Solange Knowles is Beyoncé’s artsier younger sister. “Cranes In The Sky” is her biggest hit so far. It manages the rare feat of being both extremely catchy and extremely weird.
Solange helpfully explains her songwriting process on the invaluable Song Exploder podcast.
Over on Quora, David Leigh complains that it doesn’t take much musical ability to be a popular singer these days, not like when Enrico Caruso sold a million records. People had taste back then. Kids today, amirite?
Here’s my response: Continue reading
Public-facing note taking on Music Matters by David Elliott and Marissa Silverman for my Philosophy of Music Education class.
This chapter addresses musical meaning and how it emerges out of context. More accurately, it addresses how every musical experience has many meanings that emerge from many contexts. Elliott and Silverman begin with the meanings of performance, before moving into the meanings of composition, listening and so on. They insist that performance is not an activity limited to an elite cadre of “talented” people, that it is within reach of anyone who has the proper support.
We propose that people’s capacities for and enactments of an intrinsic motivation to engage in different kinds of musicing and listening are extremely widespread phenomena, restricted only by lack of musical opportunities, or ineffective and indifferent music teaching. Indeed, developing a love for and devotion to musicing and listening is not unusual when students are fortunate enough to learn from musically and educationally excellent teachers and [community music] facilitators, and when they encounter inspiring models of musicing in contexts of welcoming, sustaining, and educative musical settings, including home and community contexts (240).
The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.
Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab‘s own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.
The Ed Sullivan Fellows program is an initiative by the NYU MusEDLab connecting up-and-coming hip-hop musicians to mentors, studio time, and creative and technical guidance. Our session this past Saturday got off to an intense start, talking about the role of young musicians of color in a world of the police brutality and Black Lives Matter. The Fellows are looking to Kendrick Lamar and Chance The Rapper to speak social and emotional truths through music. It’s a brave and difficult job they’ve taken on.
Eventually, we moved from heavy conversation into working on the Fellows’ projects, which this week involved branding and image. I was at kind of a loose end in this context, so I set up the MusEDLab’s Push controller and started playing around with it. Rohan, one of the Fellows, immediately gravitated to it, and understandably so.
This summer, I’m teaching Cultural Significance of Rap and Rock at Montclair State University. It’s my first time teaching it, and it’s also the first time anyone has taught it completely online. The course is cross-listed under music and African-American studies. Here’s a draft of my syllabus, omitting details of the grading and such. I welcome your questions, comments and criticism.
My youngest private music production student is a kid named Ilan. He makes moody trip-hop and deep house using Ableton Live. For our session today, Ilan came in with a downtempo, jazzy hip-hop instrumental. I helped him refine and polish it, and then we talked about his ideas for what kind of vocal might work on top. He wanted an emcee to flow over it, so I gave him my folder of hip-hop acapellas I’ve collected. The first one he tried was “Fu-Gee-La [Refugee Camp Remix]” by the Fugees.
I had it all warped out already, so all he had to do was drag and drop it into his session and press play. It sounded great, so he ran with it. Here’s what he ended up with:
I use a project-based approach to teaching music technology. Technical concepts stick with you better if you learn them in the course of making actual music. Here’s the list of projects I assign to my college classes and private students. I’ve arranged them from easiest to hardest. The first five projects are suitable for a beginner-level class using any DAW–my beginners use GarageBand. The last two projects are more advanced and require a DAW with sophisticated editing tools and effects, like Ableton Live. If you’re a teacher, feel free to use these (and let me know if you do). Same goes for all you bedroom producers and self-teachers.
The projects are agnostic as to musical content, style or genre. However, the computer is best suited to making electronic music, and most of these projects work best in the pop/hip-hop/techno sphere. Experimental, ambient or film music approaches also work well. Many of them draw on the Disquiet Junto. Enjoy.
I’m currently working with the Ed Sullivan Fellows program, an initiative of the NYU MusEDLab where we mentor up and coming rappers and producers. Many of them are working with beats they got from YouTube or SoundCloud. That’s fine for working out ideas, but to get to the next level, the Fellows need to be making their own beats. Partially this is for intellectual property reasons, and partially it’s because the quality of mp3s you get from YouTube is not so good. Here’s a collection of resources and ideas I collected for them, and that you might find useful too.
If you’ve ever wondered what it is that a music producer does exactly, David Bowie’s “Space Oddity” is a crystal clear example. To put it in a nutshell, a producer turns this: