Robertson, David G.
(2017).
| DOI (Digital Object Identifier) Link: | https://doi.org/10.1163/15685292-02101010 |
|---|---|
| Google Scholar: | Look up in Google Scholar |
Abstract
In 1974, Robert Fripp—leader of the progressive rock group King Crimson—had a spiritual experience in which “the top of [his] head blew off.” He became a student of J. G. Bennett, himself a former student of G. I. Gurdjieff, at Sherborne House in Gloucestershire, and remains a member of the Bennett Foundation to this day. When Fripp returned to the music industry, it was with an approach that favored disciplined and geometric compositions over the jagged improvisation of the earlier period. This article explores the influence of Gurdjieff and Bennett’s teaching upon Fripp and his work, and his apparent attempts to realize the former’s idea of “objective art” through his music. I pay particular attention to the development of Guitar Craft, in which Fripp applies Gurdjieff’s techniques through the teaching of the guitar. I argue that Fripp’s teaching is a little examined scion of the Gurdjieff lineage, and a case study of discrete cultural production.
| Item Type: | Journal Item |
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| Copyright Holders: | 2017 Koninklijke Brill NV, Leiden |
| ISSN: | 1568-5292 |
| Keywords: | Robert Fripp; G. I. Gurdjieff; J. G. Bennett; Fourth Way; progressive rock |
| Academic Unit/School: | Faculty of Arts and Social Sciences (FASS) > Social Sciences and Global Studies > Religious Studies Faculty of Arts and Social Sciences (FASS) > Social Sciences and Global Studies Faculty of Arts and Social Sciences (FASS) |
| Item ID: | 68544 |
| Depositing User: | David Robertson |
| Date Deposited: | 16 Dec 2019 14:18 |
| Last Modified: | 06 Jan 2020 05:38 |
| URI: | http://oro.open.ac.uk/id/eprint/68544 |
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