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If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orches
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Robert Fripp:
If an apprentice does not hear what a master hears, is then that quality not present in the music?Robert Fripp:
If you are playing repertoire material, you're stuck. There's not huge amounts you can do.Robert Fripp:
In terms of an identity, an identity reflects an individuality, by definition. And, if there is a qRobert Fripp:
Linguistic philosophers continue to argue that probably music is not a language, that is in the phiRobert Fripp:
Music can be transformative, utterly transformative. The act of music is utterly transformative.Robert Fripp:
So, you can set up an orchestra down this end of the railway station playing one particular area, aRobert Fripp:
The perception of the audience is the interesting part. If the audience doesn't hear what is goingRobert Fripp:
The spoken form is in fact a very restrained representation of what is possible in the musical langRobert Fripp:
Then certainly for a musician timing becomes something that is immediately accessible as a concept,Robert Fripp:
To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.