archives

On Music As Overlay
On Another Kind Of Wonder (part II)
Notes On Magnus Nilsson’s “Faviken”
On Music For Ringtones
Borrowed Thoughts: Haruki Murakami On Mundane Actions
On How The Shape Of A Sound Shapes Us
On David Esterly’s “The Lost Carving”
On Salvador Dali’s “The Disintegration of the Persistence of Memory”
On Using Repetition As A Generative Tool: Yu Yamauchi’s “Dawn”
Musical Resonances: On Nate Silver’s The Signal And The Noise
Notes On A Talk By W.S. Merwin
Strange Mechanisms II: On Exercise And Musical Tempo
On The Influence Of One’s Musical Teachers
Notes On A Talk By Robert Fripp
Some Observations On Atoms For Peace’s “Unless”
On Musical Invention, Sound And Process: “Bladelores” From Autechre’s Exai
On The Strange Poetics Of Spam
On Another Kind Of Wonder
On Portlandia’s Music-Cultural Critiques
On Pantha Du Prince And Bell Laboratory’s Elements Of Light
On Timing And The Nature Of Blogging
Microthought: On Harold Budd’s “Bandits Of Stature”
On A Not-Knowing Knowledge
Microthought: On Musical Process
On Lip Syncing And Musical Authenticity
On Negative Achievement: The XX Perform In New York
A Question On Pop Musical Irritants
On The Rhythms Of Soccer And The Game Of Music
Microthought: On Multisensory Sounds
Observations On A Musician Playing Guitar
Zadie Smith On Joni Mitchell’s Blue
On Rhythmic Instabilities And Brand New Feelings: DJ Rashad’s “Feelin””
On Advice To A Repetition Hater
On Grateful Sound: Thinking Through “Dark Star”
Bill Murray On (Groovy) Vibrations
On Re-Composition: Max Richter Meets Vivaldi’s The Four Seasons
Haruki Murakami On Repetition
On The Universal Sense: How Hearing Shapes The Mind
Microthought: A Santoor And Tabla Duet
On Listening With Sympathy
On Microthoughts
Headphones As Fashion Fetish: A Beats By Dre Exhibit In Times Square
On Modular Grid Structures: Thinking Through Sol LeWitt’s Cubes
On Flavors, Tastes, Sound And Perception: Thinking Through Ruhlman’s Twenty
On Lessons From Long Distance Activities Which May Also Apply To Making Music
On Sounding A Bigger Energy: Mumford And Sons
From The Archives: “Roadscape”
On Voice, Authenticity, And Not Being Fake
On Music In Its Context: Noise Musicians Improvising In The Subway
On Techlust II: Native Instruments’ Maschine In Colombia
On David Byrne’s “How Music Works”
How Many Words Is A Sound Recording Worth?
On Repetition: “Jiro Dreams Of Sushi”
On Small Things And Big Pleasures: David Guetta’s “Titanium”
On Sounds And Humor
On Four Tet’s Good Taste
On Musical Texts: T.M. Wolf’s “Sound”
Peter Coviello On Musical Talk That Does Something
On Capturing Thoughts In Formation: Notes On Listening
On Leanne Shapton’s “Swimming Studies”
On The Sounds Of Finance
On Our Din And Roar II: How Noise Is Not Always Bad And Quiet Not Always Good
On Our Din And Roar: Thinking About Loud Sounds
On Philosophy’s Western Bias: Thinking Through “Non-Western” Music
Three (Fictional) Grooves On (Real) Advice
On Finding Cross-Sensory Inspiration: The Spell Of Michel Bras
On The Sound Of Epic Achievement And Luxury: A Rolex Soundtrack
Moving Serenity: On The Resonances Of Scott Jurek’s Eat and Run
Content, Form, And Versioning A Song Everybody Knows: Gotye’s “Somebody I Used To Know”
On The Filtering Of World Music: A Nexus Percussion Performance
Still Centers: On Harold Budd’s Piano Music
On Amateur Cultural Critique
On The Strange Sources Of Blog Traffic
On The Nature Of Blogs II: Matching Form And Content To Capture Meaning
On Running, Time, And The Flow Of Non-Thinking Thinking: Running With The Kenyans
Musical Appropriation Or Just A Shoe That Fits? : Dirty Loops’ Pop Reversioning
On The Sounds Of Justice
On Beginnings And Anywheres: A John Cage Aphorism
On The Trickle-Down Of Electronic Dance Music Aesthetics IV: Usher And Diplo’s “Climax”
On Vintage Fetishism And Rustic Analog Appeal: From Urban Outfitters To Bon Iver
“Look What I Found!”: On Music And Mushrooms
Real/Fake Drumming On A Fake/Real Keyboard: Thinking About Virtual Musicianship
On The Beastie Boys And The Hip Hop Enculturation Of 1980s Suburbia
Free Of All The World’s Heaviness: Karl Pilkington On Sound And Listening
A Silent Palette Cleanser
On The Musicality Of M.C. Escher
On Teaching Music: Visiting A Friend’s College And Elementary School Classrooms
On Vocal Frying
On The Rise Of Cultural Populism: We’re All Musical Experts Now
On Charles Duhigg’s “The Power Of Habit”: Exploring Music Listening Habit Loops
In Praise Of Slowness: On Writing On Cellphones
On Gary Marcus’s “Guitar Zero”
On Perception And Playing A Polyrhythm
On Pop Music Production Geneologies: Ester Dean’s Compositional Process
Strange Mechanisms: On Entrainment And Running To Music
Representing Time: On Christian Marclay’s “The Clock”
Intangible Things: On Victor L. Wooten’s “The Music Lesson”
“Where Are We?”: Situating Wonder Through Music In Apple Siri Commercials
On Reading Online Consumer Reviews
Sound Decisions: On Daniel Kahneman’s “Thinking, Fast and Slow”
On Piano Lessons: Tricia Tunstall’s “Note By Note”
On The Trickle Down Of Electronic Dance Music Aesthetics III: Acousmatic Sound And Authenticity At The 2012 Grammy Awards
On Bass Culture: Beats By Dr. Dre Headphones
On (Making) Recordings Versus (Living) Live Music
On Nostalgia And The Voice Of Michael McDonald
On Recorded Music’s Last Gasp: More On Evanescent Materials In Solid Containers
Ventrilo-Dialogue: A Conversation With Arvo Pärt
On Spam Feedback
On Drumming, Primitiveness, Wood, And Overtones: Michael Gordon’s “Timber”
On Perception, Presence, And The Creative Process: John Berger’s “Bento’s Sketchbook”
On Motion, Repetition, and Transformation: Robin Harvie’s “The Lure Of Long Distances”
From The Hard Drive: Backing Up Old Voices
On Less Is More: El Fog’s Rebuilding Vibes
On The Trickle Down Of Electronic Dance Music Aesthetics II: Maroon 5′s “Move Like Jagger”
On Evanescent Materials In Solid Containers: The Flaming Lips’ “7 Skies H3″
I’m Yours: On Jason Mraz’s Reggae And Cultural Tourism
Stewie Griffin On Music Theory
On The Nature Of Blogs
On “Going Classical”: Popular Music Played With Orchestras
On Minimalism and Aural Illusions
On Practicing Wonder: David Abram’s Becoming Animal
On Matthew Herbert’s One Pig
(Im)Perfect Congruence: On Dancing To Music
On Wonderment And Scripts In Electronic Music Making
On Bjork’s Biophilia: Music, Technology And Enchantment
On Sonic Persuasion: The Music Of Oneohtrix Point Never
Ventrilo-Dialogue: A Conversation With Taal
On Musical Taste: Carl Wilson’s Let’s Talk About Love
On Imitation, Oral Tradition And Pleasure: Nicki Minaj’s Super Bass Travels
From The Archives: Chords And Beats
On The Soundscapes Of Le Quattro Volte
On Damon Albarn’s DRC Music Collaboration
Some Notes On The Usefulness Of Improvisation
On Janet Cardiff’s Forty-Part Motet
On Geoff Dyer’s But Beautiful As Music Criticism
On The Rhythms In Bollywood Films
On Computers, Bicycles and Minds
Atul Gawande On Performance And Coaching
On The Inner Life Of Sampling
On Blowing Zen: Finding An Authentic Life
Sound Advice: Frank Gehry Speaks
On Music and Discipline: Anna Goldsworthy’s Piano Lessons
On Sounds And Silence: Travels With Manfred Eicher
Letting Randoms In: On The Music Of Burial
Ventrilo-Dialogue: A Conversation With A Composer
On Simon Reynold’s Retromania
On Boredom, Music and Time
Ventrilo-Dialogue: A Conversation With Autechre
On Embracing The (Repetitious) Mundane: Two Works By Jean-Philippe Toussaint
On The Neuroscience Of Magic And The Magic Of Aural Illusions In Music
On Grid Matrix Sequencers: The ToneMatrix
Ventrilo-Dialogue: A Conversation About Euphony And Groove
Ventrilo-Dialogue: A Conversation About Ventrilo-Dialogue Theory
On Play
Lessons From A Sick Computer
On Music and Socialization
On Music and Advertising: Weezer’s Tour de France Izod Commercial
On Expressivity In Musical Performance: The Korg Wavedrum
On The Sound Of Your Voice
On The Affective Power Of Quiet
Ventrilo-Dialogue: Music Making, Technology And The Post-Human
From Geoff Dyer’s Criticism To Keith Jarrett’s Pianism
On Max Neuhaus: The Sound Installation In Times Square
On David Eagleman’s Incognito: How We Know What We Know
On Tim Hecker’s Ravedeath, 1972: How Do You Know When A Music Is Really Good?
On Soundscape Listening And Moshing
On The Allure Of The Worn
On Techlust: Native Instruments’ Maschine
Sports On TV As Ambient Sound
On Alva Noto and Ryuichi Sakamoto’s Musical Duets
Thomas Merton On Silence and Chant
On Ryoji Ikeda’s The Transfinite
On The Musical Metaphors Heavy And Deep
On Marcus Boon’s In Praise Of Copying
On The Wellness Of Voice: Sounding Om
On James Blake Live At The Bowery Ballroom
On Being Perpetually Mindful
On The Trickle Down Of Electronic Dance Music Aesthetics: The Cases Of Rihanna and Britney Spears
Music In Wallace Stevens’ Poetry
On Musical Time and Drummers’ Brains
On The Most Human Human
Remixing Is A Curious Thing
On David Sudnow’s Ways Of The Hand
On Information, Musical Memes And Earworms
On Kinesthetic Sense In Musical Experience
On The Digital Versus The Physical In Music
On Fidelity And Presence in Music
On Musical Pictures Of The World
On Making Music Tangible
On Designing New Musical Controllers
Give The Drummer Some
W.S. Merwin On The Music Of Poetry
On The Prospect Of Acoustic Lies
On The Pleasures Of (Unmediated) Hearing
On The Monome Community Earthquake Disaster Emergency Album
On The (In)significance Of Musical Experience
On Irish Traditional Music
On The Posthuman Soul of James Blake
Xenakis On Intelligibility In Music
Views From A Flying Machine Reviewed
On The American Singing Voice: American Idol, Glee and The Sing-Off
On Musical Desiring-Machines
Memory Palaces and Music
On The Beyond Digital Morocco Project
On Music From Saharan Cellphones
On Secondhand Sureshots
On Daniel Lanois’ Soul Mining
The Sound of Vuvuzelas
On Becoming A Virtuoso Of Knobs, Buttons, and Sliders
Digging4Gold: Record Collecting or Pilfered Music?
Musical Collaborations: Ballaké Sissoko and Vincent Segal
From The Archives: Answering Machine Music
Notes On Music Criticism from Tony Herrington
The Neuroscience Of Music
Bad Music, Good Music: How We Assess Sound
Views From A Flying Machine
Microsoundscapes In Sylvain Chomet’s The Illusionist
From Quadraphonic To Good Enough Sound
On Audio Cassette Technology
On Hildur Gudnadottir’s Without Sinking
What Chord Are You?
On Bassweight
On Headphones
Categorizing (One’s) Music
The 1980s Revisited: Synthesizers, Drum Machines and La Roux
Addendum On The Unwanted Sound
Euphony Groove And The Prospect Of New “World” Music
Sound Is Ethereal
Garret Keizer On Noise And The Logic Of The Loud
Guest Post: Talia Jimenez on Cells
Glenn Gould’s The Idea Of North
Heston Blumenthal On Multisensory Experiences
Favela On Blast
Electronic Music and Gaming Theory
Interviews with Roger Linn
On Shivkumar Sharma
Music Blogging and Music Piracy
Michael Chanan on “World Music”
Just A DJ In The Subway Or . . . ?
An Interview With Percussionist Junior Wedderburn
Your Musical Tastes, Automated
More Cookery-Music Connections: Texture and Timbre
Creative Strategies From elBulli’s Cookery
Brian Eno on Improvisation, Computers and Music
The Disguised Musical Voice
How Music Means So Much
The Organ Music of Olivier Messiaen
Digital Diets, Attention Spans and The Rhythms Of Learning
The Sound Of Auto Tune
Music Travels Cont’d
You Are The Controller
Musical Memes: A Bassline Travels
Apple Commercials and Musical Minimalism
Sound Exploring
Eno & Co. Improvising Electronic Music
Acoustic Territories
Making Musical Systems Public
The Music of Arvo Pärt
C.Wright Mills: On Intellectual Craftsmanship
Freemuse
The Hang Drum: Real and Virtual
Sounds Want To Be Free: Freesound
On Autechre: Exercising The Materiality Of Machine Music
Feedback On African Feedback
On Impetuses For Making Views From A Flying Machine
Ordinary Affects and The Ethnography of Everyday Experience
Jaron Lanier on Technology: Music and MIDI
Flying Lotus and The Density Of Musical Information
Creative Strategies in Electronic Music
Reading About Silence

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