I have come to believe that Herbie Hancock’s “Rockit” is the most interesting musical recording of all time. It touches every form of twentieth century American music, from blues to jazz to rock to techno, and it’s one of the founding documents of global hip-hop. Not bad for a last-ditch effort to keep Herbie’s label from dropping him!
Here’s the album version:
Music evolves the way life does: through change in the heritable characteristics of populations over successive generations. Most of the heritable characteristics of music are abstractions like rhythm patterns and chord progressions. However, you can also see heritability at work more obviously in the form of sampling. It’s especially illuminating when a song samples a song which in turn samples yet another song. The longest such chain that I know of: “Workin’ On It” by Dwele (2008) samples “Workinonit” by J Dilla (2006), which samples “King of the Beats” by Mantronix (1988), which samples “Pump That Bass” by Original Concept (1986), which samples “Close (To The Edit)” by Art of Noise (1984), which samples “Owner of a Lonely Heart” by Yes (1983), which samples Stravinsky’s ”Firebird Suite: Infernal Dance of All the Subjects of Kastchei.” I made a DJ mix of all of these tracks for my dissertation mixtape, enjoy:
Toni Blackman‘s hip-hop education practice resembles music therapy as much as it does traditional music teaching, so it makes perfect sense that she would release a hip-hop meditation album. I did a remix of my favorite parts for my dissertation mixtape:
Toni argues that freestyling builds authentic confidence that comes from the soul, and that it you access to vulnerability and creativity. I’m not a rapper, but I’ve played enough jazz and other improvised music to know what she’s talking about. Improvisation might be the most valuable personal and professional skill that I possess. Continue reading “Toni Blackman’s hip-hop meditation”
I recently met a gentleman named Samuel Halligan, who, among other things, makes music education utilities using Max For Live. One of them is called Pop-Up Piano. If you use Max or Ableton and you could use some help learning music theory, you should go and download it immediately. It’s a Max For Live Device that you can place on any MIDI track in Ableton, or just open as a Max standalone. The concept is simple: as you play notes on a MIDI controller, or as MIDI plays back from a clip, the Pop Up Piano shows you the note names, and notates them on the staff. It also shows them on a cool pitch wheel. You can also set a particular key and scale, and then the Pop Up Piano will show you whether the notes you’re playing fall within that scale.
Samuel made this thing to help pianists navigate the Ableton Push. But I could see this being useful for any musician. I’m going to use it in my intro-level music theory course that I’m teaching at the New School this fall. I’d be interested to hear from any theory pedagogues out there how you would structure lessons or assignments around this tool. Continue reading “Samuel Halligan’s awesome Pop-Up Piano for Ableton Live”
In this post, I present a remixed recording I made of hip-hop educator Brandon Bennett running a session of the afterschool Producer Club run by TechRow Fund at New Design Middle School in Harlem. From the beginning until 1:18, you hear Brandon lead a game of his own devising, where he raps lines with missing words, and the students have to call out what they think the word is. From 1:18 until 1:58, you hear a second round of the game. Finally, from 1:58 until the end, you hear Brandon coaching the kids as they write their own bars.
After Brandon led the game, then the kids took turns on the mic. Everyone was rapping over a beat playing from Brandon’s phone through the speakers. The mic ran into Ableton Live on my computer, and then out through the same speakers. That way, I could apply effects like compression, delay, and Auto-Tune as needed. I could also record whatever was coming in on the mic. I like to record the sessions, because if a student comes up with something good, then we have it documented for their future reference. Brandon and I will sometimes edit the high points of their freestyles into “proto-songs”, with the hope that they will inspire the students to expand on them in future sessions.
Continue reading “Brandon Bennett: the ethnopedagogical remix”
When you look up “Kumbaya” on Urban Dictionary, you get an adjective meaning “blandly pious and naively optimistic.” This is the sense in which Fox News often uses the word to make fun of bleeding heart liberals like me. I learned the song from numerous earnest white folk singers, many of whom learned it from Joan Baez:
But then I read on Anne C Bailey’s blog that “Kumbaya” is a Gullah song, named for the dialect version of the phrase “come by here.” Bailey’s post links to the earliest known recording, a 1926 wax cylinder whose performer is listed only as “H. Wylie.” This version is surprisingly funky for those of us raised on the white folkie version.
Ableton just published the video of a panel I was part of at Ableton Loop 2017 with Dennis DeSantis, Jack Schaedler and Mel Uye-Parker. We talk about music tech and education. Very cool stuff.
You can also read my detailed accounts of Loop 2017 and Loop 2018.
Springer just released this new edited volume on human-computer interaction in music contexts. It includes a chapter I coauthored with Sumanth Srivinasan on the design and pedagogical philosophy behind the Groove Pizza. Check it out!
I was invited by Jason Richardson to take part in a Shinobi Cuts remix chain, an album where each track is a remix of the previous track. The final remix is done by the creator of the track that started the whole thing off, making for a kind of musical strange loop.
When you listen to the album, you’re listening to the music evolve, track by track. It’s a brilliant idea. In the era of streaming, we might reasonably ask what albums are even for. Why does some collection of tracks need to be listened to as a group and in a particular order? I like the idea of having an evolutionary structure tying the tracks together. Continue reading “The Shinobi Cuts remix chain”
It looks as though I’ll be teaching Fundamentals of Western Music at The New School’s Eugene Lang College for the next two semesters. If ever there was a place that aligns with my personality and approach, that is it. They showed me a music theory quiz that uses an image from this very blog.
That’s a comforting thing to see in a job interview. I feel like I’ve arrived home.
