Sampling

Musicology of Electroacoustic Music [MEM]  >  Discourse within Electroacoustic Music  ]

Historically, much electroacoustic music has privileged the creation of new and original sounds through synthesis or the use of original and ’authentic’ recordings (e.g. close-mic techniques to fix sound objects or Soundscape recordings). More recent aesthetic developments have seen the privileging of the use of existing sounds and musics, with attendant notions of ’borrowing’, ’stealing’, ’recycling’ and ’recontextualising’. This aesthetically-charged use of the term is integral to the development of intellectual investigation concerning the notion of Digital Aesthetics.

 

See also:

Abstract Sound, Acousmatic, Aural Discourse and Mimetic Discourse, Culture-jamming, Digital Aesthetics, Free Music, Hybrid Thinking, Plunderphonics, Reduced Listening, Referential Sound, Sound Object, Soundscape Composition, Transcontextuality

 

Links:

UNESCO DigiArts

- Digital Creation with Sounds and Music: Collect ( English , French )
- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 6 - De la musique mixte à l’interactivité ( French )

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Battier, Marc (2003b). Notes sur l’électronique dans un opéra récent : {K...} de Philippe Manoury
Battier, Marc (2003e). Digital Creation with Sounds and Music - an online introduction
Borin, Gianpaolo, Poli, Giovanni De, Sarti, Augusto (1997). Musical Signal Synthesis
Bossis, Bruno, Couprie, Pierre (2003). Tutorials : sound and music applications
Cutler, Chris (2000). Plunderphonics
D’Arcangelo, Gideon (2004). Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music
Davies, Hugh (1996a). A History of Sampling
Davis, Deta S. (1988). Computer Applications in Music: A Bibliography
Fikentscher, Kai (2003). “There’s not a problem I can’t fix, ‘cause I can do it in the mix”: On the Performative Technology of 12-inch Vinyl
Gallet, Bastien (2002). Le boucher du prince Wen-houei
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
Holm-Hudson, Kevin (1997). Quotation and Context: Sampling and John Oswald’s Plunderphonics
Hoopen, Christiane ten, Landy, Leigh (1992). La musique électroacoustique
Jordà, Sergi (1999). Faust Music On Line: (FMOL) An Approach to Real-Time Collective Composition on the Internet
Lalitte, Philippe (1998). {City Life}
Ligeti, Lukas (2000). Beta Foly: Experiments with Tradition and Technology in West Africa
Lysloff, René T. A. (2003a). Musical Life in Softcity: An Internet Ethnography
Miller, Paul D. (aka. Dj Spooky that Subliminal Kid) (2004). Rhythm Science
NUÑEZ, Adolfo (1993). Informática y Electrónica Musical - 2da. edición, revisada (Musical Electronics and Informatics - 2nd edition, revised)
Polansky, Larry (1998). Signing Together, Hacking Together, Plundering Together: Sonic Intellectual Property in Cybertimes
Reich, Steve, Vérin, Nicolas (1998). Interview de Steve Reich
Rimbaud, Robin (a.k.a. Scanner) (2001). Remembering How to Forget: An Artist’s Exploration of Sound
Rodgers, Tara (2003). On the Process and Aesthetics of Sampling in Electronic Music Production
Sanjek, David (2003). Fairly Used: Negativeland’s {U2} and the Precarious Practice of Acoustic Appropriation
Schaefer, Janek (2001). {AudiOh!}: Appropriation, Accident and Alteration
Théberge, Paul (2003). “Ethnic Sounds”: The Economy and Discourse of World Music Sampling
Tiffon, Vincent (2003). La partition, le phonographe et l’échantillonneur : usages de la copie en musique

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