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brettworks

thinking through music


  • April 11, 2012

    On Charles Duhigg’s “The Power Of Habit”: Exploring Music Listening Habit Loops

    “Listening habits allow us to unconsciously separate important noises from those that can be ignored.” – Charles Duhigg In his best-selling self-help psychology book, The Power Of Habit: Why We Do What We Do In Life And Business, Charles Duhigg examines the structure of habits and the ways they shape everyday life for individuals, businesses… Continue reading

    country music, listening habits, taste
    music listeners
  • April 3, 2012

    In Praise Of Slowness: On Writing On Cellphones

    It stuck me recently that I might say something about how the blog posts at bretttworks.com are written. So here goes: I write them on my phone. *** Most of the writing happens in those moments that could otherwise be wasted moments–while waiting for the subway, standing in line somewhere, sitting on the subway, sitting… Continue reading

    Technology, writing
  • March 29, 2012

    On Gary Marcus’s “Guitar Zero”

    About five years ago I began playing acoustic guitar. I played off and on for a while, learning chord shapes, and trying (without success) to build callouses on my fingertips. I also experimented with alternate tunings and used a capo, recording a number of chord progressions I thought sounded interesting (hear the audio file at… Continue reading

    flow, improvisation, music cognition, music pedagogy, performance
  • March 23, 2012

    On Perception And Playing A Polyrhythm

    A polyrhythm is the simultaneous sounding of more than one rhythm. I find polyrhythms endlessly interesting, mainly because they play with our perceptions, especially our sense of what is foreground and what is background. In this way, polyrhythms are the aural equivalent of those optical illusions you may remember from Psychology 101, such as the… Continue reading

    aural illusions, perception, polyrhythm
    optical illusions, polyrhythm, polyrhythms, woman illusion
  • March 22, 2012

    On Pop Music Production Geneologies: Ester Dean’s Compositional Process

    In his recent New Yorker article “The Song Machine”, John Seabrook explores the songwriting process behind contemporary pop music. Today’s Top Forty hit, says Seabrook, “is almost always machine made: lush sonic landscapes of beats, loops, and synths in which all the sounds have square edges and shiny surfaces, the voices are Auto-tuned for pitch,… Continue reading

    auto tune, creative strategies, popular music, recording culture, the music industry
    entertainment, john seabrook, music, nicki minaj, snap crackle, sonic landscapes
  • March 19, 2012

    Strange Mechanisms: On Entrainment And Running To Music

    “…the music, the words of the mottoes, the steps of the dance, trigger the strange mechanism.” — Jean Rouch in Gilbert Rouget, Music and Trance (1985:181) Yesterday I ran the NYC Half Marathon (in a time that qualified me for the NYC Marathon–yes!). One of the things I noticed along the route was the presence… Continue reading

    entrainment, musical time, perception, running, soundscapes
    gilbert rouget, nyc half marathon
  • March 15, 2012

    Representing Time: On Christian Marclay’s “The Clock”

    While I was in Ottawa last week, timing would have it that Christian Marclay’s epic video installation piece The Clock was showing at the National Gallery. I of course made a point of going to see it. The Clock is a 24-hour video collage composed of thousands of film clips (culled from the entire history… Continue reading

    perception, sound art, time, Uncategorized
  • March 13, 2012

    Intangible Things: On Victor L. Wooten’s “The Music Lesson”

    New Age : “an eclectic group of cultural attitudes arising in late 20th century Western society that are adapted from those of a variety of ancient and modern cultures, that emphasize beliefs (as reincarnation, holism, pantheism, and occultism) outside the mainstream, and that advance alternative approaches to spirituality, right living, and health” Victor L. Wooten’s… Continue reading

    concentration, ecology, ethnography, flow, improvisation, listening, mindfulness, music and discipline, music lessons, music theory, musical memoirs, perception, phenomenology, synesthesia
  • March 2, 2012

    “Where Are We?”: Situating Wonder Through Music In Apple Siri Commercials

    wonder — (1): rapt attention or astonishment at something awesomely mysterious or new to one’s experience; (2) : a feeling of doubt or uncertainty Is there anything the Apple iPhone can’t do? And for that matter, is there anything Siri, the phone’s voice activated seer, doesn’t know? Recently I happened to be in Brooklyn early… Continue reading

    advertising, aesthetics, affect, music and film, wonder
    apple iphone, technology
  • February 29, 2012

    On Reading Online Consumer Reviews

    I’m fascinated by consumer reviews and I read them regularly on Amazon.com. You could even say that review reading is a hobby of mine. What’s fascinating about reviews is how they illuminate people’s thinking by expressing their passion and enthusiasm, a high level of analytical detail, and a steadfast belief in themselves. No matter what… Continue reading

    consumer review discourse, music criticism, Quality
    consumer reviewers, steadfast belief
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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

  • Resonant Thoughts: Riccardo Falcinelli’s “Chromorama: How Colour Has Changed Our Way of Seeing” (2025)
  • Antiphons
  • Database: Tetsu Inoue On Unexpected Rhythms And Avoiding Obvious Sounding Beats
  • Same Walk, Different Music: Actress, Suzanne Ciani, “Concrète Waves London B2” (2026).
  • Brett’s Sound Picks: Actress and Suzanne Ciani’s “Concrète Waves Barcelona B4” (2026)

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