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The Parkinson's Disease Academy M Strokes Moving on aster M masterstrokes S A RESOURCE TO SUPPORT GRADUATES from OF THE PARKINSON'S DISEASE ACADEMY Introduction Are your services developing While

This is one on a series of discussions that look at some significant developments over the years. This is one of only two chapters on the history of Master Strokes in this book, as it's chapter seven is entirely dedicated to Curtis Mayfield. The other chapter is dedicated to the work of Robert Fri pp. The latter chapter explores some many ways of working with and for Parkinson's disease in the last decades and the present day. It focuses particularly on the musical aspects of his work and his collaboration with Robert Fri pp. The subject is both important and relevant, as it's been twenty years since the passing of Robert Fri pp. Fri pp's work throughout his long career has been as an inspirational musician and musician-maker, who produced and arranged a host of classic and groundbreaking works spanning music genres from rock to classical. With the passing of Robert Fri pp, this book will no doubt continue to attract the attention of a new generation of musicians for the way in which his life and work have been honored. It's also important to acknowledge that, not unlike Curtis Mayfield's Master Strokes, Robert Fri pp's music has grown out of the experiences and creative insights that he's gained through years of dealing with the disease. As such, it has become something that he's been able to share and used to make music on his own terms, and to develop, refine and apply a style that comes from a strong sense of playfulness and improvisation. It's a music-making approach that brings a sense of fun and spontaneity to his compositions. But, more importantly though, it's a creative approach of a very different order from the formalism of the standard classical model that many classical musicians, myself included, had grown accustomed to. It's not a new idea in classical music or in the classical music world to work with a form of music such as jazz that often is very formal in its execution, but rather to create music that has a sense of whimsy and playfulness to it, and then put some of that whimsical improvisation into the compositions itself, in order to make it seem as if the music is all that was intended or planned on the musicians' end. It's this sense of playfulness that enables the listener to make some sense of an otherwise incomprehensible piece of music, as the listener finds herself/himself responding to the pieces as though they were part of the composer's creative process, instead of being read as the product of some professional production process.

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