composition

Chris Ford builds up from a single sine wave through layered abstractions to a Bach canon, using Clojure and the Overtone audio environment. The talk shows music theory as a natural fit for functional programming.

Ben Krasnow of Applied Science demonstrates an X-ray fluorescence gun that measures chemical composition, tears it down, analyzes its failure, and discusses a new XRF technology appearing on eBay.

The first lecture in Bartosz Milewski's category theory series for programmers. It covers the motivation and philosophy behind category theory and why composition matters for handling complexity.

Brian Lonsdorf explains why Underscore.js falls short as a functional programming library, then introduces currying, composition and point-free style in JavaScript. He argues for data-last argument ordering.

Douglas Crockford's Nordic.js 2014 talk on 'the better parts' of JavaScript and programming in general. He argues against `this`, `new` and ES6 classes, and for classless, composition-based object patterns, with some broader remarks on building better structures for the future.

Adam Neely examines Phil Ewell's paper arguing Western music theory is framed by a white racial perspective. He covers North Indian theory, alternative frameworks, Schenker and responses to the paper.

Tantacrul dissects the UX and UI of Avid's Sibelius music notation software, going through a long list of bad design choices. The review is both a comic rant and a practical lesson in interface design.

Ahoy's documentary traces tracker music from early Amiga software like SoundMonitor and Soundtracker through the demoscene, Protracker, and PC trackers such as Screamtracker and FastTracker. It covers the sound, culture and history of 16-bit module music.

Dean Friedman's near-hour-long introduction to synthesis, covering the building blocks of sound and the controls on a synthesizer. He slowly adjusts knobs so viewers hear what each parameter does.

Allieway Audio gives an informal introduction and live-coding demo of ORCA, a free esoteric programming environment for building procedural sequencers from Hundred Rabbits. It walks through the interface and how to make music with it.

K Lars Lohn's PyCon 2016 keynote weaves together music theory, programming, biking road trips and fractals. It is a personal, wide-ranging talk rather than a Python how-to.

Andrew Huang teaches the basics of music theory in about half an hour, covering intervals, chords and patterns. He stresses understanding how music works over memorizing terminology.

Tantacrul gives a detailed UX and UI design review of the MuseScore 3 notation software and compares it with Sibelius. It examines visual appeal, navigation and notation quality.

Musician and audio engineer Benn Jordan tries Dolby Atmos as a consumer, covering the theory of immersive audio, its business model, and home theater and headphone listening. He concludes it often falls short of the pitch.

Adam Neely's Ableton Loop 2017 talk links rhythm, pitch and synaesthesia. He shows that polyrhythms sped up become chords, so tempo and pitch are related by ratios.

Tantacrul walks through how the MuseScore 4 team was built and how design decisions were made for the overhaul of a huge legacy notation app. It covers playback and engraving quality improvements.

A full-album upload of Lazerhawk's debut synthwave album Redline, with the track list and timestamps in the description.

Sam Aaron live codes an ambient electronic set using Sonic Pi, the music programming environment he created. The performance shows code driving music in real time.

A Pitchfork TV documentary following Dan Deacon in Montana as he finishes his album Bromst. It shows the experimentation behind it, including pieces written for MIDI-driven player pianos.

Sam Aaron, creator of Sonic Pi, gives a demo-heavy GOTO Chicago 2018 talk on live coding music. He covers the history of Sonic Pi, how it evolved, and what it can do for education and professional musicians.

Rick Beato analyzes the music and production of Max Martin through Ariana Grande's Into You, breaking down its layering and songwriting craft.

debuglive makes a 1990-style dance track on an Amiga 500 with a Stereo Master sampler and cheap secondhand records, showing how sampling and trackers worked within tight memory limits.

Musician Benn Jordan explains and demonstrates adversarial noise that poison-pills music files against AI training and scraping.

Dan Worrall explains when higher sample rates help in recording and mixing, and when they do not. He goes into oversampling versus higher sample rates, and aliasing in distortion plugins.

Tantacrul analyzes how stock music in reality TV uses blunt, repeated tropes to manipulate viewers, comparing it to nature documentaries. He ties it to ideas of reification and cultural homogenization.

Loopop reviews the Polyend Tracker hardware tracker-style sequencer and walks through a tutorial from sampling to finishing a song. It covers most of the device's features.

A tutorial in the GAS Therapy series showing how to recreate the Teenage Engineering OP-1 and OP-1 Field with free software. It argues you do not need to buy expensive gear to make music.

Rick Beato analyzes a pop song he argues is among the most harmonically complex ever, breaking down its chords and key changes. It is a music theory deep dive aimed at general music fans.

A performance recording of Alvin Lucier's 1969 experimental piece in which a spoken text is repeatedly played back and re-recorded in a room until the room's resonances overwhelm the words. It is a landmark of electronic and conceptual music.

Rich Hickey introduces transducers in Clojure, a way to make map, filter and similar algorithms composable independent of the data source. This avoids duplicated implementations and intermediate collections across sequences, channels and streams.

Runar Bjarnason's Scala World talk argues that restraint and precision in components beat power and flexibility. Constraints on parts make them easier to compose into systems.

Vsauce's roughly 24 minute explainer on the Banach-Tarski paradox, building from infinity and set theory to the decomposition of a sphere into pieces that form two spheres.