Design-Based Research

Note-taking for Research on Games and Simulations with Jan Plass

Barab, S. A. (2014). Design-based research: a methodological toolkit for engineering change. In K. Sawyer (ed.) Handbook of the Learning Sciences, Vol 2, (pp. 233-270), Cambridge, MA: Cambridge University Press.

Design-based research

Design-based research (DBR) is a subject close to my heart, because it was the basis of my masters thesis, and informs the work of the NYU Music Experience Design Lab. All of our tools are designed and tested in the context of messy and complex natural learning and creating environments: classrooms, bedrooms, studios, and public events. We evaluate our tools continuously, but the only purely empirical and “experimental” methods we use involve Google analytics. We sometimes conduct user research in formal settings, but mostly observe practice “in the wild” between regular iterations.

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New online music theory course with Soundfly!

I’m delighted to announce that my new online music theory collaboration with Soundfly is live. It’s called Unlocking the Emotional Power of Chords, and it gives you a practical guide to harmony for creators of contemporary pop, R&B, hip-hop, and EDM. We tie all the abstract music theory concepts to real-world musical usages, showing how you can use particular chord combinations to evoke particular feelings. I worked hard with the team at Soundfly on this over the past few months, and we are super jazzed about it.

Unlocking the Emotional Power of Chords

Like my previous Soundfly courses, the Theory for Producers series, the chords class is a blend of videos, online interactives and composition/production challenges. The musical examples are songs by people like Adele, Chance the Rapper, and Frank Ocean. You can download the MIDI files for each example, stick them in your DAW, and dive right into hands-on music making.

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Descriptive Participant Observations on the Culture of the Park Slope Food Coop

Writing assignment for Approaches to Qualitative Inquiry with Colleen Larson

The Park Slope Coop (PSFC) is a nonprofit organization founded in 1973. It offers sustainably and ethically produced food and grocery items. Because it needs only to cover costs rather than turn a profit, the PSFC’s prices are substantially lower than a typical Brooklyn grocery store. Since its founding, it has grown from a small ad-hoc organization into a substantial neighborhood institution with over 17,000 members. Only Coop members are allowed to shop, and members are required to work a monthly two hour and forty-five minute volunteer shift. This is unusual—most food coops give members the option of paying a membership fee rather than working. The PSFC is managed by a core staff of paid employees, but members perform much of the day-to-day labor, which helps keep costs low.

Park Slope Food Coop exterior

The aisles are narrow, stacked floor to ceiling with inventory. Per the web site, the store carries “local, organic and conventionally grown produce; pasture-raised and grass-fed meat; free-range, organic and kosher poultry; fair-traded chocolate and coffee; wild and sustainably farmed fish; supplements and vitamins; imported and artisan cheese; freshly baked bread, bagels and pastries; bulk grains and spices; environmentally safe cleaning supplies, and much more.” The PSFC generates over fifty million dollars in sales revenue per year, with a “shrink rate” (merchandise lost, damaged or stolen) of about half the industry average. The environment feels markedly different from a typical grocery store. There is a conspicuous absence of candy, magazines, soda, marketing aimed at kids, and branding and marketing generally. The only periodical available is the PSFC’s own Linewaiter’s Gazette, which resembles a high school newspaper.

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QWERTYBeats design documentation

QWERTYBeats logoQWERTYBeats is a proposed accessible, beginner-friendly rhythm performance tool with a basic built-in sampler. By simply holding down different combinations of keys on a standard computer keyboard, users can play complex syncopations and polyrhythms. If the app is synced to the tempo of a DAW or other music playback system, the user can easily perform good-sounding rhythms over any song. 

This project is part of Design For The Real World, an NYU ITP course. We are collaborating with the BEAT Rockers, the Lavelle School for the Blind, and the NYU Music Experience Design Lab. Read some background research hereContinue reading

Artistic citizenship in the age of Trump

Public-facing note taking for Philosophy of Music Education with David Elliott

This week I’m reading about the social and ethical responsibilities of artists generally, and musicians and music educators in particular. That topic is especially relevant at the moment.  

Before we get to the moral philosophy aspect, let’s talk about this performance. Why is it so good? Movies and TV have run “Hallelujah” into the ground, but for good reason. The song blends joy and pain together as well as any song ever has.It’s right there in the first verse: “the minor fall, and the major lift.” It’s the same reason we love “Amazing Grace,” and the blues.

You can hear Kate McKinnon’s Leonard Cohen tribute as the concession speech Hillary Clinton would have made in a perfect world. This verse in particular gave me chills:

I did my best, it wasn’t much
I couldn’t feel, so I tried to touch
I’ve told the truth, I didn’t come to fool you
And even though it all went wrong
I’ll stand before the Lord of Song
With nothing on my tongue but Hallelujah

You can also hear it as an expression of Kate McKinnon herself, a queer woman mourning the world of growing inclusiveness that she thought she was moving into, the one we all thought we were moving into. And you can hear Leonard Cohen’s bitter irony, too. SNL had Trump as its host just last year, and they’re as much to blame for normalizing him as anyone.

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