Writing assignment for Ethnomusicology: History and Theory with David Samuels
People like me listen to world music to hope for and imagine a world without imperialism. I’ve sampled Central African pygmy music in my own work, and while I do a better job of attributing my sources than Deep Forest does, I’m motivated by the same impulse.
Timothy Brennan attributes the popularity of African diasporic music among white people to our unconscious desire to resist imperial capitalism. The same is true of world music.
More than just expanding tastes, world music characterizes a longing in metropolitan centers of Europe and North America for what is not Europe or North America… It represents a flight from the Euro-self at the very moment of that self’s suffocating hegemony, as though people were driven away by the image stalking them in the mirror (Brennan 2001, 46).
This post documents a presentation I’m giving in my History of Science and Technology class with Myles Jackson.
The vocoder is one of those mysterious technologies that’s far more widely used than understood. Here I explain what it is, how it works, and why you should care. A casual music listener knows the vocoder best as a way to make that robot voice effect that Daft Punk uses all the time.
Here’s Huston Singletary demonstrating the vocoder in Ableton Live.
This is a nifty effect, but why should you care? For one thing, you use this technology every time you talk on your cell phone. For another, this effect gave rise to Auto-Tune, which, love it or hate it, is the defining sound of contemporary popular music. Let’s dive in!
I use variations on this project list for all of my courses. In Advanced Digital Audio Production at Montclair State University, students do all of these assignments. Students in Music Technology 101 do all of them except the ones marked Advanced. My syllabus for the NYU Music Education Technology Practicum has an additional recording studio project in place of the final project. Here’s the project list in Google Spreadsheet format.
I talk very little about microphone technology or technique in my classes. This is because I find this information to only be useful in the context of actual recording studio work, and my classes do not have regular access to a studio. I do spend one class period on home recording with the SM58 and SM57, and talk a bit about mic technique for singers. I encourage students who want to go deeper into audio recording to take a class specifically on that subject, or to read something like the Moylan book.
My project-based approach is informed strongly by Matt Mclean and Alex Ruthmann. Read more about their methods here.
I do not require any text. However, for education majors, I strongly recommend Teaching Music Through Composition by Barbara Freedman and Music Technology and Education: Amplifying Musicality by Andrew Brown.
The MusEDLab will soon be launching a revamped version of the aQWERTYon with some enhancements to its visual design, including a new scale picker. Beyond our desire to make our stuff look cooler, the scale picker represents a challenge that we’ve struggled with since the earliest days of aQW development. On the one hand, we want to offer users a wide variety of intriguing and exotic scales to play with. On the other hand, our audience of beginner and intermediate musicians is likely to be horrified by a list of terms like “Lydian dominant mode.” I recently had the idea to represent all the scales as colorful icons, like so:
Read more about the rationale and process behind this change here. In this post, I’ll explain what the icons mean, and how they can someday become the basis for a set of new interactive music theory visualizations.
I complain a lot on this blog about the traditional teaching of music theory. Fortunately, a better alternative exists: Everyday Tonality by Philip Tagg. Don’t be put off by the DIY look of the web site; the book is the single best explanation I know of for how harmony works across a broad spectrum of the world’s music.
One of our key design principles at the NYU MusEDLab is not to confront beginners with a blank canvas. We want to introduce people to our tools by giving them specific, real-world music to play around with. That was the motivation behind creating presets for the aQWERTYon, and a similar impulse informs Ableton’s approach to their online music tutorials. The Groove Pizza comes with some preset patterns (specials), but there aren’t direct prompts for creative beatmaking. This post introduces some prototype prompts.
Recently someone posted this performance of the chaconne from Bach’s violin partita in D minor on an eleven-string guitar.
My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward approach, without all the romantic schmaltz.
I also enjoy the version from Morimur, and I’m not alone. This is one of the most popular classical albums of all time:
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.