The Reflex is a London-based French DJ and producer named Nicolas Laugier. He specializes in a particular kind of remix, the re-edit, in which you rework a song using only sounds found within the song itself, ideally using the multitrack stems. Some re-edits keep the original more or less intact, but with a punchier mix and a new breakdown section or whatever. Others (the ones I find more interesting) radically transform their source material by moving pieces around in unexpected ways. Read this Greg Wilson interview to learn more about Laugier’s process.
I really love Laugier’s tracks, on several levels. First, he has a fine ear for mixing, and his edits always have spectacular clarity and depth, often sounding better than the originals. There’s intellectual pleasure, too: it’s fun to hear a fresh take on these deeply familiar recordings, and the music educator in me adores the idea of using music itself as a medium for music criticism. Laugier implicitly critiques the music he edits, saying, “This song is cool, but wouldn’t it be cooler if the drums were more prominent, and we heard this keyboard part in isolation, and there was a longer groove in the intro?” I always prefer music analysis that I can dance to. Continue reading
I use variations on this project list for all of my courses. In Advanced Digital Audio Production at Montclair State University, students do all of these assignments. Students in Music Technology 101 do all of them except the ones marked Advanced. My syllabus for the NYU Music Education Technology Practicum has an additional recording studio project in place of the final project. Here’s the project list in Google Spreadsheet format.
I talk very little about microphone technology or technique in my classes. This is because I find this information to only be useful in the context of actual recording studio work, and my classes do not have regular access to a studio. I do spend one class period on home recording with the SM58 and SM57, and talk a bit about mic technique for singers. I encourage students who want to go deeper into audio recording to take a class specifically on that subject, or to read something like the Moylan book.
My project-based approach is informed strongly by Matt Mclean and Alex Ruthmann. Read more about their methods here.
I do not require any text. However, for education majors, I strongly recommend Teaching Music Through Composition by Barbara Freedman and Music Technology and Education: Amplifying Musicality by Andrew Brown.
Public-facing note taking on Music Matters by David Elliott and Marissa Silverman for my Philosophy of Music Education class.
This chapter addresses musical meaning and how it emerges out of context. More accurately, it addresses how every musical experience has many meanings that emerge from many contexts. Elliott and Silverman begin with the meanings of performance, before moving into the meanings of composition, listening and so on. They insist that performance is not an activity limited to an elite cadre of “talented” people, that it is within reach of anyone who has the proper support.
We propose that people’s capacities for and enactments of an intrinsic motivation to engage in different kinds of musicing and listening are extremely widespread phenomena, restricted only by lack of musical opportunities, or ineffective and indifferent music teaching. Indeed, developing a love for and devotion to musicing and listening is not unusual when students are fortunate enough to learn from musically and educationally excellent teachers and [community music] facilitators, and when they encounter inspiring models of musicing in contexts of welcoming, sustaining, and educative musical settings, including home and community contexts (240).
The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.
Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab‘s own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.
The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes.
You can hear the three third-generation metaremixes below.
Here’s a strange and interesting thing that happened to me. The assignment for Disquiet Junto project 233 was to remix three tracks. The assignment for Junto project 234 was to metaremix one of the remixes from project 233. One of the people whose remix I metaremixed was listening to my track and accidentally had it playing in two different browser tabs simultaneously. He liked how it sounded, so he did a metametaremix with two copies of my metaremix offset by a few beats. It came out amazing!
My youngest private music production student is a kid named Ilan. He makes moody trip-hop and deep house using Ableton Live. For our session today, Ilan came in with a downtempo, jazzy hip-hop instrumental. I helped him refine and polish it, and then we talked about his ideas for what kind of vocal might work on top. He wanted an emcee to flow over it, so I gave him my folder of hip-hop acapellas I’ve collected. The first one he tried was “Fu-Gee-La [Refugee Camp Remix]” by the Fugees.
I had it all warped out already, so all he had to do was drag and drop it into his session and press play. It sounded great, so he ran with it. Here’s what he ended up with:
Hearing the news of Bowie’s death made me go listen to Blackstar, which is excellent, his best work in I don’t know how long. His voice aged exquisitely well. So did his restless sonic adventurism: the man never settled in a style for very long. This particular one suits him.
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
Anna and I went on one of our vanishingly rare parent dates to go see The Force Awakens a few days ago. We had a great time. The movie is loaded with gratuitous fan service and doesn’t stand up to even casual scrutiny, but then, that was true of episodes IV and V too. Nothing that happens in the reality of Star Wars makes an ounce of sense. Why try to pick apart the logical inconsistencies in these movies? It’s like picking apart the logical inconsistencies of dreams.
All movies are a kind of waking dream. The good Star Wars movies (in my opinion, IV, V and VII) are as dreamlike as it’s possible for movies to get without becoming impenetrably avant-garde. There is no stranger or more dreamlike special effect than plain old human aging. Seeing the familiar actors playing the familiar characters, but thirty years older, is a kind of strangeness I have never experienced in the movies before.
Spoilers follow! Continue reading