Robert Fripp Quotes

Music is a language.

Music is a language, you see, a universal language.

I think that a song, when it works, never mind a piece of long form music, even a song is something that speaks to itself but has a language all of its own, ideally.

Music has no subject beyond the combinations of notes we hear, for music speaks not only by means of sounds, it speaks nothing but sound.

I think music is another language.

If you think of music as a language, the space part is where you throw out all the syntax.

I believe that music is a spiritual language. My everyday self is pretty mundane and boring, but when I'm making music it allows for me to communicate a kind of transcendence that I can't communicate otherwise.

You know, I think music is very interactive. It's a - it's a language.

Music is its own language - if you don't speak it, it's hard to say what you're trying to do.

My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.

All music has to speak in some form or other.

Music assists him in the use of harmonic and mathematical proportion.

My proposition is that music is at the heart of what 'The Magic Flute' means: that it's Mozart's music, not the words, we should be attending to. Music expresses what can't be expressed otherwise.

Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.

I think there are so many ways to become interested in music. I believe signs of sustained interest gives a sense of the right time. Music, if thought of as a language, would perhaps indicate that as early as possible is not so bad. I do believe that a really nurturing first teacher that makes the child love something is crucial.

Music has a poetry of its own, and that poetry is called melody.

I hear music as narrative.

I've always wanted to make music like people write plays, so I was inspired by writers as much as musicians.

My training in music and composition then led me to a kind of musical language process in which, for example, the sound of the words I play with has to expose their true meaning against their will so to speak.

It's really only all about music. It's not like a big rocket scientist kind of philosophy or anything.

Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.

The German language speaks Being, while all the others merely speak of Being.

Interplay and interaction are the integral parts of music - they're as important as the notes.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

Trying to describe something musical is like dancing to architecture, it's really difficult.