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brettworks

thinking through music


  • December 17, 2021

    Keeping The Hands In Play

    (Photo: Gerrit Dou’s “A Woman Playing A Clavichord”, c. 1665) “The musician, like the writer or speaker, regularly confronts his conduct as performance or not.” David Sudnow, Talk’s Body (1979), p. 65. 1. Whenever I feel I’m disconnected from the musical because I’ve been looking at the screen and tinkering with parameters too much, I… Continue reading

    play, playing music
  • December 16, 2021

    Resonant thoughts: Kalefa Sanneh’s “Major Labels” (2021)

    “When I was working as a pop music critic, I tried not to think too much about quality—at least not directly. My belief, then as now, was that there was no useful difference between loving a song and considering it good, or between not liking one and considering it bad. (If it is possible for… Continue reading

    Resonant Thoughts
  • December 15, 2021

    Brett’s Sound Picks: Ian Hawgood And Wil Bolton’s “Emerging” (2021)

    (Playlist.) Continue reading

    Brett’s Sound Picks
  • December 14, 2021

    Art About Music: Jose Manuel Capuletti’s “Allegory Of Music” (1946)

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    art about music
  • December 13, 2021

    Dub 4

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    Uncategorized
  • December 10, 2021

    Cadences 8

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    cadences
  • December 8, 2021

    Brett’s Sound Picks: Slow Meadow’s “Ripple” (2021)

    (Playlist.) Continue reading

    Uncategorized
  • December 7, 2021

    Art About Music: “Winslow Homer’s “Sounding Reveille” (1871)

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    art about music
  • December 6, 2021

    Z Solo

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    soloing
  • December 3, 2021

    On Beginning Music Not With Silence 

    Consider an idea:  begin a piece of music not with silence, but with a soundscape from nature playing through your speakers or headphones.  Use this soundscape not as a part of your piece or the piece itself but as a springboard for the first sounds you’ll make or use, the first first chords you’ll play, the first beat you’ll… Continue reading

    soundscapes
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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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