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brettworks

thinking through music


  • December 8, 2017

    Resonant Thoughts: Jaron Lanier’s “Dawn of the New Everything” (2017)

    “When we think technology can surpass our bodies in a comprehensive way, we are forgetting what we know about our bodies and physical reality. The universe doesn’t have infinitely fine grains, and the body is already tuned in as finely as anything can ever be, when it needs to be” (49). “The unceasing flow of… Continue reading

    Resonant Thoughts, Uncategorized
  • December 7, 2017

    Resonant Thoughts: Arnold Berleant’s “Notes For A Phenomenology Of Musical Performance” (1999)

    “The performer necessarily comes at the music from within…Most often the performance situation catapults a musician into a rare and unusual condition, one that reveals the basic features of experience with eloquent directness, free, at least to some extent, from the usual overlay of cultural and philosophical presuppositions that nearly always obstruct our awareness. What is… Continue reading

    music performance, phenomenology, Uncategorized
  • December 6, 2017

    How Drummers And Percussionists Use Rhythm To Engage Time

    Drummers and percussionists use rhythm to engage musical time in a variety of ways. Here are some of the techniques we use:  Marking time through articulating meter. (One-two-three-four-five-One-two-three-four-five…) Dividing time through subdivision of the meter’s main beats. (One-and-two-and-three-and-four-and-five-and…) Decorating or accentuating time through accents and emphases. (One-two-three, Two-Two-Three…). Driving forward time (or somewhat worse: pushing).… Continue reading

    drumming, musical time, percussing, Uncategorized
  • December 5, 2017

    On Editing Music For Articulation

    Over the past month as I was editing some new music for a piano-like instrument it struck me that what I was trying to do is make the music “breathe” more. One component of musical breathing has to with how its sounds are articulated. As my laptop’s dictionary reminds me, in music “articulation” refers to… Continue reading

    articulation, editing, Uncategorized
  • December 4, 2017

    Art About Music: Emperor Huizong’s “Listen To The Qin” (c. 1082-1135)

    Continue reading

    art about music, Uncategorized
  • December 3, 2017

    Music for Marimbas and Vibraphones

    Music for Marimbas and Vibraphones Stream the music and follow me on Spotify. Continue reading

    marimba, percussion, shameless plugs
  • December 2, 2017

    Curating The Week: Creativity, Colleen, Kodwo Eshun

    • A short video about creativity versus conformity. • An interview with musician Colleen. “Stone carving taught me that the important thing is to work. My teacher started her day at eight. She worked in a very small garden in suburban Paris. No computer, no internet, nothing. I thought, This is how you get things… Continue reading

    Curating The Week, Uncategorized
  • December 1, 2017

    Resonant Thoughts: Four Suggestions For Creativity In “The Runaway Species”

    In their exceptionally readable book, The Runaway Species (2017), David Eagleman and Anthony Brandt offer four suggestions for cultivating creativity: • Don’t glue down the pieces. “We don’t just set out to improve imperfection—we also tamper with things that seem perfect” (134). • Proliferate options. “When the brain proliferates options, it gets off the path of least… Continue reading

    Resonant Thoughts, Uncategorized
  • November 30, 2017

    Art About Music: Katsushika Hokusai’s “Three Women Playing Musical Instruments” (1844)

    Continue reading

    art about music, Uncategorized
  • November 29, 2017

    Traces

    trace – a mark, object, or other indication of the existence or passing of something Music is a space-generator, and one of the unexpected gifts of being a musician is that making music generates a space in which to think about it. When I play I’m usually thinking about several things at once, including moment-to-moment… Continue reading

    attention, perception, performance notes, 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

  • Database: Arovane On Decisive Sources Of Good Musical Ideas
  • Musical Ideas
  • 2 September
  • Curating the Week: Juggling, Music Teachers, Writing, Tacit Knowledge in Research
  • 8000 Studies

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