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brettworks

thinking through music


  • September 29, 2022

    Brett’s Sound Picks: Clark’s “Sparrow Arc Tall” (2022)

    2022 playlist Continue reading

    Brett’s Sound Picks
  • September 28, 2022

    Art About Music: Bill Watterson’s Calvin and Hobbes (1992)

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    art about music
  • September 27, 2022

    Corda Etude 2

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    etude
  • September 26, 2022

    A Sequence That Never Repeats Artificially

    When I record a sequence I always aim to play it though, without stopping, from a beginning to an end. There are easier ways to build a sequence. The easiest way is to record a few notes or a few measures and then copy them so that the sequence repeats as a self-contained block of… Continue reading

    Uncategorized
  • September 23, 2022

    Study July 26

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    Uncategorized
  • September 22, 2022

    Brett’s Sound Picks: James Heather’s “Meant To be” (2022)

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    Brett’s Sound Picks
  • September 21, 2022

    Resonant Thoughts: Karl Bartos’s “The Sound of the Machine” (2022)

    “The sequencer’s automatic sound sequences and the drum machine’s loops hypnotized me. These black boxes brought the trance quality of African, Indian and Asian musical cultures into pop music, a quality that had been the starting point for the minimalist concept.” “Working with automatic music machines is fundamentally different from human music-making, simply because machines… Continue reading

    Resonant Thoughts
  • September 20, 2022

    Aloft On Airs

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    Uncategorized
  • September 19, 2022

    Notes On Form In Electronic Music Production

    “A piece of writing ought not to be planned for a given size but developed to the length most suitable to the material, and no farther.” – John McPhee, Tabula Rasa If you’re a casual listener to electronic music, you may be forgiven for thinking that form in most styles of the genre is essentially… Continue reading

    form
  • September 15, 2022

    Brett’s Sound Picks: John Robert’s “Wrecked Exotic” (2022)

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    Brett’s Sound Picks
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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: John Berger’s “Permanent Red: Essays in Seeing” (1960/2025)
  • Stolen Moments Are Open-Ended
  • Opening (Remodel)
  • Gongscapes
  • Database: Annea Lockwood On Listening As Meditation

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