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brettworks

thinking through music


  • March 26, 2026

    Curating The Week: Freedom, Exceptionalism, Finishing

    • A conversation with historian Timothy Snyder. “If we think about freedom as the task of government, we find ourselves in a much warmer and a much more prosperous place.” • An essay on the disfiguring mentality of American exceptionalism. “I find myself turning to a more thoroughgoing narrative: that Trump is the fulfillment of… Continue reading

    Curating The Week
  • March 25, 2026

    Curating The Archive: Of Slow Voices (5.2.2022)

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    Curating The Archive
  • March 24, 2026

    Database: Laura Cannell On The Mechanics Of Acoustic Instruments, Improvising, And Simple Motifs

    “I’m not trying to re-create anything, especially not early music, but I am also attached to the fact that human anatomy and the mechanics of violins and recorders haven’t changed in over a thousand years, so we are inherently connected to the physical feelings and patterns that musicians would have experienced throughout the last millennium.”… Continue reading

    database
  • March 23, 2026

    Omni 128 bpm

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    Uncategorized
  • March 21, 2026

    Brett’s Sound Picks: Laura Cannell’s “The Water Had Carried Her” (2026)

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    Brett’s Sound Picks, micro-information, minimalism, strings
  • March 19, 2026

    Curating The Week: AI and Human Touch, AI and Writing, AI and Taste

    • An essay on AI, music, and the demand for the human touch. “Echoing AI commentary today, some musicians viewed the player piano as not just replicating human playing, but exceeding it. The Russian composer Igor Stravinsky explained that he wrote pieces specifically for the machines because ‘there are tone combinations beyond my ten fingers,’… Continue reading

    Curating The Week
    AI, technology, writing
  • March 18, 2026

    Marimbafied 35

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    Uncategorized
  • March 17, 2026

    Pianola

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    Uncategorized
  • March 16, 2026

    Tuning

    Laurent de La Hyre, Allegory of Music (1649) Before a concert, the orchestra tunes. The oboist blows a sustained reference pitch at A 440 Hz to which the string, woodwind, and brass players adjust. The musicians tune their instruments to compensate for environmental changes in temperature and humidity. Before the music has even begun, each… Continue reading

    Uncategorized
  • March 12, 2026

    Unquantized (Remodel)

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    Uncategorized
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Thomas Brett is a musician and writer who holds a PhD in ethnomusicology from New York University. He is the author of Principles of Electronic Music Production and The Creative Electronic Music Producer, a book described by Sound On Sound magazine as “a deep philosophical analysis of the various creative inspirations, ideas and processes involved in producing electronic music.” His essays have appeared in the journals Popular Music and Popular Music and Society, as well as edited collections by Routledge, Oxford, and Cambridge University presses. Thomas has played percussion on Broadway since 1997 and writes about music at brettworks.com.

Recent Posts

  • Curating The Week: Freedom, Exceptionalism, Finishing
  • Curating The Archive: Of Slow Voices (5.2.2022)
  • Database: Laura Cannell On The Mechanics Of Acoustic Instruments, Improvising, And Simple Motifs
  • Omni 128 bpm
  • Brett’s Sound Picks: Laura Cannell’s “The Water Had Carried Her” (2026)

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