A Quote by Fred Frith

There's an awful lot of resources that can be drawn upon in an improvised music concert. — © Fred Frith
There's an awful lot of resources that can be drawn upon in an improvised music concert.
At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
I am an improviser, ... I improvise music. Whatever you want to call it all, it is all improvised music. I may capture it and go back and write it down for others, but it was originally improvised.
As there are more online archives of improvised music, it becomes more like the daily practice of playing it. It lessens the idea of there being masterpieces of improvised music through benchmark recordings.
I've always liked the idea of improvised music. Improvised anything. It's what conversation is.
What I'm after is a composed music that will sound like improvised music when improvisors play it. You shouldn't be able to tell what parts are being improvised and what parts were written out beforehand; it should sound like the same music.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
I actually did a lot of improvised movies or movies that were partially improvised.
I had great inspiration from a Japanese composer named Toru Takemitsu. He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.
Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!'
Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!
I was awful at science at school, as a subject, because I didn't have the discipline. But, I was awful at music, as well, and I loved music.
So what's happening with the audio/visuality, for the first time we are doing the music - the people who would come to the concert love the music - they loved him and loved his music - for the first time in concert it's not only the music. Now it's time to know the man. We know the music, but what was the man like?
Improvised music involves a lot of intuition and I like developing intuition.
I'm drawn to punk. I'm drawn to samba a bit. I don't think there's a type of music I'm not drawn to. Lykke Li I really like. Holy Sons I still can't get enough of.
I have played a lot games, worked with a lot of these players and learnt an awful lot. I've got the knowledge and leadership qualities. So, its normal that under these circumstances that I got into coaching. I'm learning an awful lot.
I love music but I never went to a concert in my life. The first time I went to a concert I performed on a stage with Drake.
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