My newest music student is a gentleman named Rob Precht. As is increasingly the case with people I teach privately, Rob lives many time zones away, and he and I have never met face to face. Instead, we’ve been conducting lessons via a combination of Skype and Splice. It’s the first really practical remote music teaching method I’ve used, and I can’t recommend it highly enough.
Rob came to me via this very blog. He’s a semi-retired lawyer who took some piano lessons as a kid but doesn’t have much other music training or experience. He approached me because he wanted to compose original music, and he thought (correctly) that computer-based production would be the best way to go about it. He had made a few tracks with GarageBand, but quickly switched over to Ableton Live after hearing me rave about it. We decided that the best approach would be to have him just continue to stumble through making original tracks, and I would help him refine and develop them.
I was asked on Quora to give a list of my favorite hip-hop songs, because what better source is there than a forty-year-old white dad? (I am literally a mountain climber who plays the electric guitar.) I did grow up in New York City in the 80s, and I do love the music. But ultimately, I’m a tourist in this culture. For a more definitive survey, ask Questlove or someone. These are just songs that I like.
Soon after I became a composer, Marc Weidenbaum made me a meta-composer. Which I guess makes him a meta-meta-composer? A hyperproducer? There isn’t a word for what Marc is, aside from “awesome.” The most concise way I can think of to describe what he does: he writes reviews of music that doesn’t exist yet and then gets internet strangers to make it. Each track on this playlist is a reading of my score called “Divergence/Convergence,” and each one is quite different from the next.
Here’s Marc’s version of the narrative behind all this music. In a nutshell: I was asked to write a score for the NYU Laptop Orchestra. They performed it. I got a recording of the performance and remixed it. Marc assigned the members of the Disquiet Junto to “perform” the score solo. I got to have the strange and delightful experience of hearing all of the diverse music that resulted.
Today I got to talk about rhythm visualization in general and the Groove Pizza in particular at the Spotify Monthly Music Hackathon. Click the image to see my talk, I start at 1:23:47.
Here are my slides:
Want me to come to your school, company, meetup or whatever, and do this talk? Or something like it? Get in touch.
The mighty river of social media recently brought an essay to my attention, The Arts Electric by Tom Uglow. His central point is that the computer has not yet fulfilled its potential as an art medium.
I started out agreeing with him, and ended thinking he’s missing the point. Let’s dissect! Continue reading
I’ve been blessed that both institutions where I teach music technology give me considerable freedom in how I do it. I find the music side to be quite a bit more interesting than the technology side, so I center my classes around creative music-making, and we address technical concepts as we encounter them. I’m learning that this approach is an unusual one, that music school is more about learning repertoire and technique and less about discovery and invention. I got some validation for my approach from The New Frontier: Secondary Project-Based General Music by Michael Hayden. His essay is basically proposing that all high school kids get to take my Music Tech 101 class.
One of the great privileges of working at NYU is having access to the state-of-the-art Dolan Studio. Listening to music on top-end Lipinskis through an SSL console in a control room designed by Philippe Starck is the most exquisite audio experience I’ve ever had, and likely will ever have. Unfortunately, it’s also very far removed from the circumstances in which I listen to music in my normal life. It isn’t even an issue of the speakers or amps, though of course mine are nowhere near as good as the ones in Dolan. It’s more about the listening environment.
Earlier this spring, I subbed for Adam Bell‘s Music Technology 101 class at Montclair State. His sections were populated more exclusively with classical conservatory kids than mine, so for my one-shot lesson, I figured I’d talk them through some items from my illicit collection of multitrack stems, and give them a sense of the history of the recorded art form.
First up was “A Day In The Life” by the Beatles.
While my son’s birth has been the most joyous event of my life, he has put a serious damper on my and Anna’s concert-going. I tell my musician friends: I’ll happily come to your gig, as long as it’s on a Sunday afternoon with walking distance of my apartment. Well, today, Björk obliged us by doing exactly that.
Anna and I have been to two of her shows previously, and both were delightful experiences, but they were also in support of her two weakest albums (Volta and Biophilia.) This time, however, Björk is touring with Vulnicura, a beautiful set of songs, her best work since Medúlla and a welcome return to the sonic palette of Homogenic. Here’s my favorite track:
Much as I love it, I thought it would be improved by adding samples of Marvin Gaye, the Yeah Yeah Yeahs, and the bassist on Paul Simon’s Graceland.
Recently we had some guys from Splice.com visit NYU to show off their intriguing new product. (It’s basically GitHub for musicians.)
The Splice guys demonstrated the power of networked collaboration with an exercise they call “musical shares.” Everybody starts a track in some DAW (we used GarageBand.) You work on your track for ten minutes. Then you share it with the person to your left, and you receive the track from the person on your right. You work on your neighbor’s track for ten minutes. Then you pass left again and spend ten minutes on another track. You repeat until you run out of time. Finally, you listen to your original track and experience the appropriate delight, or surprise, or horror. It’s somewhere between Exquisite Corpse and Telephone, and it’s a lot of fun.