I’ve toyed around with several iPhone and iPad music apps. Many are intriguing and fun, but few have inspired me into making “real” music. In preparation for the next Disquiet Junto project, I downloaded Nodebeat and tried some improvisation. I like the result: The app combines randomness and control in an intriguing way. I [...]
Also filed in Composition, Hardware, Improvisation, Interfaces, Music, Video Games
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Tagged animoog, Composition, electronica, figure, Improvisation, ios, ipad, Music, nodebeat, random, touch
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The seminar I’ve been taking with Morton Subotnick is sadly drawing to a close. As part of the end of the semester, we were invited to Professor Subotnick’s home studio, a few blocks from NYU, to get a demonstration of the setup he uses in performances.
Also filed in Composition, Hardware, Improvisation, Interfaces, Key Musicians, Music, Sampling
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Tagged ableton, avant-garde, buchla, classical, Composition, electronica, experimental, Improvisation, midi, morton subotnick, nyu
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Here’s an email conversation I’ve been having with my friend Greg Brown about Kanye West’s recent albums. Greg is a classical composer and performer with a much more avant-garde sensibility than mine. The exchange is lightly edited for clarity. Greg: I’ve been listening to 808s and Heartbreak and Twisted Fantasy. I’m really enjoying them. Far [...]
Also filed in Emotion, Key Musicians, Music, Recording
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Tagged 808, 808s and heartbreak, autotune, classical, distortion, fiona apple, frank ocean, hip-hop, jay-z, john adams, kanye west, pop, posthuman, rnb, Sampling, singing, soul, watch the throne
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Steven R. Livingstone, Ralf Muhlberger, Andrew R. Brown, and William F. Thompson. Changing Musical Emotion: A Computational Rule System for Modifying Score and Performance. Computer Music Journal, 34:1, pp. 41–64, Spring 2010. The authors present CMERS, “a Computational Music Emotion Rule System for the real-time control of musical emotion that modifies features at both the [...]
Alan Blackwell and Nick Collins. The Programming Language as a Musical Instrument. In P. Romero, J. Good, E. Acosta Chaparro & S. Bryant (Eds). Proc. PPIG 17, pp. 120-130. Any musician who wants to be competent with digital production tools has to take on qualities of a programmer. Music notation is itself a “programming language” [...]
Joshua Pablo Rosenstock. Free Play Meets Gameplay: iGotBand, a Video Game for Improvisers. Leonardo Music Journal, Vol. 20, pp. 11–15, 2010. Guitar Hero, Rock Band and games like them have done a wonderful service to non-musicians. The games give a good sense of what playing an instrument in a band is like. The interface is [...]
Also filed in Composition, Improvisation, Interfaces, Music, Video Games
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Tagged games, guitar hero, Improvisation, linkedin, nyu, play, rock band, Video Games
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Saville, Kirt. Strategies for Using Repetition as a Powerful Teaching Tool. Music Educators Journal, 2011 98: 69 When a student brings a recorded song to me that they want to learn, the first thing I do is load it into Ableton and mark off the different sections with a simple color-coding scheme: blue for verses, [...]
Also filed in Music Teaching, Sampling
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Tagged ableton, attention, chunking, flow, linkedin, looping, memory, nyu, teaching, transcribe
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Saturday, February 25, 2012
Chapman, Dale. “That Ill, Tight Sound”: Telepresence and Biopolitics in Post-Timbaland Rap Production. Journal of the Society for American Music (2008) Volume 2, Number 2, pp. 155–175. Chapman examines the impact that Timbaland has had on popular music production, and what his significance is to the broader culture. While Timbaland himself is no longer the [...]
Also filed in Key Musicians, Music, Race and Identity, Recording, Sampling, Technology
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Tagged anxiety, dance, hip-hop, Internet, linkedin, missy elliot, pop, posthuman, production, technomusicology, timbaland
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Auto-tune was already a well-established studio tool by the time “Believe” came out, though it was unknown outside the music industry.
Also filed in Music, Recording
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Tagged autotune, cher, dance, electronica, Music, pop, posthuman, quora, Recording, Software
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Wednesday, November 16, 2011
The best remix/mashup tool that I’ve used is Ableton Live. For many years I used a combination of Recycle, Reason and Pro Tools, which was cumbersome and labor-intensive. Ableton handles the same tasks more easily and has a bunch of cool effects the other programs don’t.