Here’s what happened in my life as an educator this past semester, and what I have planned for the coming semester.
Montclair State University Intro To Music Technology
I wonder how much longer “music technology” is going to exist as a subject. They don’t teach “piano technology” or “violin technology.” It makes sense to teach specific areas like audio recording or synthesis or signal theory as separate classes. But “music technology” is such a broad term as to be meaningless. The unspoken assumption is that we’re teaching “musical practices involving a computer,” but even that is both too big and too small to structure a one-semester class around. On the one hand, every kind of music involves computers now. On the other hand, to focus just on the computer part is like teaching a word processing class that’s somehow separate from learning how to write.
The newness and vagueness of the field of study gives me and my fellow music tech educators wide latitude to define our subject matter. I see my job as providing an introduction to pop production and songwriting. The tools we use for the job at Montclair are mostly GarageBand and Logic, but I don’t spend a lot of time on the mechanics of the software itself. Instead, I teach music: How do you express yourself creatively using sample libraries, or MIDI, or field recordings, or pre-existing songs? What kinds of rhythms, harmonies, timbres and structures make sense aesthetically when you’re assembling these materials in the DAW? Where do you get ideas? How do you listen to recorded music analytically? Why does Thriller sound so much better than any other album recorded in the eighties? We cover technical concepts as they arise in the natural course of producing and listening. My hope is that they’ll be more relevant and memorable that way. Continue reading
I’m a proud member of the NYU Music Experience Design Lab, a research group that crosses the disciplines of music education, technology, and design. Here’s an overview of our many ongoing projects.
I’m part of a research group at NYU called the Music Experience Design Lab. One of our projects is called Play With Your Music, a series of online interactive music courses. We’re currently developing the latest iteration, called Play With Your Music: Theory. Each module presents a “musical simple,” a short and memorable loop of melody or rhythm. Each simple is a window into one or more music theory concepts. Users can learn and play with the simples using a new interface called the aQWERTYon, which maps scales and chords to the regular computer keyboard.
One of the great privileges of working at NYU is having access to the state-of-the-art Dolan Studio. Listening to music on top-end Lipinskis through an SSL console in a control room designed by Philippe Starck is the most exquisite audio experience I’ve ever had, and likely will ever have. Unfortunately, it’s also very far removed from the circumstances in which I listen to music in my normal life. It isn’t even an issue of the speakers or amps, though of course mine are nowhere near as good as the ones in Dolan. It’s more about the listening environment.
Recently we had some guys from Splice.com visit NYU to show off their intriguing new product. (It’s basically GitHub for musicians.)
The Splice guys demonstrated the power of networked collaboration with an exercise they call “musical shares.” Everybody starts a track in some DAW (we used GarageBand.) You work on your track for ten minutes. Then you share it with the person to your left, and you receive the track from the person on your right. You work on your neighbor’s track for ten minutes. Then you pass left again and spend ten minutes on another track. You repeat until you run out of time. Finally, you listen to your original track and experience the appropriate delight, or surprise, or horror. It’s somewhere between Exquisite Corpse and Telephone, and it’s a lot of fun.
Together with Adam Bell, I’m planning some in-depth writing about the phenomenon of pop musicians (like me) teaching in formal, classically-oriented institutional settings. This post is a loosely organized collection of relevant thoughts.
What even is “pop music?”
As far as the music academy is concerned, all music except classical or folk is “popular.” People who make bluegrass or death metal or underground hip-hop might be surprised to learn that their wildly unpopular music is referred to this way. In the past few decades, jazz has moved out of the “popular” column and into the “art” column. I myself have made a small amount of actual pop music, but for the past few years have mostly been involved in the production of artsy electronica.
How classical musicians learn: an absurd oversimplification
Classical musicians learn The Western Canon by performing and analyzing scores. The defining instrument of this music is the piano. All vocalists and instrumentalists are expected to be able to think in pianistic terms. Students are part of a pyramid-shaped hierarchical structure with long-dead composers at the top, followed by long-dead music theorists, followed by living music theorists and conductors and academics, and so on down to the individual section player. There is a contingent of living composers whose role in the hierarchy is confused at the moment. Most student composers are expected to operate within a tightly bounded tradition, whether that’s common-practice tonality or one of the various schools of modernism. The analysis of large-scale structure happens only at the very advanced level, if ever. Recordings are something of an afterthought.
Well, it’s official. All of my students are now henceforth required to post all music assignments on SoundCloud. It solves so many problems! No fumbling with thumb drives, no sharing of huge files, no annoyances with incompatible DAWs. No need to mess with audio-hostile Learning Management Systems. Everyone gets to listen to everyone else’s music. And best of all, the kids get into the habit of exposing their creative work to the blunt indifference of the public at large. Students can comment on and fave each others’ tracks, and so can randos on the web. It really takes the “academic” out of academic work.
I contributed a chapter to a soon-to-be-released book, Learning, Education and Games (Volume One): Curricular and Design Considerations. I wrote about the potential value of video games in music education. The book will be out in October 2014. Here’s the table of contents.
We’re having a launch party on October 9th at the NYU Game Center, with a panel on games, featuring the contributors to the series. In addition to myself, the panelists will include Elena Bertozzi and Gabriela Richard. The book’s editor, Karen Schrier, will be moderating.
Update: here’s a drawing of Elena, Gabriela, Karen and myself by Jay Boucher.
My students at NYU and Montclair State are beginning to venture into producing their own tracks. There are two challenges facing them, the small one and the big one. The small challenge is learning the tools: remembering where the menus are and which key you hold down to turn the mouse pointer into a pencil, learning to conceive of notes and beats as rectangles on the piano roll, troubleshooting when you play notes on the MIDI keyboard and no sound comes out. The big challenge is option paralysis. Even a lightweight tool like GarageBand comes with a staggeringly large collection of software instruments, loops and effects, even before you start dealing with recording your own sounds. Where do you even begin?
The solution I’m using with my classes is the shared-sample project. Students are challenged to build a track out of a particular sound, or set of sounds. The easy version requires that they use the given sound, along with any additional sounds they see fit to include. The hard version, and for me the really interesting one, requires that they use the given sound(s) and absolutely nothing else. I was inspired in creating these assignments by the many Disquiet Junto shared sample projects I’ve had the pleasure of participating in. I’m trying out my own project ideas on MSU advanced audio production independent studiers Dan Bui and Matt Skouras, and will soon be giving shared-sample projects to my beginner-level classes as well.
The first assignment I gave Dan and Matt was to use eight GarageBand factory loops to build a track. They were free to do whatever processing they wanted, but they could not use other sounds. Also, they only had an hour to put their tracks together. Here are the loops:
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.