Musicology of Electroacoustic Music [MEM]  >  Aesthetics  >  Digital Aesthetics  ]

Recycling is a contemporary term which essentially allows for existent musical or sound material to be reused in a new context. Similar to composers’ and musicians’ traditional borrowing of their own or their predecessors’ music in their own work, recycling allows sounds or musical material to be appropriated and musically recontextualised. As with earlier ages, the line between creative use and plagiarism is open to interpretation.


See also:

Digital Aesthetics, Sampling, Transcontextuality



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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