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 course, Theory for Producers, 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.
At age four, Milo wrote a song! It was inspired by an episode of Thomas the Tank Engine, where Stephen is lost in the old mine, and Sir Topham Hatt organizes a search party. The verses are a little confusing and are different every time he sings them, but the chorus is remarkably catchy.
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.
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.
Note-taking for Learning of Culture with Lisa Stulberg
The final reading for Learning of Culture is Despite the Best Intentions: How Racial Inequality Thrives in Good Schools by Amanda Lewis and John Diamond.
Public-facing note-taking for Philosophy of Music Education with David Elliott
This week, I’m taking a look at two chapters from a new book on the red-hot topic of artistic citizenship, the social responsibility of artists and arts educators.
QWERTYBeats 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 here. Continue reading
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.
Some thoughts gathered from Twitter this morning:
Inspired by Harry Belafonte, we’re reading this Langston Hughes poem in class right now. And listening to the Hamilton Mixtape.
The mood in the Park Slope Food Coop this morning was like a New Orleans funeral–multiethnic people talking about genocide to a soundtrack of funky jazz.
Midterm paper for Learning of Culture with Lisa Stulberg
Max Weber locates the roots of capitalism in vestigial puritanical Protestantism. Émile Durkheim, in turn, gives a theory of how that Protestantism arose in the first place. In this paper, I ask two questions. First: can Weber’s and Durkheim’s theories of religion be extended to explain culture generally? Second, and more specifically: can their theories explain music?
Music is a valuable lens for examining cultures, because while every world culture includes it, the particular form and function varies considerably from one culture to another. Contemporary America contains a variety of musical subcultures and countercultures that overlap and conflict with one another. We might follow Weber’s example and say that America’s culture has capitalism as its single defining feature. And we might say that America’s commercial pop mainstream defines our musical culture. But those two generalizations conceal roiling masses of unresolved conflict.
Public-facing note taking on Music Matters by David Elliott and Marissa Silverman for my Philosophy of Music Education class.
Research into music psychology (and simply attending to your own experience, and to common sense) shows that music arouses emotions. However, there is no conclusive way to explain why or how. To make things more complicated, it’s perfectly possible to perceive an emotion in a piece of music without feeling that emotion yourself–you can identify a happy song as being happy without it making you feel happy. Music and emotion are inextricably tied up with each other, but how does music arouse emotions, and how do emotions infuse music?
Elliott and Silverman summarize some major philosophical theories of musical emotion (or lack thereof). Continue reading