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brettworks

thinking through music


  • September 22, 2025

    Tenebrae (Cycles Version)

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    abundance, atelier, cycles version
  • September 19, 2025

    Embered

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    Uncategorized
  • September 18, 2025

    Brett’s Sound Picks: Verses GT’s “Left” (2025)

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    Uncategorized
  • September 17, 2025

    Resonant Thoughts: Lewis Hyde’s “The Gift: Creativity and the Artist in the Modern World” (1983/2007)

    “Where there is no gift there is no art” (13). “Usually, in fact, the artist does not find himself engaged or exhilarated by the work, nor does it seem authentic, until this gratuitous element has appeared, so that along with any true creation comes the uncanny sense that ‘I,’ the artist, did not make the Continue reading

    Resonant Thoughts
  • September 16, 2025

    Music and Energy

    Paul Klee, Ancient Sound (1925) Music is all energy. From its oscillating sound waves to its emotional effects on listeners, music encapsulates and compresses energy and then unleashes it back into the world. The orchestra, the choir, the DJ, the percussionist–musicians are energy artisans who use sound to build fleeting structures of feeling. Composing, a Continue reading

    energy
  • September 15, 2025

    Freeze Studies 5

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    Uncategorized
  • September 12, 2025

    Brett’s Sound Picks: Ævestaden’s “Bort från kursen” (2025)

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    Brett’s Sound Picks
  • September 11, 2025

    Marimba Mediations 3

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    awesomeness
  • September 10, 2025

    Fragments

    Combining your strange tastes often leads to interesting artistic results. There’s no precise slot for art-making in everyday life. Sneak it in. The best-sounding tracks are one-offs. Making multiples of works–for example, by keeping their instrumentation or structure identical–frees you from options. Music lessons: aim for a maximum sound whilst being maximally relaxed. Musical sounds Continue reading

    fragments
  • September 9, 2025

    From The Archives: Marimbafied 2 (12.7.23)

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    from the archives, who cares if you listen?
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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

  • When Less Leads To More
  • Omni 98 bpm
  • Drumming Diaries: Grip
  • Resonant Thoughts: Molly Bang’s “Picture This” (1991/2016)
  • Omni 96 bpm

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