Later this week I’m doing a teaching demo for a music technology professor job. The students are classical music types who don’t have a lot of music tech background, and the task is to blow their minds. I’m told that a lot of them are singers working on Verdi’s Requiem. My plan, then, is to walk the class through the process of remixing a section of the Requiem with Ableton Live. This post is basically the script for my lecture.
Anna posed this question, and I think it’s an excellent one: What is up with “Let It Go” and little girls? Why is this song such a blockbuster among the pre-K set? How did it jump the gap from presentational to participatory music? Is it the movie, or the song itself? In case you never interact with pop culture or little kids, this is the tune in question:
I posted the question on Facebook, and my friends have so many good responses that I’m going to just paste them all in more or less verbatim below.
You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.
Here’s Alex’s video introduction:
Continue reading “Announcing the Peter Gabriel edition of Play With Your Music”
In this post, I’ll be doing some public-facing note-taking on Music As Social Life: The Politics Of Participation by Thomas Turino. I’m especially interested in its second chapter, “Participatory and Presentational Performance”. We in the United States tend to place a high value on presentational music created by professionals, and a low value on participatory music made by amateurs. It’s useful to know that there are people in the world who take a different view.
Turino divides music into four big categories:
Turino devotes a lot of his attention to three examples of participatory music cultures:
This last group might strike you as the odd one out. Turino sees more commonalities between the musical experience of American contra dancers and participants in Shona rituals than he does between the contra dancers and audiences at, say, a jazz concert.
Continue reading “Participatory music vs presentational music”
I participate in Marc Weidenbaum’s Disquiet Junto whenever I have the time and the brain space. Once a week, he sends out an assignment, and you have a few days to produce a new piece of music to fit. Marc asks that you discuss your process in the track descriptions on SoundCloud, and I’m always happy to oblige. But my descriptions are usually terse. This week I thought I’d dive deep and document the whole process from soup to nuts, with screencaps and everything.
Here’s this week’s assignment, which is simpler than usual:
Please answer the following question by making an original recording: “What is the room tone of the Internet?” The length of your recording should be two minutes.
I have been very vocal in my criticism of contemporary classical music on this blog. But there is some new music out there that I do like, very much. Most of it falls under the minimalist category, made by Steve Reich and his followers. The coolest new thing I’ve heard in this idiom is “Timber” by Michael Gordon.
The piece is played by six people on wooden planks, using mallets and fingertips. I thought at first it was a conceptual thing — “look what we can do with ordinary lumber” — but in fact this is an actual instrument called a simantra, used by Eastern Orthodox monks and, later, Iannis Xenakis. You can take a look at part of the score.
So why do I consider this to be good? Continue reading “Some contemporary classical music that I actually like”
I just completed a batch of new music, which was improvised freely in the studio and then later shaped into structured tracks.
https://soundcloud.com/ethanhein/sets/tabla-breakbeat-science
I thought it would be helpful to document the process behind this music, for a couple of reasons. First of all, I expect to be teaching this kind of production a lot more in the future. Second, knowing how the tracks were made might be helpful to you in enjoying them. Third, composing the music during or after recording rather than before has become the dominant pop production method, and I want to help my fellow highbrow musicians to get hip to it. Continue reading “Composing improvisationally with Ableton Live”
There’s an interview on the Creative Commons blog with Disquiet Junto instigator and Aphex Twin historian Marc Weidenbaum. It’s full of his usual keen insight.
Here are some key quotes. Continue reading “Marc Weidenbaum on remixes”
This post was originally written for the Play With Your Music blog. Also be sure to check out our interview with engineer Kevin Killen and drummer Jerry Marotta.
Peter Gabriel’s songwriting and recording process in the early 1980s was unusual for its technological sophistication, playfulness and reliance on improvisation. While Peter was considered avant-garde back then, now that music technology is a lot cheaper and more accessible, his practices have become the baseline standard for pop, dance and hip-hop.
The South Bank Show’s long 1983 documentary on the making of Peter Gabriel’s fourth solo album Security follows the production of the album from its earliest conception to its release and critical reception. It’s an invaluable record both of Peter’s creative process and the technology behind it.
My new studio band has an album nearing completion. It’s called Music Information Retrieval, because our studio time was sponsored by NYU’s Music and Audio Research Lab — we contributed to a database of multitracks that will be used for music informatics research.
We made our DJ debut over the weekend at the Rubin Museum, where our brand-new track “Rock Steady” was dropped by DJ Ripley.
Continue reading “Tabla Breakbeat Science is dropping an album”
