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brettworks

thinking through music


  • July 1, 2021

    Resonant Thoughts: Paul Graham’s “Crazy New Ideas” (2021)

    “Few understand how feeble new ideas look when they first appear. So if you want to have new ideas yourself, one of the most valuable things you can do is to learn what they look like when they’re born. Read about how new ideas happened, and try to get yourself into the heads of people… Continue reading

    new ideas, Resonant Thoughts
  • June 28, 2021

    Conclusion

    Continue reading

    electronic music production
  • June 25, 2021

    Chapter 8

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    electronic music production, epistemological journeys
  • June 24, 2021

    Brett’s Sound Picks: Christian Loffler’s “Parsifal” (2021)

    (The 2021 Playlist.) Continue reading

    Brett’s Sound Picks
  • June 23, 2021

    Chapter 7

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    electronic music production
  • June 22, 2021

    Drum Dub 6 (Exult)

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    dub
  • June 21, 2021

    Notes On Six Production Macros

    The term macros comes from computing, where it refers to a single instruction that unfolds into a set of instructions to perform a task. In computer-based electronic music production, macros often refer to single commands triggered by a knob to carry out several tasks at once. In Ableton Live, an example of this is the… Continue reading

    production macros
  • June 18, 2021

    Chapter 6

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    electronic music production
  • June 17, 2021

    Resonant Thoughts: Aurelio de la Vega’s “Regarding Electronic Music”

    “The electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and they you only have to push buttons and prepare IBM cards to achieve magical results.” – Aurelio de la Vega, “Regarding Electronic Music” (1965) Continue reading

    Resonant Thoughts
  • June 16, 2021

    Brett’s Sound Picks: U-Ziq’s “Preston Melodics” (2021)

    (The 2021 Playlist.) Continue reading

    Brett’s Sound Picks
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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

  • In The Works: 28 April
  • Resonant Thoughts: John Berger’s “Permanent Red: Essays in Seeing” (1960/2025)
  • Stolen Moments Are Open-Ended
  • Opening (Remodel)
  • Gongscapes

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