A Quora user asks why we don’t get bored when listening to repetitive music. This is related to the equally interesting question of why we can play repetitive music without getting bored. Why is there so much joy in repetition?
Humans are pattern recognizers. You’d think that once you’d learned the pattern of a repetitive piece of music, it would quickly get boring, and then annoying. Sometimes, that is in fact what happens. I don’t enjoy Philip Glass’ music; it makes me feel like I’m stuck in the mind of someone with severe obsessive-compulsive disorder. But I adore James Brown and Fela Kuti, and my iTunes library is stuffed with loop-based hip-hop and electronica. So what’s going on? Why do I find Philip Glass annoying, but not James Brown?
Quora user Jennifer Ha asked me: What is your process of composing music? She goes on:
For me I have to wait for the right inspiration given to me very irregularly. But it seems others can compose with chords deliberately. How do you compose, and do you feel proud of it all the times (i.e. know you couldn’t have done better)?
I have two methods of composition: improvisation and collage. I use the computer for both. At the moment, my software of choice is Ableton Live. Before that I mostly used Pro Tools and Reason. It’s been a long time since I “composed” something on a piece of paper (except for music school assignments.)
Here’s an interesting Quora thread about what you should know before booking a rock band session. I can’t improve on the excellent post by Bruce Williams, but I have a few things to add.
The challenge of recording is 10% technical and 90% psychological, especially if you’re inexperienced. You may be as cool as a cucumber onstage and then turn into a nervous wreck when the tape rolls. Your band may be great friends until the time pressure of the studio brings out unsuspected conflicts and dysfunction. Fortunately, all of this stuff can be prepared for.
Quora user Andrew Stein asks:
Musicians: How do you deal with playing songs that have very monotonous parts?
I’m going to use James Brown’s Sex Machine as an example. Don’t get me wrong, I love the song. However, the rhythm guitar seems to be nothing but 2 chords played over and over and over with no variation (except for the bridge). What is it like to have to play songs like that? Even if you like the song, do you dread it, or do you just have fun as long as you are playing music? If you are bored, how do you deal with it? Does your mind wander while you play, or do you have to concentrate?
This is actually quite a profound question. It gets to the heart of the major conflict playing out in western music right now between linearity and circularity.
Paul McCartney joined John Lennon’s skiffle band in 1957, when they were fifteen and sixteen, respectively. George Harrison joined the following year, when he was fourteen. (Ringo didn’t join the band until 1962.) Who were your friends when you were fourteen, fifteen, sixteen? Imagine yourself intensely and inseparably joined with these same people professionally, socially and creatively, thirteen years later. When I was in my late twenties, I certainly wouldn’t wanted to have been trapped in a series of windowless rooms with my high school friends under enormous pressure to be brilliant. It would have been a miracle for the Beatles to keep a good working relationship any longer than they did under the best of circumstances. And the Beatles’ circumstances were not, emotionally speaking, ideal.
Octaves are notes that you hear as being “the same” in spite of their being higher or lower in actual pitch. (Technically, notes separated by an octave are in the same pitch class.) Play middle C on the piano. Then go up the C major scale (the white keys) and the eighth note you play will be another C an octave higher. The “oct” part of the word refers to this eight step distance up the scale.
From a science perspective, octaves are pitch intervals related by factors of two. When a tuning fork plays standard concert A, it vibrates at 440 Hz. The A an octave higher is 880 Hz, and the A an octave lower is 220 Hz. Any note with the frequency 2^n * 440 will be an A. It’s a central mystery of human cognition why we hear pitches related by powers of two as being “the same” note. The ability to detect octave equivalency is probably built in to our brains, and it isn’t limited to humans. Rhesus monkeys have been shown to be able to detect octaves too, as have some other mammals.
Original post on Quora
Related: my top 100 jazz tracks.
Rather than attempting the impossible task of explaining how everything in jazz works, I’m going to pick a specific, fairly mainstream tune and talk you through it: “Someday My Prince Will Come” by Miles Davis, off the 1961 album by the same name.
First of all, here’s the original version from Snow White.
Once you’ve got the tune in your head, listen to the Miles Davis recording.
Here are some recommended people to follow on Twitter. Most of them have blogs of various kinds which you can access via their Twitter profiles.
For hip-hop, sampling and everything related:
For the highbrow and avant-garde:
Original question on Quora
Auto-tune was already a well-established studio tool by the time “Believe” came out, though it was unknown outside the music industry.
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