Here, we’ve compiled a list of the best Traditional Music Quotes from famous authors such as P. J. Harvey, Nobuo Uematsu, Robbie Robertson, Brian Eno, Pierre Schaeffer. Let’s look at these pieces of wisdom. We definitely have something to learn from them!
I didn’t know folk music growing up, no. It’s something I’ve come to study, really, because I think there’s so much to learn from traditional music in the sense of the way music began as a way of communication, the traveling storyteller, the bard, the minstrels.
I have been interested in Irish traditional music for the past few years.
I love traditional music. But in any culture around the world, there is the historic and cultural music and everything that’s been passed down and passed down, and hopefully you take that, and then you take it, you know, the next distance, and then somebody else takes it the next distance.
Once music ceases to be ephemeral – always disappearing – and becomes instead material… it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.
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.
I’d like to be remembered as a keeper of the flame who kept traditional music alive, because I’ve been doing that twice as long as I was in the Byrds.
‘Filk’ is the folk music of the science fiction and fantasy community – you get parodies, you get traditional music that’s had the words slightly modified, and you’ll also get just original works that have been written about science fiction and fantasy works, or with science fiction and fantasy themes.
Once you’re in a particular country, and you’re surrounded by musicians who are so adept at traditional music, you suddenly realize how much there is to explore and digest and learn and experience.
Apart from Scottish traditional music, I wasn’t really influenced by any kind of music. I just basically followed my own instincts.
By the mid-’60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.
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.
When I discovered minimal music I felt I could create my vision – it was totally different to traditional music.