A draft of my final paper for Philosophy of Music Education with David Elliott – thoughts welcome as I revise it.
Our world is saturated with recorded music. It is effortlessly accessible, and, at times, inescapable. This environment poses new challenges to anyone who aspires to create or perform music. When we come face to face with the ocean of recordings, it is natural to feel helpless. Does recorded music thus inevitably limit most people to passive appreciation? Or can recordings themselves become the impetus for new kinds of active participation and expression? And if so, how do we balance the right of copyright holders to control the use of their work with our right to make new creative use of that work?
In this paper, I use a framework developed by Turino (2016, 2008) to distinguish between “presentational” and “participatory” music. I inquire into the nature of musical participation, and what (if anything) distinguishes interpretation from creation. I then give an overview of sampling as an artistic practice, paying particular attention to the challenges to this practice posed by copyright law and the status of recorded music as a commercial product. Finally, I ask what our ethical obligations are as musicians toward the copyright regime. Must we always operate within the law even if it conflicts with our creative needs, or should we engage in civil disobedience?
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
Writing assignment for Design For The Real World with Claire Kearney-Volpe and Diana Castro – research about a new rhythm interface for blind and low-vision novice musicians
I propose a new web-based accessible rhythm instrument called QWERTYBeats.
Traditional instruments are highly accessible to blind and low-vision musicians. Electronic music production tools are not. I look at the history of accessible instruments and software interfaces, give an overview of current electronic music hardware and software, and discuss the design considerations underlying my project. Continue reading
I’m continuing to gather materials for my upcoming ISMIR 2016 presentation on Why Hip-Hop Is Interesting. One of my big themes is the melodic content of rap. Emcees are deliberate in their use of pitch, whether they’re singing or rapping or some combination of the two. In the post, I’ll analyze segments of three great emcees’ flow. I made the graphics by loading acapella tracks into Melodyne, and then added the lyric annotations by hand using Omnigraffle. The selection of these tracks represents the intersection of “songs that I like” and “acapellas that are available to me.”
Eric B and Rakim – “Follow The Leader”
Emcee: Rakim Allah
Rakim Allah stands out among eighties rappers for the complexity and subtlety of his flow. Here’s an excerpt from verse one:
In a previous post, I used the Groove Pizza to visualize some classic hip-hop beats. But the kids are all about trap beats right now, which work differently from the funk-based boom-bap of my era.
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.
The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes.
You can hear the three third-generation metaremixes below.
Here’s a strange and interesting thing that happened to me. The assignment for Disquiet Junto project 233 was to remix three tracks. The assignment for Junto project 234 was to metaremix one of the remixes from project 233. One of the people whose remix I metaremixed was listening to my track and accidentally had it playing in two different browser tabs simultaneously. He liked how it sounded, so he did a metametaremix with two copies of my metaremix offset by a few beats. It came out amazing!