Direct Manipulation for Musical Interfaces Based on Visual Software: Design and Evaluation

Total Page:16

File Type:pdf, Size:1020Kb

Direct Manipulation for Musical Interfaces Based on Visual Software: Design and Evaluation Direct Manipulation for Musical Interfaces Based on Visual Software: Design and Evaluation Jeronimo Barbosa Department of Music Technology Input Devices and Music Interaction Laboratory McGill University Montreal, Canada July 2019 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. © 2019 Jeronimo Barbosa 2019/07/09 i Abstract With the popularization of mobile computing and software-distribution platforms like the Apple Store and Google Play, a plethora of remarkable software-based musical interfaces with dynamic visual feedback are being designed today. Recent examples such as the Loopy, the Borderlands, the Ocarina illustrate that powerful visual interfaces are capable of captivating amateur and expert musicians alike by making music manipulation more direct and straightforward. However, while successful examples are available, effectively designing such direct interfaces remains challenging, typically proceeding “as more art than science”. For example, unlike acoustic instruments, sound production is physically decoupled from input controls, yielding infinite possi- bilities for mapping. Moreover, increasing ease-of-use for novices can lead to toy applications that disinterest experts. Finally, analyzing successful crafts remain unusual, and little music interface research is being carried to better understand these interfaces. This thesis attempts to understand these musical interfaces better, aiming at providing empir- ical evidence to inform their design and evaluation. Borrowing from human-computer interaction research, I hypothesize that one effective strategy concerns adopting an interaction model known as direct manipulation–characterized by continuous visual representation of the object of interest, physical actions to manipulate the visual representations, rapid visual feedback, and incremental and easily reversible actions. To investigate this hypothesis, I report exploratory case studies where direct manipulation is designed and evaluated in three specific contexts of music tools: a) live looping tools;b)tools for creating interactive artistic installations; and c) music authoring tools. As a result, I introduce three novel software music tools: Voice Reaping Machine; ZenStates; and StateSynth. Finally, I present a set of interface design strategies and evaluation approaches for effectively designing direct manipulation in musical interfaces based on visuals. ii Sommaire Grâce à la popularisation des plateformes d’informatique mobile et de distribution de logiciels, telles que l’Apple Store et Google Play, de nombreuses interfaces musicales basées sur des logiciels avec retour visuel sont en cours de conception. Des exemples récents tels que Loopy, Borderlands et Ocarina montrent que de puissantes interfaces logicielles visuelles sont capables de captiver autant les musiciens amateurs que les experts, tout en fournissant une manipulation musicale plus directe. Bien que certains exemples soient disponibles, il demeure difficile de conceptualiser de telles in- terfaces directes, puisque l’accent est porté davantage sur “l’art plutôt que la science”. Par exemple, contrairement aux instruments acoustiques, la production du son est physiquement découplée des commandes d’entrée, offrant ainsi des possibilités infinies de mappage. De plus, la facilité d’accès et d’utilisation grandissante pour les novices peut conduire à des applications ressemblant plutôt à des jouets, ce qui désintéresse les experts. Enfin, l’analyse des interfaces musicales existantes reste inhabituelle et peu de recherches sont menées afin de mieux comprendre ces interfaces. Cette thèse a pour objectif de mieux comprendre ces interfaces musicales dans le but de fournir des bases empiriques qui informeront les principes entourant leur conception et leur évaluation. Tout en me basant sur les recherches conduites dans le domaine de l’interaction personne-machine, je propose l’hypothèse qu’une stratégie efficace consiste à adopter un modèle d’interaction appelé manipulation directe (MD) caractérisé par une représentation visuelle continue de l’objet en ques- tion, des actions physiques pour manipuler les représentations visuelles, un retour visuel rapide, et des actions incrémentales facilement réversibles. Afin d’étudier cette hypothèse, je présente des études de cas exploratoires au sein desquelles la MD est conçue et évaluée selon trois contextes spécifiques reliés à des outils musicaux: a) outils de bouclage en temps réel;b)outils de création d’installations artistiques interactives;etc)outils de création musicale. En conséquence, je présente trois nouveaux outils logiciels de musique: le Voice Reaping Machine;leZenStates;etleStateSynth. Enfin, je présente un ensemble de stratégies de conception d’interface et d’approches d’évaluation permettant de conceptualiser efficacement la MD pour les interfaces musicales logicielles. iii Acknowledgements This thesis would not exist without the invaluable support of many people. I am immensely grateful to: • My advisor, Dr. Marcelo M. Wanderley, and my co-advisor, Dr. Stéphane Huot; • All music technology faculty and my comprehensive exams committee–Dr. Catherine Guas- tavino, Dr. Gary Scavone, Dr. Isabelle Cossette, and Dr. Eleanor Stubley–, for their insightful comments and early feedback; • Darryl Cameron and Yves Méthot, for their technical support with the prototypes and setting up experiments; • All collaborators–especially Dr. Sofian Audry and Dr. Chris Salter–for the opportunity and the exchange; • Current and past colleagues from IDMIL, Music Tech Area, and CIRMMT; • My friends in Canada, for the daily support and encouragement, and in Brazil, for their wisdom and endless inspiration. May many carnivals be ahead of us; • My family, Mamadi, Papadi, and Bocodi, for their love and unconditional support; • Kamilla de Souza, for the unspoken. What else to say? I dedicate this thesis to the memory of my old grandpa, Macário Costa. “O sorriso na chegada da fazenda de meus filhos e amigos, que adoro e quero bem”. iv Contribution of Authors This document is organized as a manuscript-based thesis, gathering five different papers writ- ten during my PhD studies. Overall, it presents two key contributions: 1) Three novel software music tools: the Voice Reaping Machine; the ZenStates; and the StateSynth; and 2) A set of interface design strategies and evaluation approaches for effectively designing direct manipula- tion in software-based visually-oriented musical interfaces. Following, I detail contributions per manuscript, describing my individual contributions. Chapter 2 Jeronimo Barbosa, Joseph Malloch, Stéphane Huot, and Marcelo M. Wanderley. “What does ’Evaluation’ mean for the NIME community?” In Proceedings of the 2015 International Con- ference on New Interfaces for Musical Expression, Baton Rouge, USA. This chapter presents an exploratory survey on the usage of evaluation studies within musical interface design. Here, I have carried both research and writing. Collaborators have contributed by discussing strategies for data analysis, discussing results, and reviewing early versions of the text. Chapter 3 Jeronimo Barbosa, Marcelo M. Wanderley, and Stéphane Huot. “Exploring Playfulness in NIME Design: The Case of Live Looping Tools.” In Proceedings of the 2017 International Confer- ence on New Interfaces for Musical Expression, Copenhagen, Denmark. This chapter describes a case study on using design rationale as process for creating playful- oriented NIMEs–in particular, applied to the specific context of Live looping. A second contribu- tion outcomes from this process: a visual direct manipulation-based live looping tool called the Voice Reaping Machine. Here, I have carried all the design research, technical development, and v writing. Collaborators have contributed by reviewing early versions of the design space and the guidelines, as well as providing feedback during the entire manuscript writing. Chapter 4 Jeronimo Barbosa, Sofian Audry, Christopher L. Salter, Marcelo M. Wanderley, and Stéphane Huot. “Designing Behavioral Show-Control for Artistic Responsive Environments: The Case of the ‘Qualified-Self’ Project”. This chapter contributes with a design study investigating the composition practice of artistic responsive environments, driving the development of two visual behavioral show-control systems (one of them is ZenStates, introduced on Chapter 5). A second contribution concerns lessons learned from an exploratory real-world application of the ZenStates in a professional artistic piece. My individual contributions are four-folded: (1) defining and carrying out the design study; (2) the technical development of the ZenStates prototype; and (3) carrying out the preliminary real- world application; and (4) most of the manuscript writing. Collaborators have contributed with: discussing and taking part of the design study; carrying out the technical development of the ZenTrees prototype; providing feedback on early versions of the ZenStates; and writing parts of the manuscript–especially the sections ‘Introducing ZenTrees’ and final paragraphs of ‘Related Works’. Chapter 5 Jeronimo Barbosa, Marcelo M. Wanderley, and Stéphane Huot. "ZenStates: Easy-to-Understand Yet Expressive Specifications for Creative Interactive Environments." In 2018 IEEE Sympo- sium on Visual Languages and Human-Centric Computing (VL/HCC), Lisbon, Portugal, 167–175. © 2018 IEEE. https://doi.org/10.1109/VLHCC.2018.8506491 Building upon the last chapter, this chapter introduces a visual
Recommended publications
  • An Advanced Songwriting System for Crafting Songs That People Want to Hear
    How to Write Songs That Sell _________________________________________________________________________________________________________________________ An Advanced Songwriting System for Crafting Songs That People Want to Hear By Anthony Ceseri This is NOT a free e-book! You have been given one copy to keep on your computer. You may print out one copy only for your use. Printing out more than one copy, or distributing it electronically is prohibited by international and U.S.A. copyright laws and treaties, and would subject the purchaser to expensive penalties. It is illegal to copy, distribute, or create derivative works from this book in whole or in part, or to contribute to the copying, distribution, or creating of derivative works of this book. Furthermore, by reading this book you understand that the information contained within this book is a series of opinions and this book should be used for personal entertainment purposes only. None of what’s presented in this book is to be considered legal or personal advice. Published by: Success For Your Songs Visit us on the web at: http://www.SuccessForYourSongs.com Copyright © 2012 by Success For Your Songs All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. How to Write Songs That Sell 3 Table of Contents Introduction 6 The Methods 8 Special Report 9 Module 1: The Big
    [Show full text]
  • John Stewart Song Database
    This is the version from the "Teresa"-cd Page 1 of 2 Across The Milky Way Written by John Stewart. This is the version from the "Teresa and the Lost Songs" CD, Homecoming Records, 1998. John Stewart plays it in the key of D (first chord G). (C) (G) (D) (G) 5x If you are (D)lost as (G)in a (D)dream And you(C) cannot (D)find your (G)way,(D) (G)All the (D)reasons (G)you are (D)lost Will (C)guide you (G)on your (D)way. If you (C)turn them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) Children (D)come and (G)children (D)go, They´re not(C) children (D)any(G)more.(D) (G)And all I (D)have are (G)photo(D)graphs, I have(C) hundreds (G)on my (D)door. And if I (C)turned them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (G)day,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) If all the (D)hearts that the (G)spirit (D)loves were(C) standing (D)side by (G)side,(D) (G)They would (D)be for(G)ever (D)long And(C) ten thousand (G)miles (D)wide.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • Billy Joel's Turn and Return to Classical Music Jie Fang Goh, MM
    ABSTRACT Fantasies and Delusions: Billy Joel’s Turn and Return to Classical Music Jie Fang Goh, M.M. Mentor: Jean A. Boyd, Ph.D. In 2001, the release of Fantasies and Delusions officially announced Billy Joel’s remarkable career transition from popular songwriting to classical instrumental music composition. Representing Joel’s eclectic aesthetic that transcends genre, this album features a series of ten solo piano pieces that evoke a variety of musical styles, especially those coming from the Romantic tradition. A collaborative effort with classical pianist Hyung-ki Joo, Joel has mentioned that Fantasies and Delusions is the album closest to his heart and spirit. However, compared to Joel’s popular works, it has barely received any scholarly attention. Given this gap in musicological work on the album, this thesis focuses on the album’s content, creative process, and connection with Billy Joel’s life, career, and artistic identity. Through this thesis, I argue that Fantasies and Delusions is reflective of Joel’s artistic identity as an eclectic composer, a melodist, a Romantic, and a Piano Man. Fantasies and Delusions: Billy Joel's Turn and Return to Classical Music by Jie Fang Goh, B.M. A Thesis Approved by the School of Music Gary C. Mortenson, D.M.A., Dean Laurel E. Zeiss, Ph.D., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee Jean A. Boyd, Ph.D., Chairperson Alfredo Colman, Ph.D. Horace J. Maxile, Jr., Ph.D.
    [Show full text]
  • The Lyric Theatre
    Letter from the Executive Director We are ringing in Spring with an impressive range of talent from bluegrass prodigy Sierra Hull to the Rita Rudner deep musical roots of Amy Helm, Mar. 31st 2019 the 10-time Grammy-winning 4:00pm & 7:00pm quartet The Manhattan Transfer, Brazilian legend Sergio Mendes, Wings To Fly Dance Company’s HOPE and comedic icon Rita Rudner, The Weight Band featuring members of The Band and The Levon Helm Band, and rock and blues guitarist Albert Cummings. Family Fun with Natalie MacMaster & Donnell Leahy in Visions from Cape Breton, comedy and magic will collide in The Chipper Experience and The Panto Company USA’s production of Beauty and the Beast. Features On behalf of The Lyric League, I am excited to announce the 3rd annual 3 Letter from the Executive Director Youth Arts Celebration on Saturday, April 13th benefiting The Lyric 4 Board of Directors & Staff, Theatre’s Arts & Education Programs. The Youth Arts Celebration Season Sponsors provides local student artists with well-deserved recognition and a 6 Cummings Back for More! performance opportunity on the historic Lyric stage. We hope you will join us for an unforgettable evening of emerging young talent! 8 Historical Timeline 16 Family Fun Series Please consider becoming a sponsor of the 2019 Youth Arts Celebration and make a difference in the development of our future patrons, 20 Arts & Education potential artists, and informed citizens (Page 20). Your support will 24 2018-19 Season Lineup provide master class and residency opportunities for students in
    [Show full text]
  • Deadmau5 Teaches Electronic Music Production 1
    DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 1 v1.0 WELCOME TO MASTERCLASS DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 2 You have to think that if you can impact one person with your music, then it's pretty much worth it. — deadmau5 A FEW FACTS ABOUT DEADMAU5 ▶ Joel Zimmerman was born on January 5th, 1981 in Niagara Falls, Ontario. ▶ Joel started composing electronic music with the program “Impulse Tracker,” inspired largely by video game soundtracks. ▶ Joel created the alias deadmau5, and released his first full length album Get Scraped in 2005. ▶ Deadmau5 is the first EDM artist to be featured on the cover of Rolling Stone magazine. ▶ Deadmau5 has 3 Juno awards, 6 Grammy nominations, and 3 Billboard Dance Chart #1 hits. ▶ Deadmau5 has headlined Lollapalooza, Outside Lands, Sonar, Ultra, Electric Daisy Carnival, and Bonnaroo music festivals. v1.0 01 INTRODUCTION DEADMAU5 TEACHES ELECTRONIC MUSIC PRODUCTION 3 HOW TO USE THIS CLASS Before you dive in, we have a few recommendations for getting the most out of your experience. THINGS YOU MIGHT NEED To enjoy this class, you only need your computer and a desire to learn. However, here are a few other items we think will enhance your learning experience: CLASS WORKBOOK A This printable PDF filled with lesson recaps and assignments. SUGGESTED VIEWING SCHEDULE B Deadmau5 explains his techniques to you in 23 lessons. It’s tempting to finish all of the lessons in one sitting. We’d like to recommend our suggested viewing schedule, which you’ll find on page 5 of this Class Workbook. DEADMAU5'S MUSIC C A few of deadmau5's songs are mentioned repeatedly in the class: "Snowcone", "Imaginary Friends", "Phantoms Can't Hang", "Cat Thruster" and "No Problem".
    [Show full text]
  • Mediabase 24/7
    - Show Building Chart Indie Label Report - Show Rotation Averages & Labels 7 Day Rhythmic Charts - Show Minimum=1 Spin by Overall Rank - This Week - Show Green/Red Flags C&R - Download to Spreadsheet LW: Apr 9 - Apr 15 TW: Apr 16 - Apr 22 Updated: Tue Apr 23 3:14 PM PST N Rank Mediabase Sortable Stats™ - Click any Blue Header Spins by daypart e Label Aud/mill w lw TW Artist Title TW lw Move ovn am mid pm eve 63 64 JAY-Z Open Letter f/Timbaland --- 274 287 -13 68 33 39 52 82 3.297 75 73 ERIC PRYDZ Every Day --- 197 197 0 46 34 46 38 33 0.220 85 78 LUMINEERS Ho Hey Dualtone 153 142 11 37 24 36 25 31 0.981 95 84 KASKADE AND SWANKY TUNES No One Knows Who We Are --- 129 120 9 35 20 25 20 29 0.126 83 87 BENNY BENASSI Cinema f/Gary Go Ultra 121 146 -25 35 22 22 23 19 0.247 A1 105 88 ROCKO U.O.E.N.O 119 103 16 19 7 22 25 46 1.506 Recordings ClearVision 118 90 CRIX GREEN I'm On It 118 91 27 43 15 13 19 28 0.093 Ent. 107 100 TIESTO Pair Of Dice --- 108 102 6 28 17 28 17 18 0.055 81 105 J. DASH Tabloid Truth f/Carlito Stereofame 100 158 -58 55 9 10 10 16 0.040 109 107 TRITONAL Still With Me f/Cristina Soto --- 99 100 -1 24 17 21 17 20 0.105 305 119 MAT ZO & PORTER ROBINSON Easy --- 88 23 65 23 11 24 18 12 0.055 119 121 DEADMAU5 F/GERARD WAY Professional Griefers Ultra 85 91 -6 18 19 23 14 11 0.070 129 125 SHOWTEK & JUSTIN PRIME Cannonball --- 80 83 -3 21 15 16 16 12 0.055 146 130 AFROJACK & SHERMANOLOGY Can't Stop Me Robbins 76 70 6 18 10 19 18 11 0.144 195 133 JONAS BROTHERS Pom Poms --- 72 46 26 15 9 11 13 24 0.327 112 138 DADDY'S GROOVE Stellar
    [Show full text]
  • Artificial Dance Music
    Artificial Dance Music Creating Electronic Dance Music with Artificial Intelligence Lars Løberg Monstad Master’s Thesis Department of Musicology Faculty of Humanities University of Oslo Spring 2021 II Artificial Dance Music III © 2021 Lars Løberg Monstad Artificial Dance Music http://www.duo.uio.no/ IV Abstract The development of artificial intelligence (AI) methods like machine learning (ML) and deep learning (DL) has created new opportunities and tools for many industries such as self-driving cars, voice recognition and image classification. But can this new and improved AI be used to create popular electronic music? And how? This thesis explores the possibilities of using AI to make Electronic Dance Music (EDM). Artificial Dance Music (ADM) is music created by AI and in particular, by DL, which trains on EDM music to learn from it and then recreate a symbolic representation. In this study, a Turing test is used to evaluate the generated music, with participants listening to both algorithmically-generated music and the original samples. A statistical evaluation of the Turing test results proves that there is no significant difference that distinguishes machine and human- generated EDM music. The goal is to investigate to what extent a machine can create original music and if it can be used as a music-producing tool in the future. The thesis focuses on the possibilities of using computer creativity, what this means and how to evaluate it. Similar approaches have been explored before but mostly in other genres such as jazz, classical, and contemporary music. A reason for this is that a genre like classical baroque music contains large collections of pieces written by the same composer, which makes it ideal for AI research.
    [Show full text]
  • Playing with Jazz Aesthetics
    University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Spring 2003 Performing texts; playing with jazz aesthetics Richard (Rick) Walters University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation Walters, Richard (Rick), "Performing texts; playing with jazz aesthetics" (2003). Doctoral Dissertations. 174. https://scholars.unh.edu/dissertation/174 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. INFORMATION TO U SERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • SETLIST: a MEMOIR by MICHAEL WATSON a Thesis Submitted to The
    SETLIST: A MEMOIR by MICHAEL WATSON A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Fine Arts Graduate Program in Creative Writing written under the direction of Lisa Zeidner and approved by _________________________________________________ Lisa Zeidner (Thesis Director) _________________________________________________ Lauren Grodstein (Program Director) Camden, New Jersey, May 2014 i SETLIST: A MEMOIR By MICHAEL WATSON Thesis Director: Lisa Zeidner Setlist: A Memoir follows me as a young musician in a fledgling rock band struggling for success while also struggling with a variety of family issues: my mother's worsening neurological disease, my strained relationship with my father, my sister's death from cancer and other deaths in the family, my own self-doubt. The hopes and promises of being in a rock band push me forward despite tragedy’s constant pull backwards. This is a memoir that shows a young man growing up, clinging to music as a way to hold steady as the turbulent new world of adulthood—one filled with loss and uncertainty—rushes around him. ii TABLE OF CONTENTS 1. “The Fault”. 1 2. “Resolving” . 33 3. “Reinvent” . 60 4. “Help Wanted” . 80 5. “Just Breathe” . 103 6. “Remember” . 122 7. “Jams” . 188 iii 1 1. “The Fault” The year my mother got hurt at work and sick with nerve pain, the year my parents separated, I met Bryan on the school bus taking us to third grade. He wore black shorts, black t-shirts with WWF ironed-on wrestlers’ faces chipping off them.
    [Show full text]
  • Music Theory; the TL;DR Version
    1 MUSIC THEORY: THE TL;DR VERSION By: Reginald Young / Neon The Rex 2 “Learn the rules like a pro, so you can break them like an artist.” -Pablo Picasso 3 WHY MUSIC THEORY MATTERS Composing without music theory is like mixing without EQ. It’s possible, but I don’t recommend it. The main problem with ignoring theory is that, chances are, you’ve grown up surrounded by Western music. And your ears probably prefer Western music norms. So the music you inherently prefer to compose will follow the rules of Western music. And by “rules of Western music,” I mean music theory. To break the rules, you have to realize you unconsciously follow them, which requires learning them. Once you learn theory well, you’ll see how to treat the “rules” instead as “guidelines.” Also, a tip on “studying” the theory concepts in this pdf: USE THEM. Write songs for the sole purpose of exploring diatonic chords, or do whatever you need to do to make things stick. Just use theory in any way you can and push into territory you’re uncomfortable with as often as you can in order to make it familiar and easy TL;DR: STFU and learn music theory 4 DISCLAIMER This guide is not: Academia-oriented Comprehensive Perfect ABOUT THE AUTHOR Reginald Young produces under the name Neon the Rex. Download his album, “Codex,” for free @ soundcloud.com/NeonTheRex If you find any errors, please let me know so they can be corrected! I can be reached by email @ [email protected] Music Theory: The TL;DR Version by Reginald Young is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License.
    [Show full text]
  • Songs by Artist Title Artist Title Artist Title Artist Title Artist "Weird Al" Yankovic 1910 Fruitgum Co
    Songs by Artist Title Artist Title Artist Title Artist Title Artist "Weird Al" Yankovic 1910 Fruitgum Co. 1930s - Bunny Berigan 1940s Pretty Fly For A Rabbi "Weird Al" Indian Giver 1910 Louisianna 1930s - Bewitched 1940s Yankovic Fruitgum Bunny Blue Lou Take 1 1940s Co. Berigan #9 DREAM Blue Lou Take 2 1940s 1930s - Andy Kirk Moonshine Over Kentucky 1930s - R.E.M. #9 DREAM Blue Lou Take 3 1940s A Mellow Bit Of Rhythm 1930s - Bunny & More Blue Moon 1940s Andy Kirk Berigan You'll Never Find Another & More Rose Room 1930s - Blue Tail Fly (Burl Ives) 1940s Love (Club Version) Bear Down 1930s - Andy Kirk Bunny Blue Tango 1940s (1996,Ricochet;arrRonChancey; Berigan Blues 1940s PAAnnouncer~TanyaTucker) Better Luck Next Time 1930s - Andy Kirk Round My Old Deserted Farm 1930s - Body And Soul 1940s Star Spangled Banner (1996, Bunny Downstream 1930s - Boogie Woogie Bugle Boy 1940s Ricochet; Berigan arrRonChan Andy Kirk (Andrews Sisters) Shanghai Shuffle 1930s - cey; Foolin' Myself 1930s - Bugle Call Rag 1940s Bunny PAAnnounc Andy Kirk Berigan Cab Driver ( Mills Brothers) 1940s er~TanyaTu I Surrender Dear 1930s - Star Dust 1930s - Can't We Be Friends? 1940s cker) Andy Kirk Bunny Caravan 1940s (Another Song) All Over Again [Main I Went To A Gypsy 1930s - Berigan Cheek To Cheek 1940s Version Andy Kirk Sweet Varsity Sue 1930s - Clean] (Another Coquette 1940s I'll Get Along Somehow 1930s - Bunny Song) All Daddy (Sammy Kaye, The 1940s Andy Kirk Berigan Over Again Kayedetts) I'll Get By 1930s - [Main Whistle While You Work 1930s - Andy Kirk Dedicated To
    [Show full text]