I’m in the process of doing some large-scale writing about the way I teach music technology. To that end, I thought I would talk some about how I evaluate students’ creative work, both for grading purposes and during in-class critiques.
The main thing I have students do in music tech class is make original music and lots of it. So the question immediately becomes, how do I even begin to objectively assess that stuff? Continue reading
I complain a lot on this blog about the traditional teaching of music theory. Fortunately, a better alternative exists: Everyday Tonality by Philip Tagg. Don’t be put off by the DIY look of the web site; the book is the single best explanation I know of for how harmony works across a broad spectrum of the world’s music.
One of our key design principles at the NYU MusEDLab is not to confront beginners with a blank canvas. We want to introduce people to our tools by giving them specific, real-world music to play around with. That was the motivation behind creating presets for the aQWERTYon, and a similar impulse informs Ableton’s approach to their online music tutorials. The Groove Pizza comes with some preset patterns (specials), but there aren’t direct prompts for creative beatmaking. This post introduces some prototype prompts.
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.
I’m currently working on a book chapter about the Disquiet Junto, the internet’s most innovative creative music community, run by author and blogging inspiration Marc Weidenbaum.
As part of my research, I conducted a survey of the Junto mailing list. Here’s a summary of the first 130 responses. Continue reading
Final paper for Approaches To Qualitative Inquiry with Colleen Larson
Section 1: Reflections on Received View of Research
I was raised by two medical researchers and a former astrophysicist, surrounded by stacks of quantitative journals. I rarely questioned the assumption that quantitative empirical research is the gold standard of truth, and that while subjective accounts are interesting and illuminating, they are not ultimately reliable. From scientists I learned that stories belong to mythology, while facts do not necessarily organize themselves in ways that can be apprehended so easily. Creation myths tell the story of a human-scale world in which humans are the most important element. Astrophysicists tell us that the universe is unfathomably vast and incomprehensibly old, and that we are insignificant in the grand scheme of things, while evolution teaches that we are more like mushrooms or daisies than unlike them. It is axiomatic for scientists that reality is empirically knowable, and while social and emotional considerations are a fact of life, they are noise to be filtered out.
This post documents my final project for User Experience Design with June Ahn
Overview of the problem
The aQWERTYon is a web-based music performance and theory learning interface designed by the NYU Music Experience Design Lab. The name is a play on “QWERTY accordion.” The aQWERTYon invites novices to improvise and compose using a variety of scales and chords normally available only to advanced musicians. Notes map onto the computer keyboard such that the rows play scales and the columns play chords. The user can not play any wrong notes, which encourages free and playful exploration. The aQWERTYon has a variety of instrument sounds to choose from, and it can also act as a standard MIDI controller for digital audio workstations (DAWs) like GarageBand, Logic, and Ableton Live. As of this writing, there have been aQWERTYon 32,000 sessions.
Note: I refer to mentors by their real names, and to participants by pseudonyms
Ed Sullivan Fellows (ESF) is a mentorship and artist development program run by the NYU Steinhardt Music Experience Design Lab. It came about by a combination of happenstances. I had a private music production student named Rob Precht, who had found my blog via a Google search. He and I usually held our lessons in the lab’s office space. Over the course of a few months, Rob met people from the lab and heard about our projects. He found us sufficiently inspiring that he approached us with an idea. He wanted to give us a grant to start a program that would help young people from under-resourced communities get a start in the music industry. He asked us to name it after his grandfather, Ed Sullivan, whose show had been crucial to launching the careers of Elvis, the Beatles, and the Jackson 5. While Rob’s initial idea had been to work with refugees who had relocated to New York, we agreed to shift the focus to native New York City residents, since our connections and competencies were stronger there.
I’m delighted to announce that my new online music theory collaboration with Soundfly is live. It’s called Unlocking the Emotional Power of Chords, and it gives you a practical guide to harmony for creators of contemporary pop, R&B, hip-hop, and EDM. We tie all the abstract music theory concepts to real-world musical usages, showing how you can use particular chord combinations to evoke particular feelings. I worked hard with the team at Soundfly on this over the past few months, and we are super jazzed about it.
Like my previous Soundfly courses, the Theory for Producers series, the chords class is a blend of videos, online interactives and composition/production challenges. The musical examples are songs by people like Adele, Chance the Rapper, and Frank Ocean. You can download the MIDI files for each example, stick them in your DAW, and dive right into hands-on music making.
Music education in American colleges and universities focuses almost entirely on the traditions of Western European aristocrats during the eighteenth and nineteenth centuries, known conventionally as “common practice music.” This focus implies that upper-class European-descended musical tastes are a fundamental truth rather than a set of arbitrary and contingent preferences, and that white cultural dominance is normative. In this paper, I discuss theoretical notions of pedagogical authority as a form of power. I then examine a music textbook catalog from a prestigious academic press in order to gain insight into the hegemonic culture of classical music, as well as the emerging challenges to that culture.
American musical culture is a riotous blend of styles and genres. However, there is a unifying core to nearly all of our popular music, and much “art” music as well: the loop-centric, improvisational, dance-oriented traditions of the African diaspora. Mcclary (2000) argues that the “various trickles” of the past hundred years of American music collect into “a mighty river” following a channel cut by the blues (32). Yet it is possible to complete a music degree at most American universities without ever coming into contact with the blues, or anything related to it. The music academy’s near-exclusive focus on Western classical tradition places it strikingly at odds with the broader culture. We need to ask what might be the ideological motivation for perpetuating the divide.