I been doing music my whole life.
If you think about it, everything we do in life is set to some kind of music.
Music should probably provide answers in terms of lyrical content, and giving people a sense of togetherness and oneness, as opposed to being alone in their thoughts and dilemmas or regrets or happiness or whatever.
Every significant event that takes place in our lives is set to some kind of music.
It's rather like attending a university seminar where you are talking to a few gifted specialists who deliver a paper to an audience of their peers. That's one way of making music.
Music history has flowed under the bridges for many years.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
Somehow in the 20th Century an idea has developed that music is an activity or skill which is not comprehensible to the man in the street. This is an arrogant assertion and not necessarily a true one.
The academic area of new music or modern music festivals is not something which attracts me at all.
There's another way of making music, by touching the lives and feelings of ordinary people.
Writing tonal music now, you are not writing into the 19th Century.
Sport is an international phenomenon, like science or music.
I seldom play in a trio, but acoustic music is likely to be lighter, quicker, and quieter.
And I like messing around in the engine room of music. Seeing what happens in the rhythm section area.
I didn't write any music at all, and then, I remember Jon Anderson being very insistent saying that there were two kinds of musicians: the ones who wrote music and the ones who didn't.