Väkevä, L. (2010). “Garage band or GarageBand®? Remixing musical futures.” British Journal of Music Education, 27(01), 59.
I believe that music education should engage with the music that’s meaningful to students. The field is coming to agree with me. School music programs have been gradually embracing rock, for example via Modern Band. Which is great! Unfortunately, rock stopped being the driver of our musical culture sometime in the early 1990s. The kids currently in school are more about computer-generated dance music: hip-hop, techno, and their various pop derivatives. We live in an Afrofuturist world.
One of the challenges in creating Theory for Producers (or any online learning experience) is to build community. When you’re in a classroom with people, community emerges naturally, but on the web it’s harder. We’re using email to remind students to stay engaged over time, but we don’t want to end up in their spam folders. To make our emails welcome rather than intrusive, we decided to do Weekly Challenges, one-line prompts for music creation. Participants post their challenges in our SoundCloud group.
I’ve been doing something similar with guitar students for a long time, in person rather than via email, for example with the one-note groove. In coming up with more prompts, I’ve been drawing on my recent foray into prose scores, inspired by the example of Pauline Oliveros.
Really, you could think of my collection of prompts as very short and simple prose scores. Please feel free to use these, for yourself, for students, or for any other purpose. All I ask is that you drop me a line to tell me how you used them. Continue reading
For his birthday, Milo got a book called Welcome to the Symphony by Carolyn Sloan. We finally got around to showing it to him recently, and now he’s totally obsessed.
The book has buttons along the side which you can press to hear little audio samples. They include each orchestra instrument playing a short Beethoven riff. All of the string instruments play the same “bum-bum-bum-BUMMM” so you can compare the sounds easily. All the winds play a different little phrase, and the brass another. The book itself is fine and all, but the thing that really hooked Milo is triggering the riffs one after another, Ableton-style, and singing merrily along.
Everyone can agree that the term “classical music” is silly, unless we’re specifically talking about European music of the Classical period.
It’s incorrect to call Baroque or Romantic or modernist music “classical,” even though we all colloquially do, to the annoyance of the classical tribe. It makes even less sense to call the music of Steve Reich or Julia Wolfe “classical.” So what should we call it?
Ethan’s Trax is an iTunes playlist I maintain that includes all of the music I’ve ever recorded. Well, more accurately, it’s all of the music that I care to be reminded of. I haven’t included every draft and dead end. But if a track has any artistic or sentimental value whatsoever to me, it’s in Ethan’s Trax.
As of this writing, the playlist contains 477 “songs.” That’s a cumulative one day, thirteen hours, forty-seven minutes and fifty-three seconds worth of music. My self-described genres include: Blues, Classical (General), Electronic, Experimental, Folk, Funk, Hip-Hop, Jazz (Vocal), Mashup, Pop, R&B/Soul, Rock, Showtunes, and Soundtracks/Scores. The Electronic category is substantially bigger than all of the others combined. The recent high points are here:
The question is, how much of this music is actually “mine”?
My newest music student is a gentleman named Rob Precht. As is increasingly the case with people I teach privately, Rob lives many time zones away, and he and I have never met face to face. Instead, we’ve been conducting lessons via a combination of Skype and Splice. It’s the first really practical remote music teaching method I’ve used, and I can’t recommend it highly enough.
Rob came to me via this very blog. He’s a semi-retired lawyer who took some piano lessons as a kid but doesn’t have much other music training or experience. He approached me because he wanted to compose original music, and he thought (correctly) that computer-based production would be the best way to go about it. He had made a few tracks with GarageBand, but quickly switched over to Ableton Live after hearing me rave about it. We decided that the best approach would be to have him just continue to stumble through making original tracks, and I would help him refine and develop them.
Soon after I became a composer, Marc Weidenbaum made me a meta-composer. Which I guess makes him a meta-meta-composer? A hyperproducer? There isn’t a word for what Marc is, aside from “awesome.” The most concise way I can think of to describe what he does: he writes reviews of music that doesn’t exist yet and then gets internet strangers to make it. Each track on this playlist is a reading of my score called “Divergence/Convergence,” and each one is quite different from the next.
Here’s Marc’s version of the narrative behind all this music. In a nutshell: I was asked to write a score for the NYU Laptop Orchestra. They performed it. I got a recording of the performance and remixed it. Marc assigned the members of the Disquiet Junto to “perform” the score solo. I got to have the strange and delightful experience of hearing all of the diverse music that resulted.
This fascinating thread about music theory on Hacker News showed up recently in my blog pingbacks.
Two posts in particular caught my eye. Continue reading
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
Morey, J., & McIntyre, P. (2014). The Creative Studio Practice of Contemporary Dance Music Sampling Composers. Dancecult, 6(1), 41–60.
There is so much to love about this paper, starting with the title. You can read it the way it was intended, that dance music producers are composers. Or you can creatively misread it to mean that the dance producers are using samples of other composers. It works equally well either way.
Sampling consists of acts of listening, selecting and editing
In the age of the internet, effectively any sound that has ever been recorded becomes available raw material for new music. The challenge with sampling isn’t so much identifying possible sample sources as it is managing the vast universe of possibilities. The listening and selecting steps in the sampling process are really the hard parts. The editing and looping are comparatively easy.