I’m a proud member of the NYU Music Experience Design Lab, a research group that crosses the disciplines of music education, technology, and design. Here’s an overview of our many ongoing projects.
The folks at Olympia Noise Co recently came out with a new circular drum machine for iOS called Patterning, and it’s pretty fabulous.
The app’s futuristic look jumps right out at you: flat-colored geometric shapes with zero adornment, in the spirit of Propellerhead Figure. There’s nothing on the screen that doesn’t function in some way. It’s a little dense at first glance, but a complex tool is bound to have a complex interface, and Patterning reveals itself easily through exploration.
I’m part of a research group at NYU called the Music Experience Design Lab. One of our projects is called Play With Your Music, a series of online interactive music courses. We’re currently developing the latest iteration, called Play With Your Music: Theory. Each module presents a “musical simple,” a short and memorable loop of melody or rhythm. Each simple is a window into one or more music theory concepts. Users can learn and play with the simples using a new interface called the aQWERTYon, which maps scales and chords to the regular computer keyboard.
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.
If you want to understand the cultural struggle taking place in music education right now, you could do worse than to start with the harmonica.
This unassuming little instrument was designed in central Europe in the 19th century to play the music popular in that time and place: waltzes, oom-pah music, and the like. All of this music is diatonic, meaning that it’s based around the major scale, the do-re-mi you learned in school. It’s also the music that you learn if you take a formal music theory class.
I have a thing for circular rhythm visualizations. So I was naturally pretty excited to learn that Meara O’Reilly and Sam Tarakajian were making an app inspired by the circular drum pattern analyses of Godfried Toussaint, who helped me understand mathematically why son clave is so awesome. The app is called Rhythm Necklace, and I got to beta test it for a few weeks before it came out. As you can see from the screencaps below, it is super futuristic.
The app is delightful by itself, but it really gets to be miraculous when you use it as a wireless MIDI controller for Ableton. Here’s some music I’ve made that way.
I was expecting to use this thing as a way to sequence drums. Instead, its real value turns out to be that it’s a way to perform melodies in real time. Continue reading
I’ve been asked enough times for mobile music app recommendations that I decided to collect all of them here. The iOS apps are ones that I’ve personally used and enjoyed. I haven’t tried most of the Android ones, but they were recommended by people whose opinions I trust. If you have suggestions, please add them in the comments. Continue reading
I want to expand my private teaching and speaking practice. If you were to book me for a workshop or seminar, what would you want it to be about? Music production? Intellectual property and authorship? Music and math? Music and science? Music pedagogy? Improvisation and flow, both in music and in life generally? Something else?
I’d be happy to visit your music classroom, non-music classroom, company, co-working space, or community organization. Here are some instructional videos of mine to give you a sense of my style.
I do traditional music teaching and production too, but I’m pitching here to people who don’t consider themselves to be “musicians” (spoiler alert: everybody is a musician, you just might not have found your instrument yet.) Group improvisation on iOS devices or laptops is always a good time, and it’s easier than you would think to attain musical-sounding results. Instrument design with the Makey Makey is a fun one too. If you have Ableton Live and are wondering what to do with it, a remix and mashup workshop would be just the thing. All of the above activities are revelatory windows into user interface and experience design. Group music-making is an excellent team-building exercise, and is just generally a spa treatment for the soul. Get in touch with your suggestions, requests and questions.
This semester, I had the pleasure of leading an independent study for two music students at Montclair State University. One was Matt Skouras, a grad student who wants to become the music tech teacher in a high school. First of all, let me just say that if you’re hiring for such a position in New Jersey, you should go right ahead and hire Matt, he’s an exceptionally serious and well-versed musician and technologist. But the reason for this post is a question that Matt asked me after our last meeting yesterday: What should he be studying in order to teach music tech?
Matt is an good example of a would-be music tech teacher. He’s a classical trumpet player by training who has found little opportunity to use that skill after college. Wanting to keep his life as a musician moving forward, he started learning guitar, and, in his independent study with me, has been producing adventurous laptop music with Ableton Live. Matt is a broad-minded listener, and a skilled audio engineer, but his exposure to non-classical music is limited in the way typical of people who came up through the classical pipeline. It was at Matt’s request that I put together this electronic music tasting menu.
So. How to answer Matt’s question? How does one go about learning to teach music technology? My first impulse was to say, I don’t know, but if you find out, please tell me. The answer I gave him was less flip: that the field is still taking shape, and it evolves rapidly as the technology does. Music tech is a broad and sprawling subject, and you could approach it from any number of different philosophical and technical angles. I’ll list a few of them here. Continue reading
Music theory is hard. But we make it harder by holding on to naming and notational conventions that are hundreds of years old, and that were designed to describe very different music than what we’re playing now. Here are some fantasies for how note naming might be improved.
Right now, the “default setting” for western diatonic harmony is the C major scale. It’s the One True Scale, from which all else is derived by adding sharps and flats. Why do we use the C major scale for this purpose? Why not the A major scale? Wouldn’t it make more sense if harmonic ground zero for our whole harmonic system was the sequence ABCDEFG? I know there are historical reasons why the unmodified first seven letters of the alphabet denote the natural minor scale, but so what? How is a person supposed to make sense of the fact that scale degree one falls on the third letter of the alphabet?
Furthermore, I question whether the major scale really is the one we should consider to be the most basic. I’d prefer that we use mixolydian instead. The crucial pitches in mixo are close to the natural overtone series, for one thing. For another, Americans hear flat seven as being as “natural” as natural seven, if not more so. While the leading tone is common inside chords, it’s rare to hear it in a popular melody. Flat seven is ubiquitous in the music most of us listen to, and in plenty of other world cultures besides.