Reciclado

Musicología de la Música Electroacústica [MME]

 >  Aesthetics  > 

Estética Digital

 ]

Reciclado es un término contemporáneo que esencialmente permite reusar en un nuevo contexto material sonoro o musical ya existente. El reciclado es parecido a lo que hacen los compositores y músicos cuando toman prestado fragmentos de sus propias obras anteriores, o de las de sus predecesores, para producir una nueva pieza, permitiendo de este modo la apropiación y reutilización (en un nuevo contexto) de materiales sonoros o musicales. Como en otras épocas, la línea entre uso creativo y plagio es algo abierto a la interpretación.

 

See also

Estética Digital

,

Muestreo (Sampling)

,

Transcontextualidad

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Cutler, Chris (2000). Plunderphonics
Cutler, Chris (2004). Pluderphonia
D’Arcangelo, Gideon (2004). Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music
Hesmondhalgh, David (2000). International Times: Fusions, Exoticism, and Antiracism in Electronic Dance Music
Holm-Hudson, Kevin (1996). John Oswald’s {Rubaiyat (Elektrax)} and the Politics of Recombinant Do-Re-Mi
Jordà, Sergi (1999). Faust Music On Line: (FMOL) An Approach to Real-Time Collective Composition on the Internet
Lysloff, René T. A. (2003a). Musical Life in Softcity: An Internet Ethnography
Miller, Paul D. (aka. Dj Spooky that Subliminal Kid) (2004). Rhythm Science
Polansky, Larry (1998). Signing Together, Hacking Together, Plundering Together: Sonic Intellectual Property in Cybertimes
Sanjek, David (2003). Fairly Used: Negativeland’s {U2} and the Precarious Practice of Acoustic Appropriation
Schaefer, Janek (2001). {AudiOh!}: Appropriation, Accident and Alteration
Sousa, John Phillip (1993). Machine Songs IV: The Menace of Mechanical Music
Théberge, Paul (2003). “Ethnic Sounds”: The Economy and Discourse of World Music Sampling
Vincent, Simon (2003). Mixes and Modulations
Voegelin, Salomé (2006). Sonic memory material as ‘pathetic trigger’
Waters, Simon (2000b). Beyond the Acousmatic: Hybrid Tendencies in Electroacoustic Music

 

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