Music can be transformative, utterly transformative. The act of music is utterly transformative.

To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.

Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, if you'd knew Michael, you would know he didn't agree to the album cover either. So maybe Michael didn't agree to the point of definition with many things.

Then certainly for a musician timing becomes something that is immediately accessible as a concept, because it's a necessity in ones everyday performance.

However, in modern conceptual frameworks there is a more sophisticated view. I would say that the act of music exists in several worlds simultaneously.

The spoken form is in fact a very restrained representation of what is possible in the musical language.

If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?