| Popis: |
This book is an exploration of the geocultural politics of music sampling. Each chapter delves into one case study—a track, or larger work—from the inside out by starting with the samples that are at the heart of the work. The objective is to unpack how sampled and sampling material work together in light of shifts in the political, economic, and sociocultural contexts of their making, distribution, and reception since. Considering sampling as a material of music, not simply a digital technique or restricted to one sort of music making, addresses an under-explored dimension in studies of the relationship between music (any sort) and politics of the day (usually progressive, social movements). This is a tendency to concentrate on the lyrics as where all the political meaning lies. But this overlooks how sampling, or borrowing from the music made by others, even one’s own, can also be a political act even when this is not the intention. Based on extensive archival research, close-listening musical analysis, and interviews with artists or their estates, each study provides ways to listen, hear (again), and so learn more about how each piece, as sampled and sampling music making, work, on its own musico-cultural terms. Some errors in the public record, misperceptions about some of the works and artists who feature, are corrected in light of debates over the creative, legal, and cultural legacy of music sampling as either “borrowing,” “appropriation,” or even “theft.” |
