I think everyone is a composer, at the very least through endless spoken melodies
— Robert Davidson (@robcomposer) January 23, 2015
Rob’s tweet raises three profound questions in my mind. Continue reading
I was reading this super valuable post by Rob Walker listing different strategies for how to pay attention. Deep attention makes the difference between looking at something and actually seeing it. Rob is talking mostly to visual artists and designers, but his methods work well for musicians too–seeing is to looking as hearing is to listening. Paying attention is the most basic skill an artist needs in any medium, and one of the most basic skills a person needs in life. Not only does artistic practice require attention, but it also helps you learn it. When you look critically at a painting or listen critically to a song, you’re disciplining your attentional system.
Being able to focus deeply has its obvious practical benefits, but it’s also an invaluable tool for making your emotional life more manageable. It’s significant to me that the image below appears in two different Wikipedia articles: attention and flow.
When people ask why we should study the arts, the attention argument is the best answer. The variety of deep attention known as mindfulness is a powerful antidepressant. Teaching the arts isn’t just about cultural preservation and transmission; it’s also a cost-effective public health measure. Music isn’t the only method for practicing your attention, but it’s one of the best. This post will address my preferred method for focusing my musical attention: the infinite loop.
In a recent comment, a reader posed a good question:
I’m classically trained (I do recognize a blues progression when i hear it though) so i would like to hear more of your insights into the forms, styles and methods of pop music — your observation that “most of the creativity in pop lies in the manipulation of timbre and space”, for example, was very interesting.To me the compositional technique of most pop and esp. rock/blues seems to based on noodling on a guitar and is directly the result of the tuning of the instrument and the ease with which a beginner can learn a few chords. The fact that many popular songs have been written by teams (mostly duos) of songwriters to me seems to corroborate my noodling theory — but I am very interested to learn if there are common practices, disciplines, methods, etc that have been used and transferred over time.
I have to add that I’m a little surprised to hear that pop musicians are baffled by the relevance of “academic” music theory to their music. If you wanted to teach a pop musician about the theory of his craft, what would you teach other than what is offered in any freshman theory course? (all right, you can skip the figured bass and species counterpoint).
My response: Continue reading
Sasha Frere-Jones was recently asked by The Guardian to make a list of perfect songs. I don’t agree with all of his choices — Taylor Swift? — but I can definitely get behind his nomination of “Sucker MCs” by Run-DMC.
This track was the B-side to Run-DMC’s first single in 1983, and was produced by Larry Smith of and Davy DMX of Orange Krush (thus the subtitle “Krush Groove 1.”) It’s beautiful in its simplicity: two guys rapping, an Oberheim DMX drum machine, some turntable scratching, and nothing else. It’s the most minimalist hip-hop song I know of, other than “Top Billin’” by Audio Two.
Later this week I’m doing a teaching demo for a music technology professor job. The students are classical music types who don’t have a lot of music tech background, and the task is to blow their minds. I’m told that a lot of them are singers working on Verdi’s Requiem. My plan, then, is to walk the class through the process of remixing a section of the Requiem with Ableton Live. This post is basically the script for my lecture.
My new studio band has an album nearing completion. It’s called Music Information Retrieval, because our studio time was sponsored by NYU’s Music and Audio Research Lab — we contributed to a database of multitracks that will be used for music informatics research.
Musical repetition has become a repeating theme of this blog. Seems appropriate, right? This post looks at a wonderful book by Elizabeth Hellmuth Margulis, called On Repeat: How Music Plays The Mind, investigating the reasons why we love repetition in music. You can also read long excerpts at Aeon Magazine.
Here’s the nub of Margulis’ argument:
The simple act of repetition can serve as a quasi-magical agent of musicalisation. Instead of asking: ‘What is music?’ we might have an easier time asking: ‘What do we hear as music?’ And a remarkably large part of the answer appears to be: ‘I know it when I hear it again.’
Maybe, like me, you’re a fan of “Super Rich Kids” by Frank Ocean featuring Earl Sweatshirt.
A “record label” (really a group of lawyers) called TufAmerica heard that quote too, and now they’re suing Frank Ocean for sampling their property without permission. TufAmerica owns 3.15% of “Real Love.” They acquired this stake by suing Mary J. Blige, whose song samples “Top Billin'” by Audio Two.
So, you’ve learned how to listen closely and analytically. The next step is to get your hands on some multitrack stems and do mixes of your own. Participants in PWYM do a “convergent mix” — you’re given a set of separated instrumental and vocal tracks, and you need to mix them so they match the given finished product. PWYM folks work with stems of “Air Traffic Control” by Clara Berry, using our cool in-browser mixing board. The beauty of the browser mixer is that the fader settings get automatically inserted into the URL, so once you’re done, anyone else can hear your mix by opening that URL in their own browser.