I have started working with a startup called Musicto, which creates playlists curated by humans around particular themes. For example: music to grieve to, music to clean house to, music to fight evil. My first playlist is music to sing your hipster baby to sleep.
These are songs I have been singing to my kids, and that I recommend you sing to yours. It isn’t just a playlist, though. Each track is accompanied by a short blog post explaining what’s so special about it. New tracks will be added regularly in the coming weeks. If you’d like, you can follow the playlist on Twitter. If this sounds like the kind of thing you might enjoy putting together, the company is seeking more curators.
Ableton recently launched a delightful web site that teaches the basics of beatmaking, production and music theory using elegant interactives. If you’re interested in music education, creation, or user experience design, you owe it to yourself to try it out.
I’m currently working on a book chapter about the Disquiet Junto, the internet’s most innovative creative music community, run by author and blogging inspiration Marc Weidenbaum.
As part of my research, I conducted a survey of the Junto mailing list. Here’s a summary of the first 130 responses. Continue reading
Final paper for Approaches To Qualitative Inquiry with Colleen Larson
Section 1: Reflections on Received View of Research
I was raised by two medical researchers and a former astrophysicist, surrounded by stacks of quantitative journals. I rarely questioned the assumption that quantitative empirical research is the gold standard of truth, and that while subjective accounts are interesting and illuminating, they are not ultimately reliable. From scientists I learned that stories belong to mythology, while facts do not necessarily organize themselves in ways that can be apprehended so easily. Creation myths tell the story of a human-scale world in which humans are the most important element. Astrophysicists tell us that the universe is unfathomably vast and incomprehensibly old, and that we are insignificant in the grand scheme of things, while evolution teaches that we are more like mushrooms or daisies than unlike them. It is axiomatic for scientists that reality is empirically knowable, and while social and emotional considerations are a fact of life, they are noise to be filtered out.
Final paper for Principles of Empirical Research with Catherine Voulgarides
Jamie Ehrenfeld is a colleague of mine in the NYU Music Experience Design Lab. She graduated from NYU’s music education program, and now teaches music at Eagle Academy in Brownsville. Like many members of the lab, she straddles musical worlds, bringing her training in classical voice to her work mentoring rappers and R&B singers. We often talk about our own music learning experiences. In one such discussion, Jamie remarked: “I got a music degree without ever writing a song” (personal communication, April 29 2017). Across her secondary and undergraduate training, she had no opportunity to engage with the creative processes behind popular music. Her experience is hardly unusual. There is a wide and growing divide behind the culture of school music and the culture of music generally. Music educators are steeped in the habitus of classical music, at a time when our culture is increasingly defined by the music of the African diaspora: hip-hop, R&B, electronic dance music, and rock. Continue reading
Note: I refer to mentors by their real names, and to participants by pseudonyms
Ed Sullivan Fellows (ESF) is a mentorship and artist development program run by the NYU Steinhardt Music Experience Design Lab. It came about by a combination of happenstances. I had a private music production student named Rob Precht, who had found my blog via a Google search. He and I usually held our lessons in the lab’s office space. Over the course of a few months, Rob met people from the lab and heard about our projects. He found us sufficiently inspiring that he approached us with an idea. He wanted to give us a grant to start a program that would help young people from under-resourced communities get a start in the music industry. He asked us to name it after his grandfather, Ed Sullivan, whose show had been crucial to launching the careers of Elvis, the Beatles, and the Jackson 5. While Rob’s initial idea had been to work with refugees who had relocated to New York, we agreed to shift the focus to native New York City residents, since our connections and competencies were stronger there.
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 (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.
Cyclic Defrost, the uber-hip online Australian music magazine, features an interview I did with Jason Richardson. We talk blogging, sample culture, music visualization, mumble rap, and many other subjects. Check it out!
Over on the Soundfly blog, you can see a video from our new harmony course in which I talk through the fascinating chord progression from “Crazy” by Gnarls Barkley. Check it out!
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.
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.