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brettworks

thinking through music


  • November 22, 2017

    Aim

    aim—[verb] point or direct at a target; from the Latin aestimare ‘assess, estimate’ When I’m playing music I’m continually aiming and re-aiming my attention as the music goes along, and my aiming happens on different levels of perception. Since I play mallet percussion, there’s a spatial aiming of my mallet-holding hands along the marimba keys,… Continue reading

    perception, performance, Uncategorized
  • November 21, 2017

    Listening To Studio Monitors

    I’m at an electronics store, in the studio monitors listening room. It’s dark and the temperature feels about 50 degrees. I wish I brought hat and gloves—it’s frigid in here. The salesman turns on the song “Deacon Blues” from Steely Dan’s 1977 album Aja, which is probably the most listened to album by people demoing… Continue reading

    listening, studio monitors, Uncategorized
  • November 20, 2017

    Theory As Poetry: Rosalind Krauss’s “Grids” (1979)

    The grid is an introjection of the boundaries of the world into the interior of the work; it is a mapping of the space inside the frame onto itself. It is a mode of repetition, the content of which is the conventional nature of art itself. As we have a more and more extended experience… Continue reading

    grid thinking, theory as poetry, Uncategorized
  • November 17, 2017

    On Ray Hudson’s Verbal Poetics

    “Not by accident, nothing capricious about it, nothing fortunate –it was insightful, questioning football.” – Ray Hudson If you are a soccer fan and you watch it on TV, as I do, you may have encountered the splendiferous voice of Scottish announcer Ray Hudson. Hudson played as a professional with Newcastle United from 1974-77 and… Continue reading

    sports sound, Uncategorized, verbal poetics
  • November 16, 2017

    Freestyle: Music Aphorisms 3

    Your resistance to a music is a measure of the music’s capacity to destabilize notions you didn’t know you hold dear. The singer of the pop song assumes that if she repeats the chorus enough someone will believe her. Classical music’s contemporary uses illustrate how the music has always been, among other things, an aspirational… Continue reading

    freestyle, music aphorisms, Uncategorized
  • November 15, 2017

    On Spotify’s Vastness Versus Listening’s Smallness  

    The other day I was browsing through Spotify’s seemingly endless genre categories (a subject for a future blog post), marveling at how the company’s algorithms manage to carve music into so many micro-genres. In case you haven’t noticed, it’s not just about rock, hip hop, EDM, and classical anymore: through Spotify’s eyes, there’s a musical… Continue reading

    listening, Uncategorized
  • November 14, 2017

    (parenthetical thoughts)

    (Harold Budd is walking in sandals around the shrubs and weeds of his backyard in Pasadena, California. It’s mid-afternoon, hot and sunny out. He kicks a stone that triggers a tiny dust explosion on his feet. Over the backyard are two telephone wires, a white bird sitting still on one of them. Budd is thinking… Continue reading

    (parenthetical posts), (parenthetical thoughts), Uncategorized
  • November 13, 2017

    EQ As Musical Process

    Continue reading

    EQ, musical process, Uncategorized
  • November 10, 2017

    On Writing About Music and Making Music

    I spend about equal time writing about music and making music and these experiences are quite different from one another. When I’m writing about music I’m on the outside of it, listening in. It feels like the music is far away—as if it’s a foreign craft practiced by a different kind of person than me… Continue reading

    playing music, writing about music
  • November 9, 2017

    (parenthetical thoughts)

    (One of the most beautiful musical moments that happens from time to time: I’m listening to something and a single tone, moving from a lower pitch to one higher, sends me towards revelation, into a thought cloud realization that I may have music all wrong. It’s not the sound that’s beautiful (the piano is nice… Continue reading

    (parenthetical thoughts), 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

  • Art About Music: “When Is That Young Man Going Home?” (1931)
  • 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

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