The good people at Noteflight have started doing weekly challenges. I love constraint-based music prompts, like the ones in the Disquiet Junto, so I thought I would try this one: compose a piece of music using only four notes.
The music side of this wasn’t hard. My material tends not to use that many pitches anyway. If you really want to challenge me, tell me I can’t use any rhythmic subdivisions finer than a quarter note. Before you listen to my piece, though, let’s talk about this word, “compose.” When you write using notation, the presumption is that you’re creating a set of instructions for a human performer. However, actually getting your composition performed is a challenge, unless you have a band or ensemble at your disposal. I work in two music schools, and I would have a hard time making it happen. (When I have had my music performed, the musicians either used a prose score, learned by ear from a recording, or just improvised.) Noteflight’s target audience of kids in school are vanishingly unlikely to ever hear their work performed, or at least, performed well. Matt Mclean formed the Young Composers and Improvisers Workshop to address this problem, and he’s doing amazing work, but most Noteflight compositions will only ever exist within the computer.
Given this fact, I wanted to create a piece of music that would actually sound good when played back within Noteflight. This constraint turned out to be a significantly greater challenge than using four notes. I started with the Recycled Percussion instrument, and chose the notes B, E, F, and G, because they produce the coolest sounds. Then I layered in other sounds, chosen because they sound reasonably good. Here’s what I came up with: Continue reading
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.
For Jan Plass‘ class on research in games for learning, I’m working on an experiment testing the effects of game soundtracks on cognitive performance. The game in question is All You Can ET, developed by the NYU CREATE Lab.
Here’s the music:
You’re hearing four versions of the basic 32-bar loop: fast major, fast minor, slow major, and slow minor. We’ll be playtesting each of these versions to see how (or whether) they affect game performance.
Note-taking for User Experience Design with June Ahn
Don Norman discusses affordances and constraints in The Design of Everyday Things, Chapter Four: Knowing What To Do.
User experience design is easy in situations where there’s only one thing that the user can possibly do. But as the possibilities multiply, so do the challenges. We can deal with new things using information from our prior experiences, or by being instructed. The best-designed things include the instructions for their own use, like video games whose first level act as tutorials, or doors with handles that communicate how you should operate them by their shape and placement.
Since George Michael died, I’ve been enjoying all of his hits, but none of them more than this one. Listening to it now, it’s painfully obvious how much it’s about George Michael’s struggles with his sexual orientation. I wonder whether he was being deliberately coy in the lyrics, or if he just wasn’t yet fully in touch with his identity. Being gay in the eighties must have been a nightmare.
This is the funkiest song that George Michael ever wrote, which is saying something. Was he the funkiest white British guy in history? Quite possibly. Continue reading
Public-facing note-taking for Philosophy of Music Education with David Elliott
This week, I’m taking a look at two chapters from a new book on the red-hot topic of artistic citizenship, the social responsibility of artists and arts educators.
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
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.
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: