Keyword(s):Sampling , Socio-Cultural Aspects of Electroacoustic Music , Plunderphonics
Although the music industry has insisted that digital sampling is "theft," it is perhaps better viewed in historical and theoretical context as timbral quotation. Often a sample functions as a quote that is recontextualised but that nevertheless bears the weight of its original context. In this article the author compares some attempts at creating a taxonomy for sampling use and concludes with a discussion of the controversial ‘plunderphonic’ work of composer John Oswald.
All references of the same author:
(English)Holm-Hudson, Kevin (1996). John Oswald's Rubaiyat (Elektrax) and the Politics of Recombinant Do-Re-Mi