Teaching Song Production Analysis #apme2018

Misty Jones, Middle Tennessee State University

Practical Production Analysis: Helping Students Produce Competitive Songs

Misty opens by describing her particular students as ‘in the box’ producers – that is to say, they create the entire sound recording in a Digital Audio Workstation. The problem she’s trying to solve is this: the students’ recordings are just not ready yet [for the commercial marketplace]. So today, she will be sharing her approach to helping students to make their song recordings competitive, in the genre they want to produce in.

The approach starts with the assumption that students ‘have their chops down’ – that is, they can write melodies & lyrics, understand harmony, and can program beats. With this out of the way, the students are asked to work on these four areas:

  • Form/Arrangement
  • Instrumentation
  • Texture Variation
  • Production Techniques

Musicality and Creativity in Curriculum

‘Keeping Musicality and Creativity at the Heart of Curriculum and Assessment’

Presenter: Matthew Cossey (ICA Nexus / University of West London)

Matthew opens with a discussion of the role of curriculum in popular music education, noting that the skills musicians gain in Higher Ed are arguably much more important than the qualification. Like the industry, he says, we must be ruthless in prioritizing meaningful musical career skills, rather than focusing on those elements that are the easiest to teach, or have heavily established pedagogies.

Association for Popular Music Education #apme #songwriting

Conference roomI’m in Nashville, at the #apme conference, hosted by Middle Tennessee State University. Popular Music Education is still a relatively young field, at least in terms of having its own conference (launched ~10 years ago) and journal (launched last year). More about AMPE at popularmusiceducation.org. Conference schedule here.

Coming from Berklee, perhaps I’ve become too comfortable with the idea that everyone talks about popular music pedagogy all the time. A lot of colleagues here are from institutions that have a long history of classical music education, but have only recently launched popular music programs. They are often seen as mavericks in their schools, and are viewed with some suspicion by more traditional teachers and departments. So there’s a palpable sense of community here, and even during this first morning of day 1 I’ve frequently overheard the phrase: “I’ve finally found my people!”.

Eurovision 2018 – live music analysis blog #eurovision

 

Final results

[voting results entered at ~11.30pm GMT / 6.30pm ET on May 12th 2018. My predictions shown in brackets]

  1. Israel ‘TOY’ (2)
  2. Cyprus ‘Fuego’ (1)
  3. Austria ‘Nobody But You’ (x)
  4. Germany ‘You Let Me Walk Alone’ (4)
  5. Italy ‘Non Mi Avete Fatto Niente’ (x)

My predictions (actual placing shown in brackets):

  1. Cyprus ‘Fuego’ (2)
  2. Israel ‘TOY’ (1)
  3. Ireland ‘Together’ (16)
  4. Germany ‘You Let Me Walk Alone’ (4)
  5. France ‘Mercy’ (13)

So I missed Austria and Italy completely, but got the first two (albeit reversed) and predicted three of the top four.

Of the soft predictions:

  • The Danes’ ‘Higher Ground’ (my personal favourite) will do well, but won’t win.
    CORRECT. Denmark came 9th (of 26)
  • Finland’s ‘Monsters’ will be in the top half of the voting.
    WRONG. Finland were 25th out of 26!
  • The Netherlands’ competent and enjoyable US country-rock ‘Outlaw in ‘Em’ will get some votes but will be in the bottom half.
    CORRECT. 18th of 26.
  • The Estonian operatics won’t do well.
    WRONG. Estonia were 8th of 26.
  • The Hungarian metalheads will get crucified. Which will probably suit them just fine.
    CORRECT. Hungary were 21st out of 26.

Predictions

[Written at at 10:19pm GMT (5:19pm ET) on May 12th 2018, before voting begins]. As always, I’ll leave the predictions here permanently, and post the real results when the voting is complete.

  1. Cyprus ‘Fuego’
  2. Israel ‘TOY’
  3. Ireland ‘Together’
  4. Germany ‘You Let Me Walk Alone’
  5. France ‘Mercy’

Soft predictions:

  • The Danes’ ‘Higher Ground’ (my personal favourite) will do well, but won’t win.
  • Finland’s ‘Monsters’ will be in the top half of the voting.
  • The Netherlands’ competent and enjoyable US country-rock ‘Outlaw in ‘Em’ will get some votes but will be in the bottom half.
  • The Estonian operatics won’t do well.
  • The Hungarian metalheads will get crucified. Which will probably suit them just fine.

Intro

Screenshot 2018-05-12 14.56.41Welcome to the 2018 Eurovision live musicology blog, now in its eighth year. This site has provided live music analysis of the ESC final every year since 2011, previously during the UK live broadcast. Since 2016, the text has been written from Boston USA, 5 hours behind UK time and, this year, also the Altice Arena in Lisbon, Portugal, where the live show takes place.

Eurovision 2018 preview – top 10

It’s Eurovision eve!

[For any Americans who are unfamiliar with the ESC, here’s the background]

Image result for eurovision 2018 logoBack in 2010 I live-tweeted some song commentary as the show was going out. Since 2011 I’ve been live-blogging the show, with real-time music analysis and commentary, and attempting to predict the winners before the voting begins.

Since 2015 I’ve been in the USA, and for the last two years have had to pre-blog due to work commitments and the time difference, but this year I’m pleased to say true live-blogging is back and I’ll be sitting down at 3pm ET/8pm UK time to be live-blogging. So please go to http://www.joebennett.net at those times and refresh your browser after each song. I’ll be chord-analysing, BPM detecting and quality-scoring each song as we go.

Here’s a preview of the top 10 watched YouTube Eurovision song videos in April. I note that an early favourite was Belgium, who didn’t make it through the semi-finals.

 

On The Fringe (accessible networked music solutions)

Dan Nichols, University of Northern Illinois

ABSTRACT: Over the past several years, perhaps no single person has fostered collaborations with groups on the fringe of networking infrastructure than Dan Nichols of Northern Illinois University. In this session, Dan will explain how to reach partners with limited expertise and resources. Prominent software solutions like Artsmesh and Jam Kazaam will be explored.

IMG_0804Thus far, the conference has focused on high-bandwidth institutions with fast Internet2 connections. Dan’s presentation covers bringing networked collaboration to the masses, particularly those who do not have access to these network/hardware/institutional resources.

Dan begins with a description of Jamkazam, a free solution (that also offers a $299 hardware audio interface). After describing its features and virtues, he plays us a demo of multi-site bands jamming at SXSW 2014.

Tin Men and the Telephone #tinmendo #berklee #jazz

This morning, on the final day of my visit to Berklee Valencia, I attended a gig/masterclass with the remarkable Dutch jazz trio Tin Men And The Telephone. ‘Jazz Trio’ is really an inadequate term for this ensemble. It might better be described as ‘interactive iPhone jazz gaming with live humans’.

The setup is as follows: the trio is piano, upright bass and drums. The drummer has a MIDI drum pad and snare sensor. The bassist has an effects pedal. The piano has a MIDI converter attachment, feeding a MAX patch, with occasional effects processing of the piano signal.

tinmen.jpg
Tin Men and the Telephone: Tony (piano), Pat (bass) and Bobby (drums). All of the musical information on the backdrop – drum loop (left), melodic fragment (top) and chords (bottom) is generated in real time by audience members using an app. Did I mention they’re amazing improvisers?

And…