Sampledelia

Source: Wikipedia, the free encyclopedia.
Sampledelia
Stylistic origins
Cultural originsLate 1960s–1980s
Typical instruments
Derivative forms
Other topics

Sampledelia (also called sampledelica)

found sounds via techniques such as chopping, looping or stretching.[2][3] Sampladelic techniques have been applied prominently in styles of electronic music and hip hop,[4] such as trip hop, jungle, post-rock, and plunderphonics.[5]

Characteristics

Sampledelia describes a variety of styles which involve the use of samplers to manipulate and play back appropriated sounds, often drawn from outside familiar contexts or from foreign sources.

hard disk.[2] Samples may be used for both their musical qualities and cultural associations.[3]

According to critic

modernist, with the former viewing sampling as a form of collage and pop art referentiality, and the latter approaching it as an update of musique concrète's techniques of sonic manipulation and transformation.[2] Theorist Kodwo Eshun has described sampledelia as a kind of mythology in which "sounds have detached themselves from sources [and] substitute themselves for the world," inducing an experience of "synthetic defamiliarisation."[3]

Origins

hip hop
producers.

Early

rap producers.[2] According to scholar Joanna Teresa Demers, the development of techno in early 1980s Detroit saw musicians utilize inexpensive samplers to incorporate nonreferential samples.[4]

Sampling was incorporated into

the death of the author."[5]

Later developments

Early sample-based music often involved blatant interpolations of known music, prompting criticism and copyright concerns, but in the 1990s the style grew more subtle, with artists obscuring their sources in part to avoid legal repercussions.

Wagon Christ and Endtroducing..... (1996) by DJ Shadow are prominent 1990s works in the style.[11]

Australian group

retro styles such as yacht rock.[15]

See also

References

  1. ISBN 9780198608608
    .
  2. ^
    ISBN 978-1-59376-407-4
    .
  3. ^ a b c Landy, Leigh (2007). Understanding the Art of Sound Organization. MIT Press. pp. 115–117.
  4. ^ a b c d Demers, Joanna Teresa (2006). Steal this Music: How Intellectual Property Law Affects Musical Creativity. University of Georgia Press. pp. 98–99.
  5. ^ a b c Reynolds, Simon (1995). "JOHN OSWALD / GRAYFOLDED". The Wire.
  6. ^ Nicholas Collins, Julio d' Escrivan Rincón (2007), The Cambridge Companion to Electronic Music, page 49, Cambridge University Press
  7. ^ A Talking Head of His Time-Music-The Stranger
  8. Complex Magazine
    . Retrieved 16 June 2018.
  9. ^ Eshun, Kodwo (1997). More Brilliant Than the Sun: Adventures in Sonic Fiction. Quartet Books Ltd.
  10. ^ Reynolds, Simon (1999). "POSITION NORMAL - Stop Your Nonsense / SAINT ETIENNE - Places to Visit". The Village Voice. Retrieved 5 June 2019.
  11. ^ Staff. "PRIMER: Belong On … Essential Electronic Records From the '90s (That Weren't Released On Warp)". Self-Titled Mag. Retrieved 16 June 2018.
  12. ^ The Avalanches Announce First-Ever North American Tour-Paste Magazine
  13. Clash
    . Retrieved 4 June 2019.
  14. ^ Fitzmaurice, Larry. "Animal Collective's Merriweather Post Pavilion Was Radical Enough to Redefine Indie Music. Why Didn't It?". Pitchfork. Retrieved 20 October 2021.
  15. ^ Gabrielle, Timothy. "Chilled to Spill: How The Oil Spill Ruined Chillwave's Summer Vacation". PopMatters. Retrieved 10 January 2020.
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