- Art About Music: William H. Johnson’s “Street Musicians” (1939-1940)
- Resonant Thoughts: James Hibbard’s “The Art Of Cycling” (2023)
- Brett’s Sound Picks: Mandy, Indiana’s “Love Theme (4K VHS)
- Voices and Keys
- Yours Alone: Music Production Ergonomics
- Rhythm Follower
- Database: Lorenzo Senni On Build-ups
- Art About Music: Jan de Bray’s “A Violin Player Accompanying Two Young Singers” (1658)
- Brett’s Sound Picks: Clark’s “Dolgoch Tape” (2023)
- Templates, No Template
- Curating The Week: Blur, Imperfections, The Time Course Of Creativity
- Database: Grischa Lichtenberger On Steps Of Enhancement
- Brett’s Sound Picks: Grischa Lichtenberger’s: “1011_11104_v_re_61011s1b” (2023)
- SEK 9
- The Analytical-Intuitive Fader
- Source Illuminated
- Database: Ital Tek On Inspiration
- Brett’s Sound Picks: Ital Tek’s “Cold Motion” (2023)
- Marimbafied
- Commit To Beauty
- DB 1
- On Theory, Practice, And Progress
- Curating The Week: Jaron Lanier On A.I., Re-Listening, Bagpipe Cover Songs
- Database: The Field On Listening For A Long Time
- Brett’s Sound Picks: The Field’s “Alter – The Field Remix” (2023)
- Tuned
- ‘In The Style Of’: Perspectives On Creativity From AI-Based Text, Image, and Music Generators
- Presence In Absence
- Database: Laurel Halo On Keeping Your Own Sound At The Core
- Brett’s Sound Picks: Neil Cowley’s “Cord” (2023)
- Opal 4
- Playing An Instrument, Playing A DAW, Omnimusicality
- Curating The Week: Peter Doig On Artworks Taking Time To Resolve, Lo-fi Aesthetics, ChatGPT
- Art About Music: Peter Doig’s “Music Shop”, “Music (2 Trees)”, “House of Music (Soca Boat)” (2019-2023)
- Database: Amon Tobin On Sampling
- SEK 6
- Prepare Close At Hand Possibilities, Then Reap The Random
- Art About Music: Johannes Vermeer’s “The Love Letter” (1670)
- Database: Ricardo Villalobos On Spaces and Reverbs
- Broken Beats
- Ad Hoc Processes As Creative Spur
- Illuminating Source
- Resonant Thoughts: Adam Gopnik’s “The Real Work: The Mystery Of Mastery” (2023)
- Database: James Holden On Process As A Living System
- SEK 4
- On Seeking Beautiful Outputs
- Curating The Week: Terry Riley, John Luther Adams, The Universality Of Music
- Art About Music: Alma Thomas’ “Red Azaleas Singing and Dancing Rock and Roll Music” (1976)
- Database: Seth Drake On Harmonic Coloring
- Still In Motion
- In The Moment Music Production Constraints
- Database: Ryan Lee West On Exploring Tone, Destroying Sounds, And Going Off The Grid
- SEK 2
- Rhythmified (148 bpm)
- On Reducing Workflow Pressure
- Of Many Returns
- Speculative Music Theory
- Art About Music: “E-Mail Spam From A Music Streaming Company” (2023)
- B 14
- On Redoing A Not-So-Great Version Of A Track
- Database: U-Ziq On Using What’s At Hand
- On Moby’s Slow Motion Ambient
- In A Space 5
- Listening And Remembering Qualities Apparent: Tony Williams On “Cantaloupe Island”
- The Minimalist Mindset In Music Production
- Resonant Thoughts: Graham Massey On Composing On the Mute Buttons
- UC Etudes 3, HT Dub 12 124 bpm
- Thinking in Pairs
- Curating The Week: ChatGPT, AI and Art, Dumbed-Down Culture, Bach
- P1 (Remodel)
- Every Track Is A One-Off
- These Realms
- Pianofied
- Many Returns (Player Piano version)
- Piano Grey
- Arrows Of Attention: 20 Production Prompts
- Notes On Fred Again..’s Artistry
- 13 Production Concepts
- Database Update
- B 13
- The Main Thing And Its Peripherals
- Running, Tempo, and Time
- Resonant Thoughts: Christopher Alexander on Dynamic Structures
- Art About Music: Notes On Sample Point Locations That Sound Good (2023)
- Bowed 9 (remodel)
- Arrows Of Attention: A Musical Phenomenology
- Curating The Week: How To Get New Ideas, Attention, 40 Useful Concepts
- Database: SG Lewis on Samplers
- Art About Music: Robert Leighton’s “City Opera” (2023)
- O 7
- Ways Of Tonal Evolutions
- For A Spell
- Resonant Thoughts: Merve Emre’s “Has Academia Ruined Literary Criticism?” (2023)
- Resonant Thoughts: Arvo Pärt On Bell Sound
- FA 3
- Many Lines From A Single Gesture
- Curating The Week: Interconnected Production, Creative Algorithms, Collaborative Art
- FA 13
- Making Music Is Phenomenology
- Art About Music: Salvador Dali’s “A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano” (1936)
- Resonant Thoughts: Hua Hsu’s “Stay True: A Memoir” (2022)
- Brett’s Sound Picks: TLF Trio’s “Passacaglia” (2022)
- O 5
- Windows Of Attention
- Attention Through Invention And Intention: Notes On Aphex Twin
- Resonant Thoughts: Benedicte Maurseth’s “To Be Nothing: Conversations With Knut Hamre, Hardanger Fiddle Master” (2019)
- FA 15
- Sound Fishing
- lamentation
- Resonant Thoughts: Richard Evans’ “Listening To The Music The Machines Make” (2022) and Dan Leroy’s “Dancing To The Drum Machine” (2022)
- Database: Aphex Twin On Composing
- Brett’s Sound Picks: Benedicte Maurseth’s “Heilo” (2022)
- Of Sines
- On The Musically Untried
- Lifted Up
- Brett’s Sound Picks: Ultratronics 13 (2022)
- Resonant Thoughts: Peter Zumthor’s Atmospheres (2003)
- Mover
- Once You’ve Found The Middle Ground Twiddle With Its Sides
- Curating The Week: Melting Ice Music, Technology’s Existential Threat, Reading Well
- Resonant Thoughts: Floating Points On Playing With Modulation
- Brett’s Sound Picks: Sarah Davachi’s “Harmonies In Grey” (2022)
- FA 10 Piano
- On Judgment And Tacit Knowledge
- That Falls Never Stops Falling
- Resonant Thoughts: Keith Fullerton Whitman On Forcing Interactions
- Art About Music: Vilen Barsky’s “Drummer Solo” (1959)
- [Untitled]
- Workflow Advice Developed, Not Given
- Resonant Thoughts: Brian Eno On Attention
- Brett’s Sound Picks: Alva Noto & Ryuichi Sakamoto’s “Kizuna” (2022)
- FA 5 piano
- Notes On Musical Remixes, Reimaginings, Afters, Recomposeds, Remodels, And Alternative Versions
- Art About Music: Lawren Harris’s “Nature Rhythms” (1950)
- Brett’s Sound Picks: Dienne’s “Contacto” (2022)
- Resonant Thoughts: Haruki Murakami’s “Novelist As A Vocation” (2022)
- Admirabilis
- Recursive Music Production
- Brett’s Sound Picks: Arovane & Taylor Deupree’s “Sill_Lili” (2022)
- Three Lines
- Art About Music: Wilhelm Kotarbinski’s (1848-1921) “Music Of Waves” (n.d.)
- Resonant Thoughts: Greg Milner’s “Perfecting Sound Forever” (2010)
- 4:21
- Thinking Compositionally, Texturally, and Vibely
- Curating The Week: Mind Wandering, Music Streaming, West African Drumming
- Brett’s Sound Picks: Burial’s “Streetlands” (2022)
- Art About Music: Georges Ribemont-Dessaignes’ “Grand Musicien” (1920)
- Lamentation
- How Might I Develop This?
- Resonant Thoughts: Sarah Davachi On Listening
- Brett’s Sound Picks: Hainbach’s “Wattebausch” (2022)
- Art About Music: Jean Dufy’s “Trio De Clowns Musiciens” (1929)
- Pulsations
- Broad Strokes First, Then Smaller Details
- Resonant Thoughts: Hudson Mohawke On More Than The Sum Of Their Actual Parts
- Brett’s Sound Picks: Craig Armstrong’s “Nocturne 4 (Alva Noto Remodel)” (2022)
- Art About Music: Paolo Veronese’s “Music, Astronomy and Deceit” (1556-1557)
- Three Lines
- From Expectation To Receptivity: Nothing Happens, Until Something Does
- Resonant Thoughts: Paul Graham’s “Hackers And Painters” (2004)
- Brett’s Sound Picks: Emeralds’ “Photosphere” (2022)
- Art About Music: Oskar Kokoschka’s “The Power Of Music” (c. 1918-1920)
- Adore
- On Sonic Scavenging
- Resonant Thoughts: Soetsu Yanagi’s “The Uknown Craftsman” (1972)
- Brett’s Sound Picks: Scanner’s “Text Stream” (2022)
- Art About Music: Claude Tousignant’s “Gong 72” (1966)
- HT Dub 9
- Energies In Music
- Curating The Week: Brown noise and the Brain, Cooking and the Senses, Beauty
- Brett’s Sound Picks: Clark’s “Sparrow Arc Tall” (2022)
- Art About Music: Bill Watterson’s Calvin and Hobbes (1992)
- Corda Etude 2
- A Sequence That Never Repeats Artificially
- Study July 26
- Brett’s Sound Picks: James Heather’s “Meant To be” (2022)
- Resonant Thoughts: Karl Bartos’s “The Sound of the Machine” (2022)
- Aloft On Airs
- Notes On Form In Electronic Music Production
- Brett’s Sound Picks: John Robert’s “Wrecked Exotic” (2022)
- Art About Music: Idris Khan’s “Rhythm Painting 1” (2019)
- Offering
- Error In Music Production
- Curating The Week: Repetition, A.I.-Generated Art, Getting The Hard Part Right
- Brett’s Sound Picks: Pole’s “Grauer Sand” (2022)
- Undone
- Demo Thinking
- Curating The Week: Samplers, Samples, The Creative Paradox
- Virtues
- Brett’s Sound Picks: Hudson Mohawke’s “Stump” (2022)
- Start From Scratch (Again)
- 8 Part Etude
- Resonant Thoughts: Ian Penman’s “It Gets Me Home, This Curving Track” (2019)
- Brett’s Sound Picks: Abul Mogard’s “Like Water” (2022)
- Aiming For Perfection, Open To Correction
- HT Dub 10
- Gong Lessons
- Three Non-Obvious Production Principles
- Process, Not Outcome
- Listening To Autechre
- Many Returns
- Brett’s Sound Picks: Bing and Ruth’s “Nearer (solo piano)” (2022)
- Resonant Thoughts: James Bridle’s “Ways Of Being” (2022)
- Augmented
- Consequences Of Sound
- Intuitive Practice And Conventions Of Practice
- Brett’s Sound Picks: Nils Frahm’s “Lemon Day” (2022)
- Resonant Thoughts: Nicholas Worrall On Unmasked Sounds
- Dronology
- Flights
- Accretion By Small Decisions
- Once Reverie Sets In
- Shifting Frames Of Reference
- Brett’s Sound Picks: Teddy Rok’s “Awake” (2022)
- Manifold
- Curating The Week: Bass Philosophy, Textural Details In Animated Film, The Musician and Music Technologies
- Notes On Dylan Henner’s Marimba Music
- Unsynced
- Resonant Thoughts: Richard Sennett’s “The Craftsman” (2008)
- On Musical Yakisugi: Taylor Dupree’s “rem” (2022)
- Castles
- Curating The Week: Craft, Ambient Music Streaming, Foley Sound
- The Elegance Of Economy
- Brett’s Sound Picks: tstewart’s “Airstream” (2022)
- Art About Music: Leonardo da Vinci’s “Mechanical Drum” (c. 1490-1495)
- Two Parts
- Forward Engineering
- Brett’s Sound Picks: Scanner’s “You And Me” (2022)
- Art About Music: Google Books’ Ngram Viewer: “Musicality” (2022)
- Trio
- On Musical Transitions
- Resonant Thoughts: Samuel Arbesman On Signposts
- Brett’s Sound Picks: Steve Reich’s “Reich/Richter: Cross fades” (2022)
- Ponder
- Art About Music: “Saxophonist Playing Along To ‘Careless Whisper’ Each Night” (2022)
- Slow Turn
- Cadences II
- Resonant Thoughts: Harold Budd On New Age Music
- Dub 166 bpm
- Brett’s Sound Picks: Low Altitude’s “Into The Blue” (2022)
- Art About Music: Gerard van Honthorst’s “The Concert” (1623)
- Creative Edges
- Resonant Thoughts: John T. Lysaker’s “Brian Eno’s Ambient 1: Music For Airports (The OxFord Keynotes Series)(2018)
- HTD 7
- Resonant Thoughts: Ian Kirkpatrick On Dynamics
- On Beginnings and Endings: Fennesz’s “Nebenraum”
- Brett’s Sound PIcks: Julia Kent’s “Echo Of Wings” (2022)
- HT Dub
- Slow Voices, pulses, percussion
- Resonant Thoughts: Geoff Dyer’s “The Last Days Of Roger Federer And Other Writings” (2022)
- Notes On What Worked
- Cadences
- Resonant Thoughts: Fred Gibson On Starting From A Point Of Real Intricacy
- Brett’s Sound Picks: Joep Beving’s “Mushin” (2022)
- Notes On Drumming And Running
- Voices, chords, beat
- Resonant Thoughts: Anna-Karin Berglund (aka AKB) On Not Working In A Linear Way
- Brett’s Sound Picks: AKB’s “Skymningszonen” (2020)
- Art About Music: The Luttrell Psalter (1325-1340)
- Sines
- Mix Lessons: Relational Listening
- Crystallized
- Curating The Week: Musical Plagiarism, Sound Design, Ambient Music, Heresies
- Pianos At Two Speeds
- Brett’s Sound Picks: Whatever The Weather’s “14°C” (2022)
- Art About Music: Titian’s “The Music Lesson” (1535)
- On “Going Classical”: String Arrangements Of Pop Music In Bridgerton
- Windscape
- Resonant Thoughts: Mark Fell’s “Structure and Synthesis” (2022)
- Brett’s Sound Picks: Hania Rani’s “Kyiv” (2022)
- Lessons From Running
- Resonant Thoughts: Neil Cowley On Orchestrations
- Art About Music: Jan Steen’s “The Wandering Musicians” (17th c.)
- Brett’s Sound Picks: Neil Cowley’s “Dormitory” (2022)
- Cadences 17
- Thinking In 8 And 16 Bar Phrases: Structure In U-Ziq’s “Goodbye” (2022)
- Resonant Thoughts: Mads Walther-Hansen on Balance in sound Production
- Brett’s Sound Picks: Pan American’s “Swimming in a Western Motel” (2022)
- Art About Music: Spotify Ad for Central Cee
- Through Line
- Play—Or Doing Ever New Things With The Sounds You Already Have
- Brett’s Sound Picks: Laura Cannell’s “The Girl Who Became an Owl” (2022)
- Art About Music: AppLe’s “Air Pods Max – Journey into Sound” (2020)
- Slowdown
- As A Single Flowing Gesture
- An Interview
- Brett’s Sound Picks: Ben Lukas Boysen’s “Lux” (2022)
- Art About Music: Frans Hals’ “Two singing boys with a lute and a music book” (1625)
- O Softly
- One Good Listener
- Brett’s Sound Picks: Rokia Koné & Jacknife Lee’s “Bi Ye Tulonba Ye” (2022)
- Art About Music: Philip Evergood’s “Woman at the Piano” (1955)
- (Untitled)
- Resonant Thoughts: Paul Graham On Putting Ideas Into Words
- Brett’s Sound PIcks: Abul Mogard’s “Along The River” (2022)
- Art About Music: Bernardo Strozzi’s “The Concert” (c. 1635)
- Windscape
- Working In Abundance, Working Towards Thriving
- Resonant Thoughts: Dave Eggers’ “The Every” (2021)
- Art About Music: John Singer Sargent’s “El Jaleo” (1882)
- Brett’s Sound Picks: Oval’s “Invisible Colors” (2022)
- Piano + Pulse
- Resonant Thoughts: Jason Karp On Rhythm
- Resonant Thoughts: John McPhee On Form, Structure, and Scale
- Brett’s Sound Picks: Dustin O’Halloran’s “Constellation No. 2” (2021)
- Art About Music: Adriaen van Ostade’s “Village Musicians”(1645)
- Compositional Principles
- Brett’s Sound Picks: Christian Löffler’s “Satie: Enfantillages pittoresques: II. Berceuse (Christian Löffler Rework)” (2022)
- Music Aphorisms
- Art About Music: Nikiforos Lytras’s “Carols” (1872)
- Cadences 18
- After Ambient
- Art About Music: Jacob Ochtervelt’s “Street Musicians at the Door” (1665)
- Cadences 12
- Music Aphorisms
- Brett’s Sound Picks: Biosphere’s “Shruthi-12” (2022)
- Shared Time
- Cadences 13
- Cadences 9
- Curating The Week: Beauty as Symmetry, Habit and Repetition, AI in Music, Bowedscapes
- Notes On Practice As Repetition Without Repetition
- Art About Music: Vida Gabor’s “Old Friends” (1955)
- Across Moments
- Bowedscapes
- Cadences 7 (remodel)
- Cadences 7
- Resonant Thoughts: Nassim Nicholas Taleb’s “The Bed of Procrustes” (2010)
- Brett’s Sound Picks: Loraine James’ “On the Lake Outside” (2021)
- Art About Music: Photo Of The N.S.G.W. Drum Corps (wearing flu masks) Celebrating The End Of WWI In Sebastopol, CA (1918)
- 9 Parts
- Effects Are All About Affect
- Resonant Thoughts: Alan Belkin On Avoiding Squareness
- Art About Music: Eduard Charlemont’s “A Drink for the Drummer”(1889)
- Brett’s Sound Picks: Giacomo Antonio Perti (1661-1756): “Fugue for 2 Voices”
- Cadences 11
- Working Quickly, Working Slowly
- Curating The Week: Attention, Time, Decolonizing Electronic Music Software
- Brett’s Sound Picks: Huerco S.’s “Plonk VI” (2021)
- Art About Music: Salvador Dali’s “Music – The Red Orchestra” (1957)
- Cadences 10
- Keeping The Hands In Play
- Resonant thoughts: Kalefa Sanneh’s “Major Labels” (2021)
- Brett’s Sound Picks: Ian Hawgood And Wil Bolton’s “Emerging” (2021)
- Art About Music: Jose Manuel Capuletti’s “Allegory Of Music” (1946)
- Dub 4
- Cadences 8
- Brett’s Sound Picks: Slow Meadow’s “Ripple” (2021)
- Art About Music: “Winslow Homer’s “Sounding Reveille” (1871)
- Z Solo
- On Beginning Music Not With Silence
- Resonant Thoughts: Ira Glass On Taste And Work
- Brett’s Sound Picks: Girolamo Frescobaldi’s “Fiori musicali: Toccata per le levatione, F 12.31” (1635) Arr. bY Anna-Liisa Eller
- Art About Music: Emil Rau’s “A Serenade” (1937)
- Cadences
- Curating The Week: DAWs, The Creator Economy, How To mix
- Resonant Thoughts: Edward Tatnall Canby’s “Synthesized Music” (1955)
- Art About Music: Edgar Degas’s “Café Singer” (1879)
- Ambient Music 10/31/21
- On The Intersection Of Preparedness And Randomness
- Resonant Thoughts: Sönke Ahrens’ “How To Take Smart Notes” (2017)
- Brett’s Sound Picks: Robin Guthrie’s “Ivy” (2021)
- Art About Music: Jean-Antoine Watteau’s “La Surprise” (1718)
- Dub 89 bpm
- A Tenuous Grip: Notes On Finding Sounds, Listening, The Arbitrary, And The Infinite
- Resonant Thoughts: Nicholas Cook’s “Music” (2021)
- Brett’s Sound Picks: Proc Friskal’s “The Most Beautiful Irish Song” (2021)
- Art About Music: Silvestro Lega’s “The Song of a Stornello” (1868)
- Arps Of Ambience
- Resonant Thoughts: Robert Twigger’s “Micromastery” (2018)
- Brett’s Sound Picks: Olafur Arnalds’ “Microcosm” (2021)
- Art About Music: Vincent van Gogh’s “Marguerite Gachet at the piano” (1890, 1928)
- M9
- Notes On Analog
- Resonant Thoughts: Ron Friedman’s “Decoding Greatness” (2021)
- Brett’s Sound Picks: Hania Rani’s “Malasana” (2021)
- Art About Music: Alvar Cawén’s “Blind Musician” (1922)
- Ballad In 5
- On Tempo
- Art About Music: Andrew LaMar Hopkins’ “Edmond Dédé Piano Recital” (2019)
- Brett’s Sound Picks: Skee Mask’s “Nvivo” (2021)
- Resonant Thoughts: Tim Harford On Slow Creativity
- Dub 19
- Art About Music: Johannes Vermeer’s “The Guitar Player” (c. 1672)
- L’Ocelle Mare’s “Piano, Banjo, Orgue, Metronome…” (2021)
- Music Production Steps
- Minimals
- Piano Last October
- Resonant Thoughts: Jenny Odell’s “How To Do Nothing” (2019)
- Brett’s Sound Picks” “Spangle (Autechre Remix)” (2021)
- Dub 12
- Six Good Measures
- Brett’s Sound Picks: Barker’s “Maximum Utility” (2021)
- On Non-Algorithmic Music Recommendations
- Fernand Khnopff’s “Listening To Music By Schumann” (1883)
- Bowed Metals And Strings
- The Perfect Room: Two Perspectives
- Brett’s Sound Picks: Rival Consoles’ “Pulses Of Information” (2021)
- Resonant Thoughts: Kit Mackintosh’s “Neon Screams” (2021)
- Art About Music: Marc Chagall’s “The Fiddler” (1913)
- Pulsations
- Music In The Great British Bake Off
- Resonant Thoughts: Seth Godin’s “The Practice” (2021)
- Brett’s SounD PICKS: STIMMING X LAMBERT’S “NEWBORN” (2021)
- Dub 26
- Six Notes On Music Production Workflows
- Resonant Thoughts: Stimming On Music And Empathy
- 147 bpm
- Art About music: Leonardo da Vinci’s Drawings of a Mechanical Organ and Timpani Drums (c. 1478-1518)
- Brett’s Sound Picks: Synkro’s “Agate” (2021)
- Dub 5
- Brett’s Sound Picks: Mary Lattimore’s “We Wave From Our Boats” (2021)
- Resonant Thoughts: Kyle Beachy’s “The Most Fun Thing” (2021)
- Echo Returns
- PE 3
- Art About Music: William Sidney Mount’s “The Power of Music” (1847)
- Brett’s Sound Picks: Lee Gamble’s “Hyperpassive” (2021)
- Resonant Thoughts: Niklas Luhmann On Taking Notes And Producing Accidents (1981)
- Unvoiced
- Dub 27
- Permissions
- First Connection
- Bell Music
- Lessons From The Creative Electronic Music Producer
- Brett’s Sound Picks: Steve Reich / Nexus, “Mallet Phase” (2021)
- Brett’s Sound Picks: Sarah Davachi’s “Border Of Mind” (2021)
- Art About Music: Detail from “The Engagement of St Ursula and Prince Etherius” (tapestry, c. 1520)
- Dub 21
- Wave Tones
- Resonant Thoughts: J. Krishnamurti On Listening
- Brett’s Sound Picks: Joep Beving & Alva Noto’s “Hanging D – Alva Noto Remodel” (2021)
- Art About Music: William-Adolphe Bouguereau’s “The Bohemian” (1890)
- Dub 24
- Curating The Week: Research, Twitter, Creativity
- Brett’s Sound Picks: The Black Dog’s “Low Edged Perspective” (2021)
- Art About Music: Suggested ASMR Soundscape Videos On YouTube (2021)
- D 17
- Resonant Thoughts: Chad Robertson On Documenting Trial And Error
- D 15
- Art About Music: “Chinese Musicians” (Anonymous, Chinese, 19th c.)
- Tacit
- Resonant Thoughts: Robert Irwin On Beauty, Perception, And Framing
- DA 6
- Art About Music: Rembrandt’s “The Strolling Musicians” (c. 1635)
- Brett’s Sound Picks: Nadia Struiwigh’s “-5” (2021)
- Process, Not Outcome
- Brett’s Sound Picks: Thomas Köner’s “Nuuk (Air) (2021)
- D7
- Art About Music: Nicolas Mathieu Eekman (1889-1973), “The Bell Ringers”
- Resonant Thoughts: Frédéric Gros’ “A Philosophy Of Walking” (2014)
- Resonant Thoughts: Paul Graham’s “Crazy New Ideas” (2021)
- Conclusion
- Chapter 8
- Brett’s Sound Picks: Christian Loffler’s “Parsifal” (2021)
- Chapter 7
- Drum Dub 6 (Exult)
- Notes On Six Production Macros
- Chapter 6
- Resonant Thoughts: Aurelio de la Vega’s “Regarding Electronic Music”
- Brett’s Sound Picks: U-Ziq’s “Preston Melodics” (2021)
- Chapter 5
- Lucid
- Chapter 4
- Seven Super Heuristics
- Art About Music: Henry Ossawa Tanner’s “The Banjo Lesson” (1893)
- Brett’s Sound Picks: Dino Saluzzi’s “Ausencias” (2020)
- Chapter 3
- Chapter 2
- Chapter 1
- A Book
- The Creative Electronic Music Producer
- Beckon (ft. Frederick Stubbs, Turkish ney)
- Notes On Channel Surfing
- Versa Est 2
- Resonant Thoughts: Tim Ingold’s “Correspondences” (2021)
- Brett’s Sound Picks: Seefeel’s “Meol 2” (2021)
- Versa Est
- Notes On In-Betweenness
- Brett’s Sound Picks: KMRU’s “Peel” (2020)
- Redeem
- Resonant Thoughts: Allison Funk’s “On Pruning” (1999)
- Piano And Its Echo
- Miserere
- Curating The Week: Vibes, Josquin des Prez, KMRU
- Memory Vector
- Populating Sounds
- Piano In A Space
- Super Flumina
- Notes On Structure And Sound Design
- Art About Music: Ernie Barnes’ “Song of Myself (c. 1970)
- Brett’s Sound Picks: Jim Copperthwaite and Jono Buchanan’s “Emerging Truth” (2021)
- Resonant Thoughts: Milan Kundera On Composing, Writing, And Automatism
- Variations On Palestrina’s “Missa Nigra Sum” (1590)
- Five Levels Of Pulsation
- Brett’s Sound Picks: r beny’s “we grow in a gleam” (2021)
- Art About Music: Pieter de Grebber’s “Musicians” (c. 1620-23)
- Notes On Making Music And Levels Of Experience
- Open Ended
- Notes On The Steady And Slow Concept
- Rhythm Study
- Brett’s Sound Picks: James Heather’s “Passing Soul” (2021)
- Art About Music: Leonardo da Vinci’s “Portrait of a Musician” (1483-87)
- Piano, Bell, Gong, String
- Double Resonant Thoughts: Algorithms To Live By (2016) and Thinking In Bets (2018)
- Brett’s Sound Picks: Loscil’s “Vespera” (2021)
- From The Archives: Questions Ever
- Art About Music: Fernando Botero’s “The Musicians” (1991)
- Tree Tones
- No. 53
- Brett’s Sound Picks: Masayoshi Fujita’s “Thunder” (2021)
- Art About Music: André Derain’s “Harlequin and Pierrot” (c. 1924)
- The Intensity Recruitment Concept
- P+Barp+B
- Curating The Week: Film Music, Clark, Metadata
- Brett’s Sound Picks: Hannah Peel’s “Carbon Cycle” (2021)
- Art About Music: Hose Honorato-Lozano’s “Harana” (1851)
- Notes On Shifting Attentions: From Practicing To Performing
- CT5D
- Notes On Musical Tensions and Canon Counterpoints
- Resonant Thoughts
- 25 August (piano)
- Art About Music: Laurent de La Hyre’s “Allegory of Music” (1649)
- Long Tone Music
- Curating The Week: The Disappearance Of Musical Genre, Musicality In EDM, Wind
- Arrows Of Attention: The Musical Minimalist’s Manual
- Brett’s Sound Picks: The Black Dog’s “Ringinglow Oscillation” (2021)
- Art About Music: John George Brown’s “The Music Lesson” (1870)
- On Thin Ice
- Curating The Week: Decolonizing Music Software, Max Mathews, Ambience Rooms
- Not’s Power
- Brett’s Sound Picks: Shivkumar Sharma’s “Raga Bhinna Kauns” (2021)
- Mood Reel
- Pulsations
- [Untitled]
- Creative Notes: What The Tech Does, What We Do
- Brett’s Sound Picks: Thys & Noordpool Orchestra’s “Turning Point” (2021)
- Z arp P
- Curating The Week: Drumming, Oral Culture, and Whistling
- Resonant Thoughts: Gábor Lázár on Musical Sketches
- Brett’s Sound Picks: Abul Mogard’s “Sand” (2021)
- SD 1
- Resonant Thoughts: Michael Crawley’s “Out Of Thin Air” (2021)
- Brett’s Sound Picks: Colleen’s “Gazing at Taurus” (2021)
- Notes On Writing Musical Bios
- No. 56
- Notes On Quick Musical Assessments / Getting Granular With Musical Influences
- Resonant Thoughts: Sophie on The Molecular Level of Sound
- Brett’s Sound Picks: Clark’s “Small” (2021)
- Art About Music: New Edison’s “The Phonograph With A Soul” (c. 1918)
- Pianodrum
- Musicologists’ Talk
- Curating The Week: Algorithms, Emergence, and Minimalism
- Sketches: Shadowed
- Sketches: What If
- Counterpoints
- Counter Rhythm
- Ever Now
- Reveal
- Resonant Thoughts: John Cleese’s “Creativity” (2020)
- Keeping Still
- Resonant Thoughts: Christopher Alexander’s “The Timeless Way of Building” (1979)
- Sketches: Perpetual Cyclical
- Sketches: Memoire
- Sketches: Passing Thought
- Sketches: Afloat
- Sketches: Blossom
- Sketches: Clearings
- Small Musical Failures As Non-Obvious Usage Paths
- Resonant Thoughts: John Berger’s “Portraits” (2015)
- Cycles 4
- Notes On Acoustic Memory
- Three Chords Whose Timbres Change
- “What you hear in music is just a hunch”: Musical Lessons From Harold Budd
- No. 46 & VP 1
- Brett’s Sound Picks: Robin Guthrie and Harold Budd’s “Coral” (2020)
- Resonant Thoughts: Alessandro Baricco’s “The Game” (2020)
- Notes On Curation II: Sketchbook
- D. Arp 2
- Curating The Week: Cancel Culture, Solitude, The Brain
- Notes On A Guitarist’s Tone
- Brett’s Sound Picks: Lorenzo Senni’s “Vandalize Music” (2020)
- Art About Music: Jacob Lawrence’s “Blind Musician” (1942)
- Two Lines
- Twenty Frames For Thinking About Creativity
- Resonant Thoughts: Paul Morley’s “A Sound Mind” (2020)
- Brett’s Sound Picks: Olivia Belli’s “Lullaby for a Distant Angel (After Beethoven)” (2020)
- Art About Music: Romare Bearden’s “Sitting In at Barron’s” (1980)
- H 14 12.6
- PS 3
- Resonant Thoughts: Leonard Koren’s “Musings Of A Curious Aesthete” (2020)
- Art About Music: Male Figure by Mbala artist, Democratic Republic of Congo (late 19th-early 20th c.)
- PS 1
- Resonant Thoughts: Ernö Rubik’s “Cubed: The Puzzle of Us All” (2020)
- Art About Music: Jean-Antoine Watteau’s “The Country Dance” (c. 1706-1710)
- Brett’s Sound Picks: Sebastian Plano, Maarten Vos’s “Dense & Density” (2020)
- cs80d 1.25
- Corda 1
- Brett’s Sound Picks: Biosphere’s “Angel’s Flight” (2020)
- Art About Music: “A Musical Gathering – Ottoman” (18th century)
- Cycles 3
- P&B 9.18
- Resonant Thoughts: Zeynep Tufekci On Attention
- Brett’s Sound Picks: Anton Bruckner’s “Os justi” (1879/2020)
- 100 bpm 11.8
- Resonant Thoughts: Shane Benzie’s “The Lost Art of Running”
- Brett’s Sound Picks: Autechre’s “X4” (2020)
- C10 10.1
- Fractal Studies 3: Autumn Divided
- Brett’s Sound Picks: Rob Clouth’s “Casimir” (2020)
- Resonant Thoughts: Daphne Oram’s “An Individual Note” (1972)
- H3 10.29
- No. 95
- Gongologies
- Drone & Bell
- Resonant Thoughts: Autechre On Building Things
- Brett’s Sound Picks: Martyn Heyne’s “The Hall” (2020)
- Notes On Curation
- SDT 4
- Curating The Week: How Musicians Talk About The Craft Of Other Musicians, Awe Walks, How To Ask A Question
- Chris Ofili’s “The Caged Bird’s Song” (2014-2017)
- Brett’s Sound Picks: William Basinski’s “Tear Vial” (2020)
- Notes On Production Clichés
- Accordion In Four Parts
- Resonant Thoughts: Nassim Taleb On Tinkering
- Fractal Studies 3: Flag Divided
- Brett’s Sound Picks: Igor Levit/Johannes Brahms/ Ferruccio Busoni: “6 Chorale Preludes, BV B 50: Herzlich tut mich verlangen, Op. 122/10” (1896/1902/2020)
- Art About Music: Paul Gauguin’s “Musique Barbare” (1893)
- No. 97
- Getting Granular: Notes On Obsessive Listening
- Resonant Thoughts: Ikonika On Arrangements
- Art About Music: Théodore Géricault’s “The Piper” (1821)
- Brett’s Sound Picks: Olivier Alalry and Johannes Malfatti’s “I can’t Even See Myself” (2020)
- Five Lines
- Fractal Studies 2: Sky Divided
- Art About Music: Georgia O’Keeffe’s “Music, Pink and Blue No. 2” (1918)
- Brett’s Sound Picks: Moondog’s “Oo Debut” (1956/2020)
- No. 45
- Curating The Week: Creativity, Loss, Long Chords
- Art About Music: Fernand Pelez’s “La Vachalcade” (1896)
- Brett’s Sound Picks: Actress’s “Walking Flames” (2020)
- No. 89
- Fractal Studies 1: Time Divided
- Resonant Thoughts: John Salvatier’s “Reality has a surprising amount of detail” (2017)
- Brett’s Sound Picks: Ian Hawgood’s “The Endless Sadness of the Shoreless Heart” (2020)
- Art About Music: Hendrik Martenszoon Sorgh’s “The Lutenist” (1661) and Joan Miró i Ferrà’s “Dutch Interior I” (1928)
- Piano, kick, shaker
- Curating The Week: Chairs, Pandit Jasraj, Systems Thinking
- Art About Music: Romare Bearden’s “Three Folk Musicians” (1967)
- Brett’s Sound Picks: Illuminine’s “Apprehension, Pt. 2 (Luis Alvarez Rework)” (2020)
- Resonant Thoughts: Zeynep Tufekci on Asystemic Thinking And Complex Systems
- No. 26
- Books On Attention
- No. 78
- 179 BPM
- Still
- “Five Celestial Musicians” (Pakistan, c. 400-500)
- No. 23
- Art About Music: Agostino Carracci’s “Portrait of a Lute Player (Orazio Bassani?)” (1585-86)
- Resonant Thoughts: Tom Jenkinson (aka Squarepusher) On Instruments
- Brett’s Sound Picks: Christina Vantzou’s “Snow White” (2020)
- Production Knowing: How Do You Know When It’s Something Musically New?
- 148 BPM
- Resonant Thoughts: Richard Askwith’s “Running Free” (2015)
- Brett’s Sound Picks: r beny’s “Alpenglow” (2020)
- Resonant Thoughts: Francois J. Bonnet’s “The Music To Come” (2020)
- Piano and Metals 2
- Brett’s Sound Picks: Christine Ott’s “Comma” (2020)
- Notes On Blogging
- Piano and Metals
- Drone and Bell
- Resonant Thoughts: Brian Eno On Moire Patterns In Music
- No. 54 (gong)
- Art About Music: Simeon Solomon’s “A prelude by Bach” (1868)
- Two Lines
- Resonant Thoughts: Donella H. Meadow’s Guidelines for Living in a World of Systems
- Four Rhythms
- From Fretting To Positioning To Encounter Interestingness
- Brett’s Sound Picks: Beatrice Dillon’s “Workaround Eight” (2020)
- No. 69
- Brett’s Sound Picks: R Beny’s “Alpenglow” (2020)
- No. 22
- Resonant Thoughts: Matthew B. Crawford’s “Why We Drive” (2020)
- Sound Design As Mind Design
- Brett’s Sound Picks: Go Go Penguin’s “Embers” (2020)
- Resonant Thoughts: Guy Sigsworth On Fast And Slow Creativity
- (Untitled)
- On Music Production Disconnects
- Curating The Week: Headphones, Steve Reich, Four Piano Music
- (Untitled)
- (Untitled)
- Curating The Week: Genealogies Of Learning Percussion, The Import And Export Of Ideas, Lou Harrison
- Brett’s Sound Picks: Alva Noto’s “Xerrox Voyage” (2020)
- Untitled
- Piano In A Space
- Inner Navigation: Music Production Routes
- Music For Solo Piano
- Resonant Thoughts: Rival Consoles On Sketching Ideas For Music
- Art About Music: Henri Matisse’s “The Piano Lesson” (1916)
- (Untitled)
- Being Lost In Music Production
- Resonant Thoughts: Bill Buford’s “Dirt” (2020)
- Brett’s Sound Picks: Subheim’s “Sundays” (2019)
- Untitled
- Resonant Thoughts: Robert Twigger’s “Micromastery” (2018)
- Brett’s Sound Picks: Yamaneko’s “Tripel Karmeliet” (2020)
- Art About Music: Henri Matisse’s “Music” (1910)
- The Sketch Method
- Curating The Week: Soundscapes, Drone Instruments, A Newsletter
- Prince And The LM-1: Four Lessons
- Ben Lukas Boysen’s “Love” (2020)
- Art About Music: William Sidney Mount’s “Dance of the Haymakers” (1845)
- Curating The Week: Kevin Kelly, Vinyl Cutting, Brian Eno
- Song Structures Versus Sound Sculptures
- Brett’s Sound Picks: Lorenzo Senni’s “Canone Infinito” (2020)
- Art About Music: Jean-Honoré Fragonard’s “Music Lesson” (1769)
- Resonant Thoughts: Nick Foster and Simone Rebaudengo’s “On Distortion” (2020)
- Resonant Thoughts: David Chatton Barker On Frequencies
- Illustration From The Cantigas Of Santa Maria (c. 1221-1284)
- Brett’s Sound Picks: Ital Tek’s “Leaving The Grid” (2020)
- Soundscapes: Sheep Music
- Sketch
- Curating The Week: Swimming, Walking, And Limited Options
- Art About Music: Jean Dubuffe’s “Jazz Band (Dirty Style Blues)” (1944)
- Brett’s Sound Picks: Gigi Masin’s “If” (2020)
- (Untitled)
- A Flag Blowing Three Ways
- Resonant Thoughts: Daniel Lanois On Sampling (2016)
- Lucas van Leyden’s “The Musicians” (1524)
- When One Music Recalls Another
- Aphorism Triptych
- Resonant Thoughts: Brian Eno On Sequencing (1995)
- Art About Music: Nainsukh of Guler’s “Trumpeters” (1735-1740)
- Brett’s Sound Picks: Arovane’s “Endolp” (2020)
- Ear Reset
- Resonant Thoughts: Michael Polanyi’s “Personal Knowledge” (1958)
- Resonant Thoughts: Einar Torfi Einarsson’s “Music Is Not” (2019)
- Gino Severini’s “The Accordian Player” (1919)
- Brett’s Sound Picks: Víkingur Ólafsson And Jean-Philippe Rameau’s “The Arts and the Hours” (2020)
- Notes On Unknowns And Conditions For Musical Flourishing
- Curating The Week: Live Music, Programming As Magic, And Perception Of The Present
- Notes On Music Production In Quarantine
- Resonant Thoughts: Jean-Michel Jarre On “Oxygène”
- Brett’s Sound Picks: Benoit Pioulard’s “Mesa” (2020)
- Art About Music: Eventide’s “Omnipressor” (1974)
- Brett’s Sound Picks: GoGo Penguin’s “Atomised” (2020)
- Art About Music: Victor Eeckhout’s “The Musicians Of Tangiers” (1856–1879)
- Sky Variations (March 2020)
- Influence And Style Traces: Moondog’s “Pacific Ocean (Rain Forest) (no date) and Steve Reich’s “Nagoya Marimbas” (1994)
- Aphorism Triptych
- Brett’s Sound Picks: Quirke’s “Decohere” (2019)
- Art About Music: Steinberg’s Cubase “Key Edit Window” (1989)
- Air Drumming
- Brett’s Sound Picks: Steve Hauschildt’s “M Path” (2018)
- Art About Music: Spotify’s Genre Categories (2020)
- Untitled
- Curating The Week: Essays, Artists, and Cultural Evolution
- Art About Music: “Portrait Of A Musician Holding Bagpipes” (Netherlands, 1632)
- To The Idea
- Optimize
- Plentitudes
- Spotified
- Brett’s Sound Picks: Son Zept’s “Arrival” (2020)
- Art About Music: Leopold August Abel’s “The Musicians At The Ducal Chapel Of Mecklenburg-Schwerin In 1770” (1770)
- Working Slow
- Aphorism Triptych
- Art About Music: John Singer Sargent’s “Capri Girl on a Rooftop” (1878)
- Resonant Thoughts: Jun’ichirō Tanizaki’s “In Praise Of Shadows” (1977)
- Aphorism Triptych
- Musical Lines
- Brett’s Sound Picks: Stenny’s “Cursed” (2019)
- Resonant Thoughts: Agnes Martin’s “Beauty Is The Mystery Of Life” (1989)
- Notes On Craft
- Brett’s Sound Picks: Jacob Pavek and Philip Daniel’s “Morrow” (2020)
- Okay For Now
- Curating The Week: Excellence, Learning, and Magicians
- Musical Vantage Points
- On The Ambiguous Appeal Of The Musically Worn
- Brettworks 2019 Posts On Music Production
- Notes On Perfect
- On Musical Stasis And Directionality
- Brett’s Sound Picks: The Humble Bee’s”Off Camera” (2019)
- Notes On Working In Layers
- Resonant Thoughts: Paul Klee’s “Pedagogical Sketchbook” (1925)
- Musical Logics
- Brett’s Sound Picks: Steve Hauschildt’s “The Nature Remaining” (2019)
- Art About Music: Peter Doig’s “Music Of The Future” (2003-2007)
- On Minimalism and Maximalism
- Curating The Week: DeepComposer, Vija Celmins, Peripheral Vision
- Notes On YouTube’s Low-fi Hip Hop Radio
- Brett’s Sound Picks: ISAN’s “From A Hundred” (2019)
- Annals Of Listening: Lackluster’s “Container” (2000)
- On Micro-Adjustments And The Game Of Amounts
- Losing Objectivity
- Brett’s Sound Picks: Tipper’s “Oi Oi Spit” (2019)
- Art About Music: The Chimes of Zeng Hou Yi (c. 433 B.C)
- Musical Endings
- Brett’s Sound Picks: Lanark Artefax’s “Ferthenheap” (2019)
- Art About Music: Arki’s “Ascetics Making Music, Depicting the Musical Mode Kedara Raga” (late 17th century)
- Differ, Be Important: The Make It More Interesting Concept
- Resonant Thoughts: Donella H. Meadows’ “Thinking In Systems” (2008)
- Journal Note: Tweaking Audibility, One Part At A Time
- Brett’s Sound Picks: Clark’s “Legacy Pet” (2019)
- Art About Music: Jean-Baptiste-Camille Corot’s “Orpheus Leading Eurydice from the Underworld” (1861)
- Without Methods, But With Principles
- Brett’s Sound Picks: Kindohm’s “This Can’t Be It” (2019)
- Art About Music: Gerard van Honthorst’s “The Concert” (1623)
- The One Fell Swoop Principle
- Three Significant Soundscapes
- Brett’s Sound Picks: Skee Mask’s “Sphere In Total” (2019)
- Swami Haridasa with Tansen and Akbar at Vrindavana (1700-1760)
- On Music’s Right This Moment’s Dynamism With No End
- Resonant Thoughts: Stefan Goldmann’s “Presets” (2015)
- Brett’s Sound Picks: Hammock’s “Circular As Our Way” (2019)
- Art About Music: Matthew Le Nain’s “Musicians” (1677)
- Trompe-L’Oreille: Notes On An Enchanting Mix
- Curating The Week: Being A Polymath, The Senses, A Roadtrip
- Wont’s And Wills: Notes On Composing
- Brett’s Sound Picks: Penguin Cafe’s “Adelie” (2019)
- Art About Music: Antoine Le Nain’s “Three Young Musicians” (c. 1630)
- A Banjo And An Accordion (And A Gorilla) Meet In A Mix
- Resonant Thoughts: Rory Sutherland’s “Alchemy” (2019)
- Brett’s Sound Picks: Russell Hartenberger’s “Prelude” (2019)
- Art About Music: Osman Hamdi Bey’s “Two Musician Girls” (late 19th c.)
- Pre-Emptive Shh: On The Power Of Muting
- A Mix
- Resonant Thoughts: Jenny Odell’s “How To Do Nothing” (2019)
- Brett’s Sound Picks” G. Jones’ “Everything All At Once” (2018)
- Art About Music: Diego Velázquez’s “The Three Musicians” (c. 1616)
- Sound Feels
- Country Music
- Secret Music
- Brett’s Sound Picks: Nils Frahm’s “Amirador” (2019)
- Art About Music: Jean-Michel Basquiat’s “Horn Players” (1983)
- On Timers And Timeline Finessing
- Untitled
- Resonant Thoughts: Richard Seymour’s “The Twittering Machine” (2019)
- Brett’s Sound Picks: Ekin Fil’s “On The Move” (2018)
- Art About Music: Rembrandt’s “Three Musicians (Allegory of Hearing)” (1624-25)
- On Music Production’s Repeated Listenings
- Searches That Brought You Here: Nils Frahm, David Hockney, and J. Dilla
- Resonant Thoughts: Lewis Hyde’s “A Primer for Forgetting” (2019)
- Brett’s Sound Picks: Barker’s “Paradise Engineering” (2019)
- Art About Music: Gustav Klimt’s “Music” (1895)
- EQ Reveries
- Good Bit Listening
- Resonant Thoughts: Leonard Koren’s “What Artists Do” (2018)
- Brett’s Sound Picks: 36’s “Find You” (2019)
- Art About Music: Domenico Fetti’s “Portrait of a Man with a Sheet of Music” (c. 1620)
- On Performance In Electronic Music Production
- Impossible Mix
- Resonant Thoughts: Richard Serra’s “Verb List” (1967)
- Brett’s Sound Picks: Bana Haffar’s “Genera III” (2019)
- Art About Music: Jan Steen’s “A Young Woman playing a Harpsichord to a Young Man” (1659)
- Musical Distortions
- Resonant Thoughts: Calvin Tomkins’ “Vija Celmins’s Surface Matters” (2019)
- Five Benefits Of Writing Regularly
- Brett’s Sound Picks: Leo Svirsky’s “River Without Banks” (2019)
- Art About Music: Pieter de Hooch’s “Musical Party In A Courtyard” (1677)
- On Musical Transitions
- Arrows Of Attention: A Pattern Language For Electronic Music Production
- Resonant Thoughts: James Williams’ “Stand Out Of Our Light” (2018)
- Brett’s Sound Picks: Mr. Bill’s “Apophenia” (2018)
- Art About Music: Niccolo Renieri’s “Musical Society” (17th century)
- Breaking Free From A Modus Operandi Towards Enchantment
- Friday Freestyle
- Resonant Thoughts: Erik Kessel’s “Failed It!” (2016)
- Brett’s Sound Picks: Alex Twomey’s “Maybe Late” (2019)
- Art About Music: Thomas Cooper Gotch’s “A Pageant Of Childhood” (1899)
- Good Notes Are Everywhere At Hand
- Reading Analogically: Two Ideas From Christopher Alexander’s “A Pattern Language” (1977)
- Less And More Music Production Heuristics
- Art About Music: Thomas Brett’s “Music Video Shoot” (2019)
- Art About Music: Roland’s “TR-808 Main Board” (1981)
- Notes On Less Is More
- On Going All In: Ten Reasons To Blog
- Resonant Thoughts: Trevor Horn In “Pop Music-Creativity And Technology” (2003)
- Brett’s Sound Picks: Olafur Arnald’s “they sink (TOKiMONSTA remix)
- Art About Music: Thomas Brett’s “Marimbafied” (2019)
- The Sonic Spell: Six Components Of Musical Enchantment
- Ventrilo-Dialogue: A Conversation With A Subway Musician
- Brett’s Sound Picks” Joshua Sabin’s “Sutarti VI” (2019)
- Art About Music: Everald Brown’s “Bush Have Ears” (1976)
- On Musical Perspective, Depth, And Enchantment In A Mix
- Action And Better Action
- Brett’s Sound Picks: Earthen Sea’s “Window, Skin and Mirror” (2019)
- Art About Music: Casio’s KX-101 (1984)
- Lessons From Making Ambient Loops From Ambient Tails
- Friday Freestyle: A Miscellany Of Ten Things I’m Thinking About
- The Music Speaks Up
- Brett’s Sound Picks: Leafcutter John’s “This Way Out” (2019)
- Art About Music: Frans Floris’s “Allegory of Music” (1570)
- On Being Musically Authentic
- Friday Freestyle: A Miscellany Of Ten Things I’m Thinking About
- On Musical Knowing
- Brett’s Sound Picks: Kali Malone’s “Lintanic Cloth Wrung” (2019)
- Art About Music: Everald Brown’s “Niabinghi Hour” (1969)
- Notes On Anti-Automated Music
- Rain Music
- Brett’ Sound Picks: Synkro & Arovane’s “Transmission” (2019)
- Art About Music: Frans Floris’s “Family Portrait” (1561)
- Notes On Finding Real Musical Beginnings
- Flowing Through Music’s Forward Flows
- Brett’s Sound Picks: Burial’s “State Forest” (2019)
- Art About Music: Gerard Ter Borch’s “The Music Lesson” (c. 1668)
- Notes On Resampling
- Resonant Thoughts: Mary Oliver’s “Upstream” (2016)
- Brett’s Sound Picks: Celer’s “Rains Lit By Neon” (2019)
- Art About Music: Garry Trudeau’s “Doonesbury” Comic
- Perceptual Games: Tightening The Feedback Loop
- Resonant Thought: Stephen Morris’s “Record Play Pause” (2019)
- 1000 Alignments
- Brett’s Sound Picks: Sarah Davachi’s “Perfumes 1” (2019)
- Art About Music: Gerrit Dou’s “A Woman Playing A Clavichord” (c. 1665)
- Finding Repetition’s Vertical Enchantments Hidden Within Linear Composing
- On The Enchantment Of Mechanical Music: Marble Machine X
- Brett’s Sound Picks: Ulla Straus’s “Home” (2019)
- Art About Music: Gerard van Honthorst’s “Musical Group on a Balcony” (1622)
- Maximum Musicality With Minimum Intervention
- A Nod To The Save Key
- Resonant Thought: Edgard Varèse On Rhythm
- Brett’s Sound Picks: Rainer Veil’s “Sim Screen” (2019)
- Art About Music: Gabriël Metsu’s “A Young Woman Composing A Piece Of Music” (c. 1664)
- On Musical Shepherding
- Resonant Thoughts: Thor Magnusson’s “Sonic Writing” (2019)
- Brett’s Sound Picks: Plaid’s “Los” (2019)
- Art About Music: John Singer Sargent’s “Study for Seated Musicians for ‘El Jaleo’” (c. 1882)
- On Musical Manipulation
- Curating The Week: Distraction, Sublime Frequencies, Disco’s Influence
- Resonant Thought: Ferran Adria’s “Notes On Creativity” (2014)
- Brett’s Sound Picks: Caterina Barbieri’s “Fantas” (2019)
- Art About Music: Giovanni Cariani’s “A Concert” (c. 1518-1520)
- On Nontypical Timekeeping Ways And Messing With Percussion Sounds
- Resonant Thoughts: Damon Krukowski’s “Ways Of Hearing” (2019)
- Notes On An ECM Recording
- Brett’s Sound Picks: Amon Tobin’s “On a Hilltop Sat the Moon” (2019)
- Maertan Van Heemskerck’s “Concert of Apollo and the Muses on Mount Helicon” (1565)
- From Obvious To More Subtle Music
- Searches That Brought You Here: Jason Mraz, Ray Hudson, Tricia Tunstall
- A Short Piece On Listening
- Resonant Thought: Marcus du Sautoy’s “The Creativity Code” (2019)
- Art About Music: Jan van Hens’s “Musicians Outside The Tavern” (c. 1600)
- On Copying, Manipulating, and Pasting Musical Parts
- Curating The Week: Chill Music Playlists, Music For Notre Dame, Hip Hop Country Music
- Nine Books About Creativity
- Brett’s Sound Picks: Visible Cloaks, Yoshio Ojima & Satsuki Shibano’s “You” (2019)
- Dirck Hals’s “Music-Making Company On A Terrace” (c. 1620-1625)
- Production Moves: Merging Sounds And Processes Through Tiny Cumulative Changes
- Walking Music
- Resonant Thoughts: Roy Christopher’s “Dead Precedents” (2019)
- Brett’s Sound Picks: Deaf Center’s “Yet To Come” (2019)
- Art About Music: Utagawa Kunisada’s “Sankyoku Music by Fashionable Girls’ (c. 1844-1845)
- Notes On Programming Rhythms
- Curating The Week: Forgetting, Karl Ove Knausgaard, Stoicism
- Brett’s Sound Picks: Harold Budd, Ruben Garcia, and Daniel Lentz’s “Music For 3 Pianos” (1991)
- Art About Music: William Hogarth’s “The Enraged Musician” (1741)
- Notes On Making Beats II
- Resonant Thought: Henri Lefebvre’s “Everyday Life in the Modern World” (1971)
- An Article On Creativity In Electronic Music Production
- Brett’s Sound Picks: Deaf Center’s “Undone” (2019)
- Art About Music: Frederick Leighton’s “Music Lesson” (1877)
- On Clearly Articulating
- Tweaking A Beat
- Brett’s Sound Picks: Nivhek’s “Walking in a spiral towards the house: Side C” (2019)
- Art About Music: Abraham van den Tempel’s “David Leeuw with his Family” (1671)
- On The Limits Of Musical Timbre
- Curating The Week: Breathing, AI & Creativity, Saturation
- City Music
- Art About Music: Gerard van Honthorst’s “The Merry Fiddler” (1623)
- Frames Of Attention: Deciding On Musical Materials
- On Musical Synergy
- Notes On Sharing Process
- Brett’s Sound Picks: Tim Hecker’s “That World” (2019)
- Art About Music: Rembrandt’s “Musical Company” (1626)
- On Being Comprehensive (And Coming Up Short)
- Notes On A Music Production Workflow
- Frames Of Attention: Deciding On Musical Materials
- Notes On Weezer’s Cover Of A-Ha’s “Take On Me”
- Resonant Thoughts: Paul Bertolli’s “Cooking By Hand” (2003)
- Art About Music: The Sony Walkman (1981)
- Music Production Notes: Creating Separation Between Different Stages Of Composing
- Arrows Of Attention: 100 Music Production Movements
- Improvising To Find Something Interesting
- Resonant Thoughts: Annie Duke’s “Thinking In Bets” (2018)
- Art About Music: Edgar Degas’s “La Répétition” (1873)
- Synthesis Thinking
- On Concepts Out Of Context
- Production Workflows: Working With Call And Response
- Self-Help Triptych
- Brett’s Sound Picks: 36’s “D.R.E.A.M. Link” (2019)
- Art About Music: Jean-Antoine Watteau’s “Three Views of a Military Drummer” (c. 18th c.)
- Production Workflows: From Experimentation To Performance
- Winter Triptych
- Art About Music: Pierre-Auguste Renoir’s “The Clown” (1868)
- Right-Click Thinking
- Resonant Thoughts: Jane Brox’s “Silence” (2019)
- Sound Diving: What kind of music does this sound suggest?
- Notes On Ken Kocienda’s “Creative Selection” (2018)y
- Notes On Making Beats
- Brett’s Sound Picks: Jeff Mercel’s “No. 17 (Taro)” (2018)
- Art About Music: Édouard Manet’s “Le Vieux Musicien” (1862)
- Micro-Information As Subliminal Feeling: Learning About Musical Phrasing
- An Attentional Arc Of Working: Compressing Beats and Focusing Energy
- Brett’s Sound Picks: Deaf Center’s “Movements / The Ascent” (2019)
- Art About Music: Gonzales Coques’ “Hearing” (c. 1661)
- Musical Failure
- Composing By Playing
- Musical Mindsets
- Brett’s Sound Picks: Barker’s “Look How Hard I’ve Tried” (2018)
- Art About Music: Amrita Sher-Gil’s “Musicians” (1940)
- How Do You Listen To Music?
- Resonant Thoughts: George Coleman Gow’s “Rhythm: The Life Of Music” (1915)
- Brett’s Sound Picks: P. Adrix’s “Estação de Queluz” (2018)
- Timbrebuilding
- Resonant Thoughts: Tristan Garcia’s “The Life Intense” (2018)
- On Being Fluid And Deliberate
- Brett’s Sound Picks: Kid Koala’s “Allotropic” (2018)
- Prototyping And Bias Towards Action, Windows Of Freedom And Unexplored Possibilities
- Curating The Week: Informal Language, Artistry and Asceticism, Blogs
- Brett’s Sound Picks: Space Afrika’s “Uwëm/Creātiōn” (2018)
- Art About Music: Cornelis Saftleven’s “The Duet” (c. 1635)
- On Creative Strategies And Controlling Time
- How I Use Brett’s Sound Picks
- Resonant Thoughts: Curtis Roads’ “Composing Electronic Music: A New Aesthetic” (2015)
- Flow Studies: On Sport’s Physical Music
- Caravaggio’s “The Musicians” (c. 1595)
- On The Editing Mindset
- Freestyle: On Musical Clichés
- Resonant Thoughts: Mark Fisher’s “K-Punk” (2018)
- Brett’s Sound Picks: Teebs’ “Why Like This?” (2018)
- Hieronymus Bosch’s “Concert in the Egg” (c. 1561)
- Make It Exquisite
- Sounding Like A Pro
- Art About Music: Hendrick Ter Brugghen’s “Bagpipe Player” (1624)
- Timing Techniques: Listening Over People, Rhythmically Resisting, And Super Rhythm
- Breakbeat Thinking
- Resonant Thoughts: Kodwo Eshun On Listening
- Brett’s Sound Picks: Hauschka’s “Curious” (2018)
- Art About Music: Nicolas Regnier’s “Divine Inspiration Of Music” (c. 1640)
- On Jon Hopkins At Brooklyn Steel
- Stolen Music
- Resonant Thoughts: Verlyn Klinkenborg’s “Several short sentences about writing” (2013)
- Ventrilo-Dialogue: An Imagined Conversation With Harold Budd
- Art About Music: Judith Leyster’s “The Concert” (c. 1663)
- Revisiting Harold Budd’s Music
- Tech Talk
- Brett’s Sound Picks: Caterina Barbieri’s “SOTRS” (2017)
- (YouTube Feed)
- Art About Music: Zanobi Strozzi’s “The Madonna of Humility With Two Musician Angels” (c. 1448-1450)
- On Drum Solos
- Art About Music: Jan Steen’s “The Music Lesson” (c. 1650)
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Piano Over Organ
- Sound Diving: In Search Of Sounds I Can Play
- Eleven Useful Concepts
- Brett’s Sound Picks: Christina Vantzou’s “Remote Polyphony” (2018)
- Art About Music: Juan Gris’s “Guitar on a Table” (1915)
- Creativity As Additive Or Subtractive?
- An Improvisation
- Resonant Thoughts: Miyamoto Musashi’s “The Book Of Five Rings” (c. 1645)
- Music Listening 2
- Brett’s Sound Picks: Nils Frahm’s “Harmonium in the Well” (2018)
- Art About Music: Liu Kang’s “Indian Musicians” (1972)
- Production Stories: Working On Minutiae
- Searches That Brought You Here: Nassim Taleb, David Abram, Walter Percy
- Subway Band
- Brett’s Sound Picks: Dmitry Evgrafov’s “Unity” (2018)
- Art About Music: Richard Caton Woodville’s “The Italian Boy with Hurdy-Gurdy” (c. 1853)
- Production Mindsets: Volume
- Being In It: Thoughts Whilst Editing Music To Make It Better
- Resonant Thoughts: Nick Papadimitriou’s “Scarp” (2012)
- Brett’s Sound Picks: Biosphere’s “Rovertse Heide” (2018)
- Art About Music: Frans Hals’s “The Rommel-Pot Player” (c.1618–1622)
- A Way Of Thinking About A Blog
- Resonant Thoughts: Richard James Burgess’s “The History Of Music Production” (2014)
- Taking Measure
- Brett’s Sound Picks: The Necks’s “Body” (2018)
- Art About Music: Girolamo Savoldo’s “Shepherd with a Flute” (c. 1525)
- On Passionate Transcription
- Writing About Music
- Resonant Thoughts: Dieter Rams’ “10 Principles Of Good Design” (1970s)
- Brett’s Sound Picks: N Chambers’ “Itinerant Pattern” (2018)
- Art About Music: Yeh Chi Wei’s “Drummer” (1970-1979)
- Musical Decision-Making Under Conditions Of Opacity and Serendipity
- Heavy Metal Tee
- Resonant Thoughts: Ole Thorstensen’s “Making Things Right” (2015)
- Brett’s Sound Picks: Ólafur Arnalds’ “They Sink” (2018)
- Art About Music: Leonaert Bramer’s “Allegory of Vanity (Vanitas)” (1630/1650)
- Music Production Mindsets: Letting Something Help You Decide
- Wind Music
- Resonant Thoughts: David Sumpter’s “Outnumbered” (2018)
- Brett’s Sound Picks: Autechre’s “32a_reflected”
- Art About Music: Heitor dos Prazeres’ “Roda de Samba (Samba Circle)” (1957)
- Music Production Mindsets: Building Upon The Faintest Traces
- Resonant Thoughts: Eric Hayot’s “The Elements Of Academic Style” (2014)
- Iterations
- Brett’s Sound Picks: Marisa Anderson’s “Pulse” (2018)
- Art About Music: “Ragini Todi” (c. 1785 – 1790)
- Managing Emotions and Swinging Freely In Creative Work
- Tech Life
- Resonant Thoughts: Paul Fournel’s “Need For The Bike” (2003)
- Brett’s Sound Picks: Masayoshi Fujita’s “Harp” (2018)
- Art About Music: Gerrit Dou’s “Young Lady Playing The Clavichord” (c. 1665)
- Music Production Mindsets: Using Ableton’s Capture
- Second Hand Clock
- Arrows Of Attention: Variations On Oblique Strategies
- Brett’s Sound Picks: Laurel Halo’s “Nahbarkeit” (2018)
- Art About Music: Gonzales Coques’s “The Five Senses, Hearing” (c. 1650)
- On Automated Aesthetics For Opened-Up Impact: Jon Hopkins’ Music
- Hardcore Ambient
- Resonant Thoughts: Tim Krabbé’s “The Rider” (1978)
- Art About Music: Jose Malhoa’s “O Fado” (1910)
- Notes On Notated Versus Produced Music
- Music Lessons 2
- Resonant Thoughts: Philip Brophy’s “100 Modern Soundtracks” (2004)
- Art About Music: Kerry James Marshall’s “Past Times” (1997)
- Different Types Of Musicians
- Optimal Conditions
- Resonant Thoughts: Jacques Attali’s “Noise” (1977)
- Brett’s Sound Picks: Abul Mogard’s “Quiet Dreams” (2018)
- Art About Music: Harry Partch’s “Gourd Tree” (1964)
- Music Production: Working With Effects
- Resonant Thoughts: Richard E. Nisbett’s “Mindware” (2016)
- Music As Labor
- Art About Music: Frans Francken II’s “An Allegory Of Death And The Rich Man” (1581-1642)
- Attention Over Time: Slow Noticing
- Four Chords, One Photo (2018)
- Resonant Thoughts: Richard Sennett’s “The Craftsman” (2009)
- Dear Spotify
- Art About Music: Rembrandt’s “The Music Party” (1626)
- Things Not In The Mix
- Resonant Thoughts: Ólafur Arnalds On “The Player Pianos Part II”
- Art About Music: Jan Brueghel’s “Allegory Of Sound: The Bird Concert” (1606)
- Thinking About How Musicians Think When Playing: Music As Sensory Enhancement And Heightening
- Piano, Metals And Organ Music
- Musical Stereotypes
- Brett’s Sound Picks: Actress’s “Momentum” (2018)
- Art About Music: Johannes Vermeer’s “Woman With A Lute” (c. 1662-1663)
- How Musics Learn
- Curating The Week: Autechre, Nyabinghi, CDs
- Music Waits
- Brett’s Sound Picks: Giulio Aldinucci’s “Chrysalis” (2017)
- Art About Music: Barnett Newman’s “The Song Of Orpheus” (1944-45)
- Working Knowledge: Performing, Tinkering, Composing
- Lessons From Composing Music Adapted To Writing
- Song On Sixth Avenue
- Brett’s Sound Picks: Jon Hopkins’ “Feel First Life” (2018)
- Art About Music: Anthonie Palamedes’s “Guardroom Scene” (1656)
- On Musical Detritus And Memory
- Resonant Thoughts: Grant Snider’s “The Shape Of Ideas (2017)
- Ways Of Listening
- Brett’s Sound Picks: Tomaga’s “Il Fiume Di Ferro” (2017)
- Art About Music: Ambogio Lorenzetti’s “Allegory Of Good Government” (c. 1138-1340)
- Assessing Creative Strategies For Music Production
- Resonant Thoughts: Carlo Rovelli’s “The Order Of Time” (2018)
- Inputs and Output / Outputs and Input
- Brett Sound Pick’s: Justin Walter’s “1001” (2017)
- Art About Music: Paolo Veronese’s “Muse With Tambourine” (1561)
- Music’s Invisibles
- Sound Leaps
- Brett’s Sound Picks: James Blake’s “If The Car Beside You Moves Ahead” (2018)
- Art About Music: Charles Landelle’s “Algerian Woman Playing A Darbouka” (c. 1887)
- Musical Belief
- Curating The Week: Jon Hopkins, David Van Koevering, Making A Pop Hit
- Ventrilo-Dialogue: A Conversation Between A Composer And A Remixer
- Resonant Thoughts: Ian Bostridge’s “Schubert’s Winter Journey ” (2015)
- Art About Music: Lenore Tawney’s “Bach” (1967)
- Musical Doubt
- Silent Music
- Freestyle: Music Aphorisms 5
- Resonant Thoughts: Deckle Edge’s “Cræft: An Inquiry Into the Origins and True Meaning of Traditional Crafts
- Art About Music: Jacob Duck’s “Woman With Theorbo Vanitas” (c. 1660)
- The Problem Of Exactitude
- Searches That Brought You Here
- Lessons From Dilla 7: Master A Single Instrument
- Driving Hi Hats
- Art About Music: Lavinia Fontana’s “Self-Portrait At The Spinet” (1577)
- Fulcrum
- Musical Analogy
- Lessons From Dilla 6: Snare Drum Resonance Is Your Friend
- Arrows Of Attention: Sports Talk As Creative Self-Help
- Art About Music: Francois-Joseph Navez’s “Wandering Musicians” (1828)
- Creative Strategies: Multiples
- Catching Signals: Notes On Junkie XL’s Film Scoring Videos
- Lessons From Dilla 5: You Don’t Have To Stay On The Grid
- Resonant Thoughts: Erling Kagge’s “Silence” (2017)
- Art About Music: Jan Brueghel The Elder’s “The Sense Of Hearing” (1618)
- Wander
- Notes On A Nils Frahm Concert
- Lessons From Dilla 4: Use Pulsating Sounds
- Art About Music: Ed Ruscha’s “Noise” (1963)
- From The Archives: Notes On John Berger’s “Portraits”
- Playing Along
- Curating The Week: Mouse On Mars, Carlos Kleiber, A Watchmaker
- Lessons From Dilla 3: The Bass Can Walk Or Wander
- Freestyle: Music Aphorisms 4
- Art About Music: Eno And Fripp’s Signal-Delay System (c. 1973)
- On Click Tracks And Going Off The Grid
- Curating The Week: Film Sound Design, AI-Generated Art, African Music In Film Scores
- Lessons From Dilla 2: Contrast Dry With Atmospheric
- Theory As Poetry: John Mowitt’s “Music in the era of electronic reproducibility” (1987)
- Art About Music: Constantin Piliuță’s (1929-2003) “Lautari” (n.d.)
- On Cymbals, Music, And Nonlinearity
- Freestyle: Musical Cliches (?)
- Lessons From Dilla 1: High End Is Optional
- Resonant Thoughts: Ulf Olson’s “Listening For The Secret” (2017)
- Art About Music: Marion Post Wolcott’s “Drummer in orchestra in Memphis juke joint” (1939)
- Long Tail Listening
- Brett’s Sound Picks: Chad Lawsen’s “St. John Passion (Johannespassion), Bvw 245 (Bc D2)”
- Disconnected Music
- Fluid Metrical Feels, Delay Effects, And Rhythm In Nils Frahm’s “A Place” and “#2”
- Art About Music: Edgar Degas’ “L’Altiste” (1880)
- Musical Depth
- Curating The Week: Leftfield Dub, The Secret Happy Chord, Ambient Music At 40
- Step Sequenced
- Brett’s Sound Picks: Jim Copperthwaite’s “The Dancers”
- Art About Music: William Merritt Chase’s “The Song” (1907)
- Flip
- Curating The Week: Music Improvisation Documentaries, Walking And Creativity, Universals In Music
- Reluctant Synthesist
- Brett’s Sound Picks: Dominique Lawalree’s “Listen to the Quiet Voice” (c. 1978-1982)
- Art About Music: Georges de la Tour’s “The Musicians’ Brawl” (c. 1625-1630)
- Letting Go
- Ventrilo-Dialogue: A Conversation With brettworks
- One Photo, One Beat (2018)
- Brett’s Sound Picks: Kit Downes’ “Kings”
- Searches That Brought You Here: LEGO, Victor Wooten, Stewie Griffin
- One Good Idea, Then Bail
- Curating The Week: Synchrony, Writing/Walking, Field Recording
- Brett’s Sound Picks: Leadcutter John’s “Resurrection”
- Art About Music: Akai MPC60 (1988)
- Resonant Thoughts: On John Cage’s “Diary: How to Improve the World (You Will Only Make Matters Worse)
- Musical Mind Reading
- Curating The Week: Music and Food, Brian Eno, Failed Artists
- From The Archives: Paul Morley’s “Words And Music”
- Devotional Music
- Listening Over And From Afar
- Resonant Thoughts: James Dyson On Creativity
- Resonant Thoughts: Unlearning And Disciplined Dissidence In Andy Merrifield’s “The Amateur” (2017)
- Art About Music: John Cage’s “Sonatas and Interludes” (1946-1948)
- Practicing
- Resonant Thoughts: On Simon Critchley’s “What We Think About When We Think About Soccer” (2017)
- Art About Music: Yamaha’s DX7 (1983)
- A Forest Xylophone Plays Bach
- Searches That Brought You Here
- Digs Disguised As Compliments: An Overheard Musician Joke
- Freestyle: Sampling A Thought
- Details At The End
- Quietudes
- On Making Beautiful Things
- Resonant Thoughts: Agnes Martin On Living By Perception
- Brett’s Sound Picks: Paulstretching A-Ha’s “Take On Me”
- Resonant Thoughts: Ray Dalio On Radical Transparency
- Curating The Week: Harold Budd, Jonathan Franzen, Artificial Voices
- Art About Music: Nicolaes Maes’ “The Listening Housewife” (1655)
- Working Knowledge: A Composer’s Thinking
- Art About Music: Apple’s “iPod” (2001)
- Strike & Vibrate
- Art About Music: E.K. Adams’ Electric Metronome Patent (1903)
- Arrows Of Attention: 100 Words As Creative Actions
- Brett’s Sound Picks: Oliver Alary’s “Pieces For Sine Wave Oscillators”
- Resonant Thoughts: Barbara Gail Montero’s “Thought In Action” (2016)
- Curating The Week: Architecture, Digital DJing, The Most Relaxing Song
- Brett’s Best: 2017
- On Web Searches That Brought You Here: A.R. Ammons, Rihanna, Quadraphonic Sound
- Art About Music: Georges Braque’s “Still Life With Harp And Violin” (1911)
- Freestyle: On Sounding Real And Sounding Fake
- Better
- Curating The Week: Free Jazz, Voice, Burial
- Resonant Thoughts: Jaron Lanier’s “Dawn of the New Everything” (2017)
- Resonant Thoughts: Arnold Berleant’s “Notes For A Phenomenology Of Musical Performance” (1999)
- How Drummers And Percussionists Use Rhythm To Engage Time
- On Editing Music For Articulation
- Art About Music: Emperor Huizong’s “Listen To The Qin” (c. 1082-1135)
- Music for Marimbas and Vibraphones
- Curating The Week: Creativity, Colleen, Kodwo Eshun
- Resonant Thoughts: Four Suggestions For Creativity In “The Runaway Species”
- Art About Music: Katsushika Hokusai’s “Three Women Playing Musical Instruments” (1844)
- Traces
- Between Knowing And Not Knowing: On Sonic Grey Spaces
- Resonant Thoughts: Thomas Clifton’s “Music As Heard” (1983)
- Busker
- Resonant Thoughts: Rebecca Tuhus-Dubrow’s “Portable Stereo” (2017)
- Aim
- Listening To Studio Monitors
- Theory As Poetry: Rosalind Krauss’s “Grids” (1979)
- On Ray Hudson’s Verbal Poetics
- Freestyle: Music Aphorisms 3
- On Spotify’s Vastness Versus Listening’s Smallness
- (parenthetical thoughts)
- EQ As Musical Process
- On Writing About Music and Making Music
- (parenthetical thoughts)
- Resonant Thoughts: On Pascal Quignard’s “The Hatred Of Music”
- On Music Performance As Epistemological Journey
- Gould’s Bach
- Curating The Week: Alan Watts, Jonathan Gold, Kelela
- Frustration Music
- Visual Culture
- Searches That Brought You Here
- Reset
- Curating The Week: Arvo Pärt, Taste, Algorithmic Culture
- Art About Music: Spotify Ad (c. 2008)
- (parenthetical post)
- Art About Music: Johannes Vermeer’s “The Music Lesson” (c. 1662–1665)
- Resonant Thoughts: Johann Joseph Fux’s “The Study of Counterpoint” (1725)
- Curating The Week: The Necks, Algorithms And Creativity, Technology and Perception
- Resonant Thoughts: Gerhard Richter On Art
- Art About Music: Schematic For The Grateful Dead’s “Wall Of Sound” (c. 1974)
- Elvis Discusses Atonality
- Resonant Thoughts: Peter Matthiessen’s “The Snow Leopard”
- Curating The Week: John McPhee, Ben Ratliff, Charring Wood
- On Closed and Open Musics, Or Change Versus Transformation: Toggling Between Arovane and Autechre
- Resonant Thoughts: Franklin Foer’s “World Without Mind”
- Autechre Trust Their Code
- Three Assumptions About Creating Things
- Curating The Week: Awesomeness, Information Bottleneck, Music Apps
- Trusting Music
- Freestyle: Music Aphorisms 2
- Brett’s Sound Picks: Ben Lukas Boysen’s “Golden Times I”
- Art About Music: Guido of Arezzo’s “Guidonian Hand” (c. 991-1033)
- Curating The Week: Speaking, 4’33, Flow
- Art About Music: A Lady Playing The Tanpura (c. 1735, Kishangarh, Rajasthan, India)
- Resonant Thoughts: Robert Atwan On Essay Aesthetics
- Art About Music: Boethius’ “De institutione musica” (c. 6th century)
- Miles Turns His Back
- Curating The Week: Facebook, Learning, Reality Distortion
- Freestyle: Music Aphorisms
- Art About Music: W.F. Ludwig’s “Drum And Cymbal Playing Apparatus” (1909)
- Art About Music: Roy Lichtenstein’s “Composition IV (Musical Notes)” (1995)
- From Organ and Crotales Music: “Closing”
- Freestyle: Hearing Steve Reich’s “Mallet Quartet” As NPR Soundtrack Music
- Art About Music: Gary Larson’s “The Far Side” (c. 1982)
- Organ and Crotales Music
- Curating The Week: Creative Work, Style And Monoculture, Ambient Church Music
- Freestyle: A Brief Telephone Conversation About Music
- Art About Music: Charles M. Schulz’s “Peanuts” (1952) (1960)
- Meta-Reflection: Talking About Creativity And The Value Of Performance
- 4 Chords, 9 Photos (2017)
- Art About Music: Jacob Lawrence’s “Bootleg Whiskey” (1943) And “The Lovers” (1946)
- Curating The Week: How To Read A Poem, Music Software Skeuomorphism, Kelly Moran
- Unknowing
- Resonant Thoughts: Michael Robbins’ “Equipment For Living”
- Art About Music: Wilhelm Carl August Zimmer’s “The Orchestra, Biergarten” (c. 1900)
- Resonant Thoughts: “Tympanum of the Other Frog” In John Corbett’s “Microgroove”
- Working Knowledge: The Quieting Process
- On Visual Resonances
- Curating The Week: Ways of Hearing Podcast, Magic And Perception, Playing Chopin
- Two Keys
- Art About Music: Jan Brueghel the Elder’s “The Senses of Hearing, Touch and Taste” (c. 1618)
- Willy-Nilly Listening
- Curating The Week: The Language Of Flavor, Agnes Martin, The Impact Of Speech On Emotions
- Resonant Thoughts: Robert Barry’s “The Music Of The Future”
- On Overhearing: Audible Portable Music
- Resonant Thoughts: On Dominic Pettman’s “Sonic Intimacy”
- Curating The Week: Pierre Soulages, Hearing Loss And Volume, Afro-Peruvian Music Meets Electronic Music
- Notes On Creativity As Blind Variation And Selective Retention
- Interface: On The Ergonomics Of Musical Instruments
- Curating The Week: Aphex Twin And Tatsuya Takahashi, Nils Frahm, Bob Marley
- Notes On Vybarr Cregan-Reid’s “Footsteps: How Running Makes Us Human”
- Diagrammatic Thinking: Finding Order In Chaos
- Notes On Editing Music
- Ventrilo-Dialogue: A Poet Meets A Composer
- Resonant Thoughts: On Repetition And Baking Analogies In Shunryu Suzuki’s “Zen Mind, Beginner’s Mind”
- That Voice
- The Improviser
- Curating The Week: Harold Budd, Forest Bathing, Craig Taborn
- Reading Analogically: Alain Passard’s Axis Of Creativity And Gestures
- Counterpoint
- Bruise Blood: Not Remixing But Reimagining Steve Reich’s “Music for Pieces of Wood”
- The Composer
- Curating The Week: The Myth of The Chaotic Creative, Jan Swafford, Randy Gibson’s Minimalism
- Interesting Musicians
- Curating The Week: Micromastery, Cultural Appropriation, Prog Rock
- Meta-Review: Metrical Enigmas In Jlin’s “Black Origami”
- Curating The Week: David Lewiston, Noise In Analog Music, Improvisation
- Performance Notes: Imagining A Perfect Musical System
- Talking About Musical Time
- Art About Music: John Thornton’s Stained Glass Window At Great Malvern Priory (c. 1440)
- The Percussionist
- The Sampler
- Curating The Week: Drumming Instruction Books, Geoff Dyer, And Anna Thorvaldsdottir
- Dialed In
- Curating The Week: MP3s, Critical Feedback, AI Sound Design
- Alien Aurality
- On More From Less: Haim’s “Right Now”
- Lessons From Italo Calvino’s “Reading A Wave”
- Curating The Week: Optimal Performance, Hearing Music, Kara-lis Coverdale
- On Knowing Music In Practice And In Theory
- The Bucket Drummer
- On 12/8
- On 4/4
- Curating The Week: English Choral Music, Louis Sarno, Gideon Foli Alorwoyie, And Deep Listening
- On Intensity And Focus: Applying Physical Training Principles To Creative Work
- On Conjuring And Capturing: The Jar Of Fireflies Concept
- Music As Perception
- A Creative Compass: Music Is Feeling, Not Sound
- Listening Is Misunderstanding
- Curating The Week: Twin Peaks Music, Midori Takada, Virtual Singers
- On Key Moments In Composing
- Headphone Music (2017)
- Arrows Of Attention II: 100 Not-But Conceptual Pairings
- Curating The Week: Emmanuel Carrère, Yuval Noah Harari, And The Ed Sheeran-TLC Similarity
- Ventrilo-Dialogue: A Conversation Between Beats And Musical Time
- Curating The Week: The Grit-Boredom-Creativity Matrix, Irv Teibel’s Soundscapes
- More Than Subliminal: On Music In TV Commercials
- Curating The Week: Repetition and Writing, Brian Eno, Rock Music And White Nostalgia
- Owning The Phenomenal World: Jeong Kwan On Creativity
- Curating The Week: The Neuroscience Of Rhythm, Rhythmical Line Drawings, Music & AI
- Time Flying By: Notes On Dawn of Midi At The Park Avenue Armory
- Piano and Metals Music
- Curating The Week: Sound Meditation, Steve Reich’s “Come Out”, Polyrhythmic Electronic Music
- Space Is The Place: Missy Elliot’s “I’m Better”
- Three Excellent Books About Creativity
- Notes On Russell Hartenberger’s “Performance Practice in the Music of Steve Reich”
- Haruki Murakami On Writing And Rhythm
- Discovery Chains: From Murcof To Murch
- John Cage And Improvisation
- Notes On David Salle’s “How To See”
- Working Knowledge: Creating Space Between The Notes Or, Subtractive Epistemology
- Three Views Of Times Square, January 2017
- Curating The Week: John Berger, The ‘Pop-Drop’ Sound, Clapping On The Off-Beats
- Brett’s Sound Picks: Huerco S.’s “The Sacred Dance”
- Chasing Creativity
- Curating The Week: Silent How To Videos, Imagery From Sound, The Psychology of Time Perception
- Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi’s “Dysnomia”
- Working Knowledge: How It’s Sounding
- Ventrilo-Dialogue: A Conversation Among Composers
- Curating The Week: Questioning Mindfulness, Autechre, Tanya Tagaq
- Theory As Poetry: Italo Calvino’s “Six Memos for the Next Millennium” (2016)
- On Performance
- Theory As Poetry: Paul Gilroy’s “Darker Than Blue” (2011)
- Curating The Week: Deep Listening, Interpolation in Pop, Musical Repetition
- Theory As Poetry: David Sudnow’s “Talk’s Body” (1979)
- Sampling Stories: On The XX’s “On Hold”
- Theory As Poetry: C. Wright Mills’ “On Intellectual Craftsmanship” (1959)
- Curating The Week: An Alva Noto-Ryuichi Sakamoto Duet, Lorenzo Senni, Acoustic Prisms
- Theory As Poetry: Dick Hebdige’s “Subculture”
- Art About Music: Untitled piece in Long Island City (2016)
- A Concert
- Book Review: The Cambridge Companion to Percussion
- On Tiny Increments and Necessary Imperfections: Dave Hickey on Musical Timing
- Finger Cymbal Music
- Loose Stuff: Listening To J Dilla’s “Jay Dee a.k.a. King Dilla”
- Curating The Week: New Age Music, Sahel Sounds, Black Lives Matter Music
- Art About Music: Theodoor Rombouts’ “Lute Player” (c. 1620)
- Art About Music: Pablo Picasso’s “Three Musicians” (1921)
- Personifying Musical Action
- Curating The Week: The Politics Of Listening, Fake Musical Personas, Twitter
- On Passing Micro-Moments In Music
- Art About Music: Banksy’s “Gas Mask Brass Band” (2008)
- Notes On James Blake At Radio City Music Hall
- Art About Music: Edward Hopper’s “Room in New York” (1932)
- Art About Music: Piero di Cosimo’s “Portraits of Giuliano and Francesco Giamberti da Sangallo” (1482-1485)
- Art About Music: Adrien Jean-Baptiste Jolly’s “Cris de Paris: Marchand de chansons” (1815)
- Curating The Week: Film Music, Musical Universals, The Power Of Spotify Playlists
- Notes On Daniel Lanois’s “Heavy Sun”
- Art About Music: Gustave Caillebotte’s “Jeune homme au piano” (1876)
- Arrows Of Attention: 100 Ideas For Action In (Electronic) Music
- Art About Music: Jackson Pollock’s “Autumn Rhythm” (Number 30) (1950)
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- 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
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- On The Strange Poetics Of Spam
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- 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”
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- Peter Coviello On Musical Talk That Does Something
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- 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
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- On The Strange Sources Of Blog Traffic
- On The Nature Of Blogs II: Matching Form And Content To Capture Meaning
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- Musical Appropriation Or Just A Shoe That Fits? : Dirty Loops’ Pop Reversioning
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- 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
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- 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
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- 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
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- 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
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- On Alva Noto and Ryuichi Sakamoto’s Musical Duets
- Thomas Merton On Silence and Chant
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- On James Blake Live At The Bowery Ballroom
- On Being Perpetually Mindful
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- Music In Wallace Stevens’ Poetry
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- On The Most Human Human
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- On Kinesthetic Sense In Musical Experience
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- On Musical Pictures Of The World
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- W.S. Merwin On The Music Of Poetry
- On The Prospect Of Acoustic Lies
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- On Irish Traditional Music
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- 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
- Reading About Silence
- Creative Strategies in Electronic Music
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