The sampling continuum: musical aesthetics and ethics in the age of digital production.
This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how...
| Publicado en: | Journal for Cultural Research Vol. 21; no. 3; pp. 223 - 241 |
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| Autores principales: | , , |
| Formato: | Artículo |
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Taylor & Francis Ltd
Sep2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=125207730&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 125207730 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14797585 QMJ jtl: Journal for Cultural Research issn: 14797585 maglogo: Y pubinfo: dt: Sep2017 vid: 21 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 125207730 10.1080/14797585.2017.1338277 ppf: 223 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1MB tig: atl: The sampling continuum: musical aesthetics and ethics in the age of digital production. aug: au: Behr, Adam Negus, Keith Street, John affil: International Centre for Music Studies, Newcastle University, Newcastle-upon-Tyne, UK Department of Music, Goldsmiths – University of London, London, UK School of Politics, Philosophy, Language and Communication Studies, University of East Anglia, Norwich, UK su: Copyright of music Musical aesthetics Popular music Music theory Digital technology sug: subj: Copyright of music Musical aesthetics Popular music Music theory Digital technology keyword: Copying copyright digitalisation popular music sampling ab: This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities. Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts. This ‘post-sampling’ reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practiceacrossthe tools that musicians use rather than between different specific techniques. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Cultural Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Cultural Research holder: Taylor & Francis Ltd dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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