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brettworks

thinking through music


  • October 28, 2016

    Book Review: The Cambridge Companion to Percussion

    percussion—from the Latin verb percutere, to strike forcibly As a family of instruments that make sound by being struck as well as a community of musicians who do this striking, percussion and percussionists encompass a vast terrain. Percussion of one type or another is found in virtually every musical culture in the world, and the… Continue reading

    book reviews
  • October 26, 2016

    On Tiny Increments and Necessary Imperfections: Dave Hickey on Musical Timing

    “And you can thank the wanking eighties, if you wish, and digital sequencers, too, for proving to everyone that technologically ‘perfect’ rock—like ‘free’ jazz—sucks rockets. Because order sucks. I mean, look at the Stones. Keith Richards is always on top of the beat, and Bill Wyman, until he quit, was always behind it, because Richards… Continue reading

    musical time
  • October 25, 2016

    Finger Cymbal Music

      My new recording Finger Cymbal Music is now available. The music can be purchased at CD Baby, iTunes, or streamed on Spotify. Continue reading

    shameless plugs
  • October 24, 2016

    Loose Stuff: Listening To J Dilla’s “Jay Dee a.k.a. King Dilla”

    Listening to J Dillas’s “Jay Dee a.k.a. King Dilla”, a collection of brief instrumental tracks recorded by Dilla early in his career using an E-mu Systems SP-1200 drum sampler, you can hear that the key to his grooves’ grooving is their looseness. I have read a fair bit online from people speculating on what it was… Continue reading

    groovology
  • October 20, 2016

    Curating The Week: New Age Music, Sahel Sounds, Black Lives Matter Music

    • An article about the resurgence of New Age Music. “Interest in mindfulness practices such as yoga and meditation have become more popular with younger audiences…Vintage new age music from the 1970s and 1980s continues its process of rediscovery, possibly without the baggage that originally surrounded it the first time around.” •The trailer for the… Continue reading

    black lives matter, Curating The Week, new age music, sahel sounds
  • October 19, 2016

    Art About Music: Theodoor Rombouts’ “Lute Player” (c. 1620)

    (According to the website for the Philadelphia Museum, depicting “a musical instrument being tuned was a veiled reference to striving for harmony in love. Stringed instruments could also symbolize temperance, especially when shown in the company of a tankard and a pipe, as here” [http://www.philamuseum.org/collections/permanent/102484.html].) Continue reading

    art about music
  • October 17, 2016

    Art About Music: Pablo Picasso’s “Three Musicians” (1921)

    Continue reading

    art about music
  • October 12, 2016

    Personifying Musical Action

    A melody does things in a look at me kind of way. It walks, it skips, it pirouettes like a sprightly dancer; it leaps from one pitch to another like a long-limbed ballerina. Melodies love attention and they have a diva quality, as if believing that their personal and exteriorized dramas are of intrinsic interest and… Continue reading

    analogies
  • October 11, 2016

    Curating The Week: The Politics Of Listening, Fake Musical Personas, Twitter

    • An article about the effect of one’s political orientation on one’s music preferences. “Where conservatives prize ‘security and conformity,’ liberals value ‘self-expression and stimulation.’ With regard to artistic tastes conservatives generally favor familiar works, predictability, and ‘simplicity and realism,’ liberals, in contrast, prefer novelty, and ‘complexity and abstractions.’ Of the two groups, conservatives ‘have stronger… Continue reading

    Curating The Week
  • October 7, 2016

    On Passing Micro-Moments In Music

      Sometimes in music there are brief moments that truly click, magnify your attention, and send you into a state of excitement. These moments can be anything—a chord progression, a melodic turn or leap, a sung phrase, a rhythm clash or synchrony, a combination of instruments, or even a single timbre. What makes them micro… Continue reading

    microthoughts
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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

  • Brett’s Sound Picks: Actress and Suzanne Ciani’s “Concrète Waves Barcelona B4” (2026)
  • The Real, The Virtual, and Thinking Compositionally
  • No. 6
  • Art About Music: “When Is That Young Man Going Home?” (1931)
  • Curating The Week: Freedom, Exceptionalism, Finishing

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