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thinking through music


  • November 30, 2022

    Art About Music: Vilen Barsky’s “Drummer Solo” (1959)

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    art about music
  • November 29, 2022

    [Untitled]

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    Uncategorized
  • November 28, 2022

    Workflow Advice Developed, Not Given

    Be comfortable with solitary work, committing to aesthetic decisions (Is this sufficiently enchanting? Is it balanced just so?), and trusting your own counsel. Always work towards the next thing. The current piece may not be ideal, but take learnings from it into the next one. Use your work as a means to refine your default.… Continue reading

    Uncategorized
  • November 24, 2022

    Resonant Thoughts: Brian Eno On Attention

    “I’m addicted to the idea that you put yourself in a place and surrender to it. It’s about making space for a kind of attention that you’re not normally offered by entertainment media.” – Brian Eno MPD Continue reading

    Resonant Thoughts
  • November 23, 2022

    Brett’s Sound Picks: Alva Noto & Ryuichi Sakamoto’s “Kizuna” (2022)

    2022 playlist Continue reading

    Brett’s Sound Picks
  • November 22, 2022

    FA 5 piano

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    Uncategorized
  • November 21, 2022

    Notes On Musical Remixes, Reimaginings, Afters, Recomposeds, Remodels, And Alternative Versions

    “Music is so tied up in ideas, concepts, and the sonic properties of equipment, that it might often be more correct to talk about something’s continuing life cycle than it is to call it X’s remix of Y by Z.” – Jennifer Lucy Allan, Wire (2012) “Basically, a remixer/producer is taking your ideas and glorifying… Continue reading

    remixing
  • November 18, 2022

    Art About Music: Lawren Harris’s “Nature Rhythms” (1950)

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    art about music
  • November 17, 2022

    Brett’s Sound Picks: Dienne’s “Contacto” (2022)

    2022 playlist Continue reading

    Brett’s Sound Picks
  • November 16, 2022

    Resonant Thoughts: Haruki Murakami’s “Novelist As A Vocation” (2022)

    “The key component is not the quality of the materials—what’s needed is magic. If that magic is present, the most basic daily matters and the plainest language can be turned into a device of surprising sophistication. Their only recourse is to throw open their garage doors, drag out whatever they have stored away to that… Continue reading

    Uncategorized
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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

  • My Favorite Things: Running Gear
  • Curating the Week: John Berger, Writing as Mixing, EQing Vocals
  • 14 October
  • Database: Christian Löffler on Working Quickly and Using Field Recordings
  • Curating the Week: The Additional Touch, Philip Glass’s Music, How to Write a Paper

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