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brettworks

thinking through music


  • January 31, 2022

    Cadences 18

    Continue reading

    Uncategorized
  • January 28, 2022

    After Ambient

    “If you listen to a Beyoncé record through a wall it’s not exhausting, it’s warm.” Brian Eno If you make electronic music and are into generalizing, you know that there are two broad sub-categories of style into which your music might be placed. There’s dance music, which is usually music with some kind of beat.… Continue reading

    ambient music
  • January 27, 2022

    Art About Music: Jacob Ochtervelt’s “Street Musicians at the Door” (1665)

    (The musicians are playing violin and hurdy-gurdy.) Continue reading

    art about music, music and social class
  • January 26, 2022

    Cadences 12

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    play
  • January 25, 2022

    Music Aphorisms

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    music aphorisms, Uncategorized
  • January 24, 2022

    Brett’s Sound Picks: Biosphere’s “Shruthi-12” (2022)

    (2022 Playlist.) Continue reading

    Brett’s Sound Picks
  • January 21, 2022

    Shared Time

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    easy listening music, pulseology
  • January 20, 2022

    Cadences 13

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    accidental loops, anti-boredom, trial and error
  • January 18, 2022

    Cadences 9

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    accidental epistemologies, anti-boredom
  • January 17, 2022

    Curating The Week: Beauty as Symmetry, Habit and Repetition, AI in Music, Bowedscapes

    • The physicist Michio Kaku defines beauty in terms of symmetry and the re-arrangement of components (and provides one of the most compelling explanations of compelling music). The podcast is here. “Beauty to a physicist is symmetry. There’s a symmetry in music. For example, the simplest symmetry is a rubber ball. You rotate the ball… Continue reading

    Curating The Week
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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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