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thinking through music


  • September 19, 2016

    Art About Music: Nicolas Poussin’s “A Dance to the Music of Time” (1634-1636)

    (In this painting the figure representing Time plays a lyre.) Continue reading

    art about music
  • September 16, 2016

    Art About Music: Roy Lichtenstein’s “The Melody Haunts My Reverie” (1965)

    (The piece refers to the 1927 song “Stardust” written by Hoagy Carmichael.) Continue reading

    art about music
  • September 15, 2016

    Art About Music: Fra Angelico’s “Angel Musicians” (c. 1433)

    Continue reading

    art about music
  • September 14, 2016

    Curating The Week: Dancehall, Voice In Kanye West’s Music, Terry Riley’s “A Rainbow In Curved Air”

    • An article about the spread of dancehall music. “Over the past year, however, dancehall has been dutty wining its way back into the worldwide consciousness. Diplo, long in debt to dancehall’s digital rhythms, brought them to an even wider audience as Major Lazer. Last year, Lazer’s track ‘Lean On’ became the most streamed single of… Continue reading

    Curating The Week
  • September 9, 2016

    Resonant Thoughts: Arvo Pärt On Reduction

    “You can drown in the sewage water of our time’s creativity. The capability to select is important, and the urge for it. The reduction to a minimum, the ability to reduce fractions–that was the strength of all great composers” (114). “Reduction certainly doesn’t mean simplification, but it is the way–at least in an ideal scenario–to… Continue reading

    Resonant Thoughts
  • September 7, 2016

    Resonant Thoughts: Notes on Formalism in Dave Hickey’s “Pirates and Farmers”

    “In music we start with the parts and adduce the whole” (87). “We try to isolate the critical frequencies, ask the right questions, and never gain knowledge or truth…So formalism doesn’t do answers because answers, would conclude the endless dance of inquiries that keeps the work alive” (88). “So formalism begins with an instantaneous sense… Continue reading

    formalism, Resonant Thoughts
  • August 31, 2016

    Curating The Week: Millennial Whoops, Taste And Flavor, And The Postures Of Sitting

    • A brilliant article about the so-called “millennial whoop” in pop music. “It’s a sequence of notes that alternates between the fifth and third notes of a major scale, typically starting on the fifth. The rhythm is usually straight 8th-notes, but it may start on the downbeat or on the upbeat in different songs. A… Continue reading

    Curating The Week
  • August 29, 2016

    On Timbre: Clark’s “Cryogenic”

    “Timbre, more than any other parameter, appears to constitute the nature of sound itself…It is the very vibratory essence that puts the world of sound in motion and reminds us, as individuals, that we are alive, sentient and experiencing. As the essence of individual sonic events, timbre speaks to the nexus of experience that ultimately… Continue reading

    On Timbre
  • August 25, 2016

    Short Tones, Long Tails

    Oh– don’t even bother searching through the preset sounds just work with the default, with what you have, simple and unadorned. It’s a saw wave sound, not so special or shaped to your liking, but what does your taste have to do with it? Add an effect to color the wave, maybe a reverb to… Continue reading

    multimodal improvisations
  • August 17, 2016

    Exploding Musical Moments: Drake’s “One Dance”

    “I had to bust up the silence.” – Drake, “One Dance” (2016) That Drake song is playing again—it’s always playing when I’m at the gym. Do I like it? I’m not sure. Does that matter? Nope. But I’m already humming it. The kick drum is so prominent, so artificial in its bass contours, in its… Continue reading

    exploding musical moments
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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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