only that, what had happened was that it changed the whole role of the music institutions throughout the United Kingdom.

And so therefore, this in turn meant that there was an extremely interesting bunch of students who arrived in these various music institutions, and I have to say, many of them now in the professional orchestras throughout the world.

So all of my performances are based on entirely what I experience, and not by learning a piece of music, putting on someone else's interpretation of it, buying all the CDs possible of that particular piece of music, and so on and so forth, because that isn't giving me enough of something that is so raw and so basic, and something that I can fully experience the journey of.

I cannot give you any detail as far as what is actually happening with those halls, but it's just the fact that they are going to a group of people for whom so many years, we've been saying, "Well, how on earth can they experience music?

For me, as a musician who deals with 99 percent of new music, it's very easy for me to say, "Oh yes, I like that piece.

And I just find that I have to give those pieces of music real time.

It may be that the chemistry isn't quite right between myself and that particular piece of music, but that doesn't mean I have the right to say it's a bad piece of music.

In the same way, when we listen to music, we assume that it's all being fed through here.

This is how we experience music.

But nevertheless, it was such an unbelievable experience, because where on earth are you going to experience that in a piece of music?

(Drum sound) So why can't I then do that whilst learning a piece of music?

I need to play a piece of music."

I need to relate it to a piece of music.

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