A Quote by Peter De Vries

The tuba is certainly the most intestinal of instruments, the very lower bowel of music. — © Peter De Vries
The tuba is certainly the most intestinal of instruments, the very lower bowel of music.
I don't play the tuba. The tuba plays me. My tuba is not actually a tuba, because it has never produced a musical sound. It is actually a giant frog pretending to be a tuba.
After I learned the piano, I went on to learn percussion, the tuba, b-flat baritone, French horn, trombone, trumpet, most of the instruments in the orchestra. Trumpet was my instrument.
In times past, knowledge of the bowel was more widespread and people were taught how to care for the bowel. Somehow bowel wisdom got lost and it became something that no one wanted to talk about anymore.
In history, in most cultures, and at most points in time, if you want to find the most advanced technologies, you can look principally in two places. One is weapons and the other is musical instruments. My hypothesis is that instruments are usually ahead of weapons. In fact, I think you can find many examples of instruments being predecessors of weapons and very few in the reverse.
The men at the top aren't that great at properly assessing the women under them, certainly not enough to gauge their potential or intestinal fortitude.
I think the world is very much embracing this whole concept of musicians going out and playing their instruments and playing music for music as opposed to music that has something to do with some form of image or imagery.
Your questions regarding that gentleman are very delicate, very subtle, very much like being smacked in the head with a mallet...it's a tuba among the flutes.
I sometimes like to think of God as a great symphony and the various spiritual paths as instruments in an orchestra. The gift that you have is like music waiting to be played. You need only to find the instrument that will best bring it out. You alone can never play all the instruments, and your music might not find voice in all the instruments. All you can do is find the instrument that suits you best, play it as well as you can, and add your music to the great symphony of divine creation.
For a long time in the 1970s, I was experimenting to build musical instruments and use them. I did a lot of ethnic music studies and other things, like electronic music. Making homemade musical instruments and performing was my major activity from the time.
The thing is, there are so many different ways to make music these days with virtual instruments, software applications, physical instruments, and computer programs.
The advice I am giving always to all my students is above all to study the music profoundly... music is like the ocean, and the instruments are little or bigger islands, very beautiful for the flowers and trees.
I don't want to write any more for the old Man-power instruments and am handicapped by the lack of adequate electrical instruments for which I now conceive my music.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
A man's word and his intestinal fortitude are two of the most honorable virtues known to mankind.
I can't be enthusiastic as soon as I write something on the music sheet. The music sheet is only the beginning: it has to be listened to, played by the instruments, and then heard by the director, but most importantly, it has to be listened to by the public.
This site uses cookies to ensure you get the best experience. More info...
Got it!