As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.
Yo-Yo MaRead
Classical music is one of the best things that ever happened to mankind. If you get introduced to it in the right way, it becomes your friend for life.
Interpretation
Classical music can enrich our lives and become a lifelong companion when introduced properly.
Yo-Yo Ma suggests that classical music holds immense value for humanity, and when individuals are exposed to it thoughtfully, it can foster a deep and lasting connection. This quote emphasizes the transformative power of music in cultivating friendships and enhancing the human experience throughout life.
In practice
During a speech about the importance of arts education in schools.
As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.
There's a part of me that's always charging ahead. I'm the curious kid, always going to the edge.
I think that peace is, in many ways, a precondition of joy.
I think anybody who goes away finds you appreciate home more when you return.
When we enlarge our view of the world, we deepen our understanding of our own lives.
I learn something not because I have to, but because I really want to. That's the same view I have for performing. I'm performing because I really want to, not because I have to bring bread back home.
There's an idea that it's hard to be a woman artist. People assume that women have fewer opportunities, less power. But it's not any harder to be a woman artist than to be a male artist. We all take what we are given and use the parts of ourselves that feed the work. We make our way. Photographers, men and women, are particularly lucky. Photography lets you find yourself. It is a passport to people and places and to possibilities.
My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language. . . . Maybe I was only then becoming aware of the weight, the inertia, the opacity of the world--qualities that stick to the writing from the start, unless one finds some way of evading them.
To sing is to love and affirm, _x000D_ to fly and to soar, _x000D_ to coast into the hearts of the people _x000D_ who listen _x000D_ to tell them that life is to live, _x000D_ that love is there, _x000D_ that nothing is a promise, _x000D_ but that beauty exists, _x000D_ and must be hunted for and found.
I respect the fact that a director has studied the text and the road map of work before us, the subtleties, interconnections, underpinnings... His job is to paint the entire picture and knows all the colors that have to be in it.
I do feel that if you can write one good sentence and then another good sentence and then another, you end up with a good story.
I just kind of conjured them up out of my subconscious and put them in order of ascending peculiarity.
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