So, you can set up an orchestra down this end of the railway station playing one particular area, and simultaneously at the other end something completely different going on. And in the middle they meet, or not, depending.
From Robert Fripp
Now, if King Crimson accepts responsibility for innovating its own tradition, you can't accept responsibility for the audience. And there is an enormous tangible weight of expectation, which comes from an audience attending a King Crimson concert.
Even within the band, if I cannot manage to persuade the members of what I see to be the next course of action, how do you expect the group to deal with the expectations of thousands of people. It is not possible.
If an apprentice does not hear what a master hears, is then that quality not present in the music? Yes and no. In the world in which the apprentice lives no.
I recommend my students not to be professional unless they really have to be. I tell them, 'If you love music, sell Hoovers or be a plumber. Do something useful with your life.'
What is necessary is possible, what we want is expensive. What is unnecessary is unlikely.
The quality of artistry is the capacity to assume innocence at will, the quality of experiencing innocence as if for the first time.
But above that, most mature adults can hold their attention on something for 45 minutes, whether they like it or not. But above that requires training.
I'd say that what we hear is the quality of our listening.
The spoken form is in fact a very restrained representation of what is possible in the musical language.
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