"Music is an art form too. Sometimes other forms of art can be inspiring to the musician"
About this Quote
There is a quiet defensiveness baked into Ken Hill's line: "Music is an art form too". The "too" is doing the real work, implying a cultural hierarchy in which music gets treated as entertainment, ornament, or atmosphere while the so-called serious arts claim the higher ground. Coming from a playwright, it reads less like a musician lobbying for status and more like a theatre-maker pointing out a fact the arts world conveniently forgets when budgets, awards, and prestige get handed out.
Hill's second sentence sharpens the intent. He's not arguing for music's purity or separateness; he's arguing for its permeability. Theatre is the obvious subtext here: plays are already a collision of forms (text, performance, design, rhythm, silence). By saying other arts can "inspire" the musician, Hill is also smuggling in a claim about process. Composition isn't just technical craft or spontaneous genius; it's a conversation with paintings, stories, movement, architecture, even the staging logic of a scene.
Context matters: Hill spent his career adapting and reshaping existing works, often in musical contexts, long before "interdisciplinary" became an arts-funding buzzword. His phrasing is plain, almost apologetic, which is precisely why it lands. He's not romanticizing cross-pollination; he's normalizing it. The deeper message is political as well as aesthetic: stop policing borders between mediums, because the most alive work is usually made by artists who steal respectfully from one another and call it collaboration.
Hill's second sentence sharpens the intent. He's not arguing for music's purity or separateness; he's arguing for its permeability. Theatre is the obvious subtext here: plays are already a collision of forms (text, performance, design, rhythm, silence). By saying other arts can "inspire" the musician, Hill is also smuggling in a claim about process. Composition isn't just technical craft or spontaneous genius; it's a conversation with paintings, stories, movement, architecture, even the staging logic of a scene.
Context matters: Hill spent his career adapting and reshaping existing works, often in musical contexts, long before "interdisciplinary" became an arts-funding buzzword. His phrasing is plain, almost apologetic, which is precisely why it lands. He's not romanticizing cross-pollination; he's normalizing it. The deeper message is political as well as aesthetic: stop policing borders between mediums, because the most alive work is usually made by artists who steal respectfully from one another and call it collaboration.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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