A Quote by Tom Chapin
Mine is not a traditional music, but it comes from a tradition.
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New Orleans had a great tradition of celebration. Opera, military marching bands, folk music, the blues, different types of church music, ragtime, echoes of traditional African drumming, and all of the dance styles that went with this music could be heard and seen throughout the city. When all of these kinds of music blended into one, jazz was born.
Many people who attack me know so little of that larger Tradition, and end up being not very traditional at all. When you invoke the whole and great Tradition, you end up scaring people who call 1950 America "traditional" Christianity. It is just what they are used to in their one limited lifetime.
I love that there's this tradition of being able to discuss the heaviest topics and the gnarliest stuff that goes down in people's lives in traditional Southern American music.
As for what I listen to after writing, it could be anything - but I've noticed that if the current book contains music from one tradition, it is music from another tradition that most relaxes me.
I like for it to be mountain music or old-time country music or traditional bluegrass. Either one will fit me. It's traditional, basically.
I think what traditional studios probably don't understand is that it's a genuine advancement in the actor's tradition. And you know, the tradition and craft of acting. And it's the latest step. You know, we, we tend to find forms of delivering stories that fit our times.
What is literary tradition? What is a classic? What is a canonical view of tradition? How are canons of accepted classics formed,and how are they unformed? I think that all these quite traditional questions can take one simplistic but still dialectical question as their summing up: do we choose tradition or does it choose us, and why is it necessary that a choosing take place, or a being chosen? What happens if one tries to write, or to teach, or to think, or even to read without the sense of a tradition? Why, nothing at all happens, just nothing.
When Merle and I started out we called our music 'traditional plus,' meaning the traditional music of the Appalachian region plus whatever other styles we were in the mood to play.
Families are not merely constructs of outdated convention, and traditional marriage laws were not based on animosity toward homosexuals. Rather, I believe that the traditional family structure - centered on a lawful union between one man and one woman - comports with nature and with our Judeo-Christian moral tradition.
The Western music tradition is mostly addressed to a public that has a critical mind, and judges the quality of the writing, of the interpretation. And I think it is a great tradition! It pushes the musicians to always go further, and to never stop pushing the limits and explore what can be done with sounds. And great pieces of art were born from that tradition.
There is a long and interesting tradition of really marginal left-field music that becomes commercially successful. And I will, for a brief minute, fit into that tradition.
When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
People love the traditional pantomimes and I don't think we need to disregard that tradition.
I sort of hate the novel when it doesn't push, restlessly, against the tradition and the traditional.
First, it doesn't surprise me that traditional music has experienced a kind of exhaustion in the 20th century - not forgetting that many musicians started to look outside the traditional structures of tonality.
It's time to realise that tradition is fantastic but if because of tradition and only tradition you lose everyone it's less fantastic so you have to keep some tradition to this sport of course but you also have to live in your century.
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