A Quote by Michael Hersch

My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.
And in this relentlessly unfolding series of interactions, the U.S. has played a very distinctive role, which most Americans have been either shielded from or simply unaware of.
My work during the 1970s has been mainly concerned with the implications of the unified theory of weak and electromagnetic interactions, with the development of the related theory of strong interactions known as quantum chromodynamics, and with steps toward the unification of all interactions.
I'd rather call it "instrumental creative music," especially the music that I've been doing. If a person would hear that music, they would undoubtedly call it "jazz." There is this whole generation of musicians that are playing and thinking critically for themselves and making music that's relevant to today. I hope that's the objective of a lot of musicians.
It's nice to be able to look at one protein, but life is driven by the interactions between proteins, so it's really essential to be able to see multiple proteins at a time to understand these interactions.
Musicians like to converse. There's always interesting conversation with musicians - with classical musicians, with jazz musicians, musicians in general.
I will never again play anything that does not have social significance. We American jazz musicians of African descent have proved beyond all doubt that we are master musicians of our instruments. Now what we have to do is employ our skill to tell the dramatic story of our people and what we've been through.
The strongest interactions are the nuclear interactions, which include the forces that bind nuclei together and the interaction between the nuclei and the z mesons. It also includes the interactions that give rise to the observed strange-particle production.
Being a classical musician I'm fascinated with how my colleagues, not just singers, but every musician finds ways to express something else or something new or the same ol', same ol' in classical music. I'm always in dialogue with other musicians at least orally, if I can't be with them and a lot of dead musicians as well. I've learned a lot from dead people on recordings.
Rock musicians, and a vast array of popular-music musicians, due to their wealth, acquired through the mass of their notoriety, are able to be listened to and heard and thus are able to effect change on an international level.
It's just a joy to be able to work with a lot of different musicians. When you play with great musicians, whether they're schooled or self-taught, they keep you on your toes.
Artists, whether they're classical musicians or pop musicians, they have always been the reflection of society, and in many ways a healing part of whatever is wrong in society, and I think it's important for us to continue to do that, and I don't see enough of it today.
I was afraid the other musicians might want to present themselves too much, though I see in the coverage I've received of the album that the musicians got wonderful reviews for their contributions and abilities. I think the four musicians played freely within my limits.
To all musicians - forget gender - to all musicians, it's about - do what makes you happy. Just go for it, you know?
We have been working with Habitat for Humanity and we have built eighty homes, 80% of which are being lived in by New Orleans' musicians. It is called the Musicians' Village and at the center is the Ellis Marsalis Center for Music.
Sci-fi fans are awesome. They're very smart, they like to be involved, they like to ask questions. I've been asked questions I don't even know the answer to. I've never had any aggressive interactions. I've had lovely interactions.
For instance, members of the elite will never allow their children to become musicians normally, because it's - not embarrassing - but it's not done. There's a very famous composer from the '70s from a well-known family that disowned him, and he's a man, so there's this historical precedence with their relationships with musicians - not so much music as it's this abstract thing - but externally with artists.
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