I’m writing a chapter of the forthcoming Oxford Handbook of Technology and Music Education. Here’s a section of what I wrote, about my own music learning experiences.
Most of my music education has happened outside of the classroom. It has come about intentionally, through lessons and disciplined practice, and it has come about unintentionally, through osmosis or accidental discovery. There has been no separation between my creative practice, my learning, and my teaching.
My formal music education has been a mixed bag. In elementary school, I did garden-variety general music, with recorders and diatonic xylophones. I don’t remember enjoying or not enjoying it in particular. I engaged more deeply with the music my family listened to at home: classical and jazz on public radio; the Beatles, Paul Simon and Motown otherwise. Like every member of my age cohort, I listened to a lot of Michael Jackson, and because I grew up in New York City, I absorbed some hip-hop as well.
In middle school we started on traditional classical music. I chose the cello, for no good reason except that I had braces and so was steered away from wind instruments. I liked the instrument, and still do, but the cello parts in basic-level Baroque music are mostly sawing away at quarter notes, and I lost interest quickly. Singing showtunes in chorus didn’t hold much appeal for me either, and I abandoned formal music as soon as I was able.
Starting this week, I’m teaching my very first full course at NYU, the undergraduate Music Education Technology Practicum. Exciting! Here’s the syllabus.
For the benefit of Play With Your Music participants and anyone else we end up teaching basic audio production to, MusEDLab intern Robin Chakrabarti and I created this video on recording audio in less-than-ideal environments.
This video is itself quite a DIY production, shot and edited in less than twenty-four hours, with minimal discussion beforehand and zero rehearsal. Continue reading
I’m continuing to crank out educational videos for Play With Your Music. Part of the process involves remaking old videos as both my chops and the facilities in NYU’s Blended Learning Lab improve. Here’s my series on the basics of rhythm:
We’ve made several improvements, some technical, some creative. The most immediately noticeable one is multiple camera angles. NYU’s Blended Learning Lab now has three cameras instead of just one. We can now cut back and forth between various angles, rather than showing a continuous talking head shot. It doesn’t seem like it would make such a big difference, but it does.
Here’s a quick update on what is going on in my life. First, most importantly: Milo is walking but not yet talking; he’s waving, but not yet high-fiving; he’s eating with a spoon, but only getting the food into his mouth two thirds of the time. He’s totally delightful.
Since I graduated from the NYU Music Technology program in January, I’ve been mainly working as a researcher for the NYU Music Experience Design Lab, under the leadership of Alex Ruthmann. The major project we’ve been doing has been an online audio production course focusing on the music of Peter Gabriel. It launches May 16th, and it’s going to be a wildly futuristic experience for everyone involved. Click the image below to learn more and sign up. Did I mention it was free?
You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.
Here’s Alex’s video introduction:
I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks.
I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians to get hip to it. Continue reading
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.
We made our DJ debut over the weekend at the Rubin Museum, where our brand-new track “Rock Steady” was dropped by DJ Ripley.
I’ve been producing a bunch of new videos for future iterations of Play With Your Music, with the help of the good people at the NYU Blended Learning Lab. So far, we’ve done two sets. There’s a series of tutorials on producing samples, beats and melodies using the in-browser digital audio workstation Soundation:
Walking to the subway this morning, I had a bright idea for how to make the Drum Loop more kid-friendly by representing the radial grid as a pizza. Here’s a very quick concept sketch:
To really make this work, I wouldn’t just plop a JPEG of a pizza under the existing UI. I’d want a cartoon pizza rendered in a flat-color style. Instead of colored wedge cells, drum hits would be represented by stylized pepperoni, sausage, anchovies, olives, mushrooms and so on. I’ll throw it on the ever-expanding “future work” pile.
Usually I like to make everything on this blog freely available to whoever wants to use it, but The Groove Pizza is ⓒ Ethan Hein 2013, all rights reserved.