A Quote by Chris Thile

What makes one type of music classical and one bluegrass and one folk - these things aren't what's important. — © Chris Thile
What makes one type of music classical and one bluegrass and one folk - these things aren't what's important.
When I listen to music today, it is about 99 percent classical. I rarely even listen to folk music, the music of my own specialty, because folk music is to me more limited than classical music.
I enjoy bluegrass, folk, gospel, and classical. I don't listen to music when I write. I sometimes listen to music just before I sit down to write.
I think there's a difference between the type of folk music that people put into the box of "folk music" and then there's the kind of folk music that I aspire to and am in awe of, and that is the kind of folk music where it's very limited tools - in most cases a guitar, in a self-taught style that is idiosyncratic and particular to that musician.
I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.
It doesn't matter if you stick the name 'bluegrass' on it. I think people call things bluegrass that I wouldn't necessarily call bluegrass, but what they're calling country music today I'm not sure that I would call country music. But I love music and I try to encourage people.
And whether or not you're interested in opera or classical music or folk music or the theatre, I think that for a nation's health and well-being it's very important that the arts scene is supported.
Culture dictated from above is the enemy of folk music. Whether it's stuffy classical music or pre-engineered pop where somebody's paid tons of money to make sure that everyone hears this song a certain number of times a day - that feels like the opposite of folk music.
Improvisation is an important part of bluegrass, and I would hasten to add that classical music wasn't always such an improvisational void. Back in the day, everyone's cadenzas were improvised, and improvisation was taught in conservatories.
I was born in Philadelphia, Pennsylvania, and am a product of a family that were jazz aficionados and also very interested in progressive politics. And so I had a lot of artists and musicians in my home. Lots of Latin music, folk, and jazz and blues, bluegrass-type of stuff. Painters and stuff like that.
We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.
Most of the music I've become interested in is hybrid in its originsClassical music, of course, is unbelievably hybrid. Jazz is an obvious amalgam. Bluegrass comes from eighteenth-century Scottish and Irish folk music that made contact with the blues. By exploring music, you're exploring everything.
You may not hear much bluegrass on the surface of my music, but I feel the emotion I put in a song comes from bluegrass. Bluegrass taught me to interpret a song, not just sing it.
I think the Flecktones are a mixture of acoustic and electronic music with a lot of roots in folk and bluegrass as well as funk and jazz.
There are so many wonderful, wonderful musicians in the world, I cannot possibly make a distinction between the fact that they might play classical music, or bluegrass, or Irish traditional, or Indian music.
If you looked at my iPod, you would get a trip out of all the different music, from the real heavy metal to bluegrass to classical.
I didn't grow up with classical music. My father was a folk music singer.
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