In praise of campy Batman

My son is deeply obsessed with Batman, like any four year old should be. His favorite articles of clothing include a Batman sweatshirt, Batman pajamas, and Batmobile-shaped slippers. When he plays Batman, he imagines his powers to include shooting bats out of his hands. And he loves the Batman theme song.

In fact, the boy loves this theme song so much that he insists I sing theme songs for all his other favorite superheroes. This is easy for Spider-man, who also has a great 60s vintage theme song. But I had to make up songs for Superman and Iron Man (which has meant improvising goofy lyrics to John Williams’ theme music and the riff from the Black Sabbath song, respectively.)

The only version of Batman that’s really age-appropriate for a four-year-old is the sixties one. This is just as well, because the late Adam West’s Batman is the best version all the way around.

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Cranes in the Sky

Solange Knowles is Beyoncé’s artsier younger sister. “Cranes In The Sky” is her biggest hit so far. It manages the rare feat of being both extremely catchy and extremely weird.

Solange helpfully explains her songwriting process on the invaluable Song Exploder podcast.

https://soundcloud.com/hrishihirway/song-exploder-solange

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Groove challenges with the Groove Pizza

One of our key design principles at the NYU MusEDLab is not to confront beginners with a blank canvas. We want to introduce people to our tools by giving them specific, real-world music to play around with. That was the motivation behind creating presets for the aQWERTYon, and a similar impulse informs Ableton’s approach to their online music tutorials. The Groove Pizza comes with some preset patterns (specials), but there aren’t direct prompts for creative beatmaking. This post introduces some prototype prompts.

Groove Pizza logo

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Teaching myself the Bach Chaconne with Ableton Live

Recently someone posted this performance of the Chaconne from Bach’s violin partita in D minor on an eleven-string guitar by Moran Wasser.

My favorite interpretation by an actual violinist is Viktoria Mullova’s. I appreciate her straightforward and unsentimental approach.

I also enjoy the version from Morimur, and I’m not alone. It’s one of the most popular classical albums of all time. Here’s a live performance:

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Learning music from Ableton

Ableton recently launched a delightful web site that teaches the basics of beatmaking, production and music theory using elegant interactives. If you’re interested in music education, creation, or user experience design, you owe it to yourself to try it out.

Ableton - Learning Music site

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Demographics of the Disquiet Junto

I’m currently working on a book chapter about the Disquiet Junto, the internet’s most innovative creative music community, run by author and blogging inspiration Marc Weidenbaum.

Disquiet Junto

As part of my research, I conducted a survey of the Junto mailing list. Here’s a summary of the first 130 responses.  Continue reading “Demographics of the Disquiet Junto”

You kids like the wrong music, part two

Over on Quora, David Leigh complains that it doesn’t take much musical ability to be a popular singer these days, not like when Enrico Caruso sold a million records. People had taste back then. Kids today, amirite?

Enrico Caruso, a "real" singer

Here’s my response:  Continue reading “You kids like the wrong music, part two”

Toward a Methodological Stance

Final paper for Approaches To Qualitative Inquiry with Colleen Larson

Section 1: Reflections on Received View of Research

I was raised by two medical researchers and a former astrophysicist, surrounded by stacks of quantitative journals. I rarely questioned the assumption that quantitative empirical research is the gold standard of truth, and that while subjective accounts are interesting and illuminating, they are not ultimately reliable. From scientists I learned that stories belong to mythology, while facts do not necessarily organize themselves in ways that can be apprehended so easily. Creation myths tell the story of a human-scale world in which humans are the most important element. Astrophysicists tell us that the universe is unfathomably vast and incomprehensibly old, and that we are insignificant in the grand scheme of things, while evolution teaches that we are more like mushrooms or daisies than unlike them. It is axiomatic for scientists that reality is empirically knowable, and while social and emotional considerations are a fact of life, they are noise to be filtered out.

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Research proposal – Hip-Hop Pedagogy

Final paper for Principles of Empirical Research with Catherine Voulgarides

Research questions

Jamie Ehrenfeld is a colleague of mine in the NYU Music Experience Design Lab. She graduated from NYU’s music education program, and now teaches music at Eagle Academy in Brownsville. Like many members of the lab, she straddles musical worlds, bringing her training in classical voice to her work mentoring rappers and R&B singers. We often talk about our own music learning experiences. In one such discussion, Jamie remarked: “I got a music degree without ever writing a song” (personal communication, April 29 2017). Across her secondary and undergraduate training, she had no opportunity to engage with the creative processes behind popular music. Her experience is hardly unusual. There is a wide and growing divide behind the culture of school music and the culture of music generally. Music educators are steeped in the habitus of classical music, at a time when our culture is increasingly defined by the music of the African diaspora: hip-hop, R&B, electronic dance music, and rock.  Continue reading “Research proposal – Hip-Hop Pedagogy”

Designing a more welcoming aQWERTYon experience

This post documents my final project for User Experience Design with June Ahn

The best aQWERTYon screencap

Overview of the problem

The aQWERTYon is a web-based music performance and theory learning interface designed by the NYU Music Experience Design Lab. The name is a play on “QWERTY accordion.” The aQWERTYon invites novices to improvise and compose using a variety of scales and chords normally available only to advanced musicians. Notes map onto the computer keyboard such that the rows play scales and the columns play chords. The user can not play any wrong notes, which encourages free and playful exploration. The aQWERTYon has a variety of instrument sounds to choose from, and it can also act as a standard MIDI controller for digital audio workstations (DAWs) like GarageBand, Logic, and Ableton Live. As of this writing, there have been over 32,000 aQWERTYon sessions.

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