Plunderphonics

Genres and Categories [G&C]  ]

Plunderphonic composition is a specific, radical form of collage in which all materials have been appropriated from existent music. It is a politically motivated genre which is focused on the notion of free samples and challenging perceived hypocrisy of musical copyright law. The term is derived from the seminal CD by John Oswald called Plunderphonics.

 

See also:

Culture-jamming, Sampling

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Bosma, Hannah (1998b). The Death of the Singer Authorship and Female Voice in Electroacoustic Music
Cutler, Chris (2000). Plunderphonics
Cutler, Chris (2004). Pluderphonia
Dreyer, Sylvain (1999). Marseille à l’heure électronique
Holm-Hudson, Kevin (1996). John Oswald’s {Rubaiyat (Elektrax)} and the Politics of Recombinant Do-Re-Mi
Holm-Hudson, Kevin (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics
Oswald, John (2001). Plunderphonics (a 2 CD set including a 50 page interview with Norman Igma)
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

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