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brettworks

thinking through music


  • October 25, 2017

    (parenthetical post)

    (What do you want this blog to accomplish? I’m not sure it has any practical applications, but it has something to do with exploring creativity, cultivating risk-taking, and practicing the habit of sharing. Who is your audience? Not sure, though some of the followers I do know personally. Do you ‘own your product category’? That’s… Continue reading

    (parenthetical posts), Uncategorized
  • October 24, 2017

    Art About Music: Johannes Vermeer’s “The Music Lesson” (c. 1662–1665)

    Continue reading

    art about music, Uncategorized
  • October 23, 2017

    Resonant Thoughts: Johann Joseph Fux’s “The Study of Counterpoint” (1725)

    “You must try to remember whether even in childhood you felt a strong natural inclination to this art and whether you were deeply moved by the beauty of concords.” – Johann Joseph Fux, The Study of Counterpoint (1725) Continue reading

    Resonant Thoughts, Uncategorized
  • October 20, 2017

    Curating The Week: The Necks, Algorithms And Creativity, Technology and Perception

    • An article about The Necks by one of my favorite writers on music, Geoff Dyer. “Impatience prevents you from seeing—hearing—that what you are waiting for is already happening (not a bad test-definition of the avant-garde). But there is scope for anxiety on behalf of the participating listener, because the gathering intensity is underwritten by… Continue reading

    Curating The Week, perception, Uncategorized
  • October 19, 2017

    Resonant Thoughts: Gerhard Richter On Art

    “Art is not a substitute religion: it is a religion (in the true sense of the word: ‘binding back’, ‘binding’ to the unknowable, transcending reason, transcendent being).” – Notes, 1964-65 • “Art is the highest form of hope.” – Text for catalog of documents 7, Kassel, 1982 • Question: And what is it that connects… Continue reading

    Resonant Thoughts, Uncategorized
  • October 18, 2017

    Art About Music: Schematic For The Grateful Dead’s “Wall Of Sound” (c. 1974)

    (The system could put out 28,000 watts of sound. To learn more about it: https://motherboard.vice.com/en_us/article/wnnayb/the-wall-of-sound). Continue reading

    art about music, Uncategorized
  • October 17, 2017

    Elvis Discusses Atonality

    Continue reading

    atonality, music discourse, Uncategorized
  • October 16, 2017

    Resonant Thoughts: Peter Matthiessen’s “The Snow Leopard”

    “Not change, but transformation.” – Peter Matthiessen, The Snow Leopard, p. 15 Continue reading

    Resonant Thoughts, Uncategorized
  • October 13, 2017

    Curating The Week: John McPhee, Ben Ratliff, Charring Wood

    • More structural advice from John McPhee. “Much of McPhee’s work sits at some thrilling intersection of short story, essay, documentary, field research and epic poem…He gathers every single scrap of reporting on a given project — every interview, description, stray thought and research tidbit — and types all of it into his computer. He… Continue reading

    Curating The Week, Uncategorized
  • October 12, 2017

    On Closed and Open Musics, Or Change Versus Transformation: Toggling Between Arovane and Autechre 

    One day in 1999 I walked into (the now closed) Kim’s Music and Video in the East Village and listened to some CDs at one of their listening stations. (Remember CDs? Remember listening stations? Remember record stores?) I liked this German IDM artist Arovane (Uwe Zahn) because his music was melodic and had unusual chords.… Continue reading

    change and transformation, closed and open musics, toggling, 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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