DOCSLIB.ORG

New and Improved?: from Analog Vinyl Records to DVS Technology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New and Improved?: from Analog Vinyl Records to DVS Technology New and Improved?: From Analog Vinyl records to DVS Technology MA Thesis New Media and Digital Culture – Graduate School of Humanities – University of Amsterdam Table of Contents Introduction ..................................................................................................................................... 2 1. Theoretical Framework ............................................................................................................... 4 1.1 Marshall McLuhan: Media as the extensions of man ............................................................ 4 1.2 Friedrich Kittler: New materialism and German media archaeology .................................... 8 1.3 Media Archaeology ............................................................................................................. 13 1.4 Cultural techniques .............................................................................................................. 17 1.5 Cultural and Subcultural Studies ......................................................................................... 20 2. Rewriting hip hop’s history ....................................................................................................... 24 3. Methodological Framework ...................................................................................................... 27 3.1 The Emergence of Digital Vinyl Systems and Mixvibes ‘Cross’ ........................................ 28 3.2 Software and Platform Analysis .......................................................................................... 32 3.3 Autoethnography ................................................................................................................. 33 3.4 Semi-structured Interviews .................................................................................................. 34 3.5 Approaching and Interviewing Hip Hop DJs ...................................................................... 36 4. Findings ..................................................................................................................................... 37 4.1 A Note to Remediation ........................................................................................................ 37 4.2 Getting into the Groove: The hardware components of ‘Cross’.......................................... 38 4.3 The ‘Cross’ User Interface .................................................................................................. 42 4.4 Interviews and Autoethnography ........................................................................................ 45 5. Conclusion ................................................................................................................................. 49 Bibliography .................................................................................................................................. 52 Mediagraphy .................................................................................................................................. 57 1 Introduction From its genesis, during the 1970s in the South Bronx, hip hop has not been only about music. In addition to its oral (MCing or Rapping) and aural (DJing/Turnatablism) incarnations, this heterogeneous artistic form is also defined by its physical (B-Boying or Breakdancing) and visual (Graffiti) manifestations. Despite the multiplicity in the elements that constitute hip hop culture, this thesis will focus on the influence the turntable has on it. Although the analog era of hip hop has been thoroughly analyzed, the effects of digital technologies have not yet been examined enough. Thus, the relevance of this thesis stems from the still unexamined influence digital technologies have on the art of hip hop DJing. The advent of digital technologies has been considered a controversial issue within the circles of hip hop DJs. On the one hand, many claim that DJ software is a convenient tool that renders hip hop DJing a more easy and accurate practice. On the other hand, people who started DJing in the analog era of hip hop have a more critical view on software considering it as a cheat, because beginners rely on it in order to bypass the fundamentals in the process of becoming a DJ. Hence, the research question of this thesis is the following: How have the turntable and its attendant cultural techniques historically shaped the aesthetic and cultural values of hip hop, and to what extent does the introduction of digital DJ technologies remediate and transform hip hop’s cultural heritage? By answering the research question, this thesis will contribute to the New Media field by demonstrating the impact software has on hip hop culture in general and DJing in particular. The innovative aspect of this thesis lies in the analysis of digital vinyl system technology, which has not yet been explored by scholars from both software and hip hop studies. In order to substantiate my argument, this procedure must be followed: The first chapter discusses the literature and theories relevant to the study of the turntable with the intention to examine the influence media have on the shaping of culture. Marshall McLuhan’s insights concerning the agency of a medium when it comes to create new environments, and bring changes into the ways in which we understand the world will be used to introduce the general theoretical framework of this thesis. In order to pay more attention to technological media and by extension the turntable, I will continue with the 2 theories and methodology developed by Friedrich Kittler, who is also considered as one of the originators of media archaeology. The purpose of using media archaeology is to explain how the past and the present can be encapsulated in a medium, and thus how software remediates its analog precedent. The theories and concepts mentioned above are characterized by technological determinism, and therefore deny any human agency in the shaping of cultures. In order to address this issue I will then introduce the concept of cultural techniques which attributes agency to the practices and process that enable and constitute cultures. Finally, the connection between the hip hop values and the turntable will be established through subcultural studies. In the second chapter I will briefly introduce the analog era of hip hop with the intention to provide an account about the birth and evolution of hip hop. As mentioned above this thesis will mainly focus on the digital era of hip hop. Thus, the third chapter introduces the methodical framework employed in this research. It will be consisted of my case study, and the three different methods employed to examine it; namely software/platform analysis, autoethnography, and semi-structured interviews. Software/platform analysis will be made on the level of the ‘interface’ which according to Bogost and Montfort (2009b) is situated “between the core of the program and the user” (146). While software analysis provides this thesis with objective data, autoethnography and interviews offer the subjective perspective of the users. The combination of autoethnography and interviews will also highlight the commonalities and differentiations between my self-experience and the participants. The findings of the empirical analysis will be discussed in the fourth chapter, and then I will conclude in the fifth. 3 1. Theoretical Framework In this chapter, my aim is to discuss the literature and theories relevant to the study of the turntable, for the purpose of understanding and analyzing the material technologies and techniques that shaped the aesthetic and cultural values of hip hop as a subculture. Here, I intend to offer a thorough explanation of the different theoretical concepts and debates that are essential to this study and that fit hip hop’s unique characteristics. This includes an outline of medium theory and its related concepts of media materialism and medium specificity based on the writings of Marshall McLuhan and Friedrich Kittler; an account of the the growing field of media archaeology; and an outline of the concept of cultural techniques. Finally this section contains an overview of cultural and subcultural theory. Taken together, this theoretical framework provides a fertile conceptual ground for – and a set of alternative perspectives on – the study of hip hop’s historical evolution, given that they enable a focus on its material techniques and technologies, as well as their remediation into new digital formats. 1.1 Marshall McLuhan: Media as the extensions of man Drawing inspiration from the work of his intellectual teacher and colleague at the University of Toronto, Harold Innis, and more precisely his explorations on the role of media in shaping the culture and development of civilizations, McLuhan formulated his communication theory, which can be summarized as ‘the training of perception’.1 This rather broad explanation, though, captures neither his significance in the field of media studies, nor his relevance to this thesis. What McLuhan is perhaps best-known for is his famous dictum ‘the medium is the message’ elaborated on in his book Understanding Media: The Extensions of Man, first published in 1964. As far as the “message” is concerned, McLuhan argues that it is “the change of scale or pace or pattern” that any medium or new technology “introduces into human affairs” (1994, 8). Here it is 1 See http://www.marshallmcluhan.com/biography/ 4 important to note that for McLuhan it is not the content or the way a medium
Load more

Recommended publications
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks
    [Show full text]
  • Capturing Hip Hop Histories
    capturing hip hop histories SOUTH-WEST HEADZ Master Blast Roadshow poster by Raz (Kilo), 1986. Photograph: Kilo. First published 2021 2021 Adam de Paor-Evans Cover graff by Remser Remser started writing in 1997 after seeing dubs and pieces by Sceo, Fixer, Teach, and G-Sane at the M5 pillar spot in Exeter. His school bus used to loop around Sannerville Way and the pieces could be seen from the road as well as the train. A couple of years prior to this, Remser’s mum randomly bought him a copy of Spraycan Art, and he knew straight away that it was something he wanted to be part of. In early 2000 he moved to London and hooked up with the DNK/CWR boys, they were way better than him and super-active but this experience pushed him to develop his style and learn about all aspects of graffiti writing. Respect and love to all of the South-West writers and hip hop headz, too many to mention but you know who you are! DNK CWR Waxnerds forever... Approved for free Cultural Works Creative Commons Licence Attribution 4.0 International Published by Squagle House, United Kingdom Printed in Great Britain Although every precaution has been taken in the preparation of this publication, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. RHYTHM•obscura: revealing hidden histories through ethnomusicology and cultural theory is a long-term research venture that explores the relationships of the non-obvious and regional-rural phenomena within music cultures.
    [Show full text]
  • Music 103 Syllabus
    MUS 103: HIP HOP SEMESTER/YEAR???? ?? Shepard Hall Prof. Chadwick Jenkins ([email protected]) Days/Times Office: 78B Shepard Hall; Phone: X7666 Office Hours: ?? Course Objectives: This course will explore the history of hip hop from the earliest formations of the genre in the 1970s to the current moment. This course will have four primary areas of emphasis. First, although we will be interested in other elements of hip hop culture (including dancing, graffiti, literature, etc.), our primary focus will be on the music (the DJ, MC, and production techniques that go into producing hip hop tracks and albums). Second, this class will emphasize the development of the business and promotional aspects of hip hop. Hip hop has become a major business venture for recording studios, record labels, fashion venues, etc. and has had a huge impact on Black and White business in the US. Third, we will devote a large portion of our time to the developing technologies surrounding hip hop including turn tables, drum machines, MPCs, etc. Fourth and finally, we will explore the cultural and political impact hip hop has had on representations of Blackness, political views of violence and equity, and constructions of gender, race, and authenticity. Thus, this class will contribute to the following Departmental Learning Outcomes: 1) Outline major periods in the development of hip hop and recall key facts, writers, performers, technological advances, producers, and ideas; 2) Identify the technological developments contributing to hip hop, the business of hip hop production, and the impact hip hop has had on the social and political life of the US and beyond; 3) Identify different genres, performers, and musical styles through listening; 4) Demonstrate proficiency in writing about key concepts in hip hop history with a focus on descriptive writing (accounting for the sounds of the musical tracks and not just the lyrics, history, and biographical background).
    [Show full text]
  • Bibliography
    BIbLIOGRAPHY Aprahamian, Serouj. “Debunking the Historical Hype: A Look at the True Origins of Wall Writing.” Bombingscience.com. https://www.bombingscience.com/ debunking-­the-­historical-­hype-­a-­look-­into-­the-­true-­origins-­of-­wall-­writing/ (accessed Sept. 2017). Aprahamian, Serouj. “Hip Hop, Gangs, and the Criminalization of African American Culture: A Critical Appraisal of Yes Yes Y’all.” Journal of Black Studies, 50:3 (2019), 298–315. Aprahamian, Serouj. “There Were Females That Danced Too”: Uncovering the Role of Women in Breaking History. Dance Research Journal, 52:2 (August 2020), 41–58. Asante, Jr., M.K. It’s Bigger Than Hip Hop: The Rise of the Post-Hip-Hop Generation. New York: St. Martin’s, 2008. Badiou, Alain. Ethics: An Essay on the Understanding of Evil, trans. Peter Hallward. London: Verso, 2013. Banes, Sally. “Physical Graffti: Breaking is Hard to Do.” In And It Don’t Stop: The Best American Hip-Hop Journalism of the Last 25 Years, edited by Raquel Cepeda, 7–11. New York: Faber & Faber, 2004. Bayles, Martha. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. New York: The Free Press, 1994. Bozorgmehr, Cyrus. Once Upon A Time In Shaolin: The Untold Story of Wu-Tang Clan’s Million-Dollar Secret Album, the Devaluation of Music, and America’s New Public Enemy No. 1. New York: Flatiron, 2017. Brewster, Bill and Frank Broughton. The Record Players: DJ Revolutionaries. New York: Black Cat, 2010. © The Author(s), under exclusive license to Springer Nature 121 Switzerland AG 2021 J. Vernon, Sampling, Biting, and the Postmodern Subversion of Hip Hop, https://doi.org/10.1007/978-3-030-74903-3 122 BIBLIOGRAPHY Brewster, Bill and Frank Broughton.
    [Show full text]
  • Tupac Shakur 29 Dr
    EXPONENTES DEL VERSO computación PDF generado usando el kit de herramientas de fuente abierta mwlib. Ver http://code.pediapress.com/ para mayor información. PDF generated at: Sat, 08 Mar 2014 05:48:13 UTC Contenidos Artículos Capitulo l: El mundo de el HIP HOP 1 Hip hop 1 Capitulo ll: Exponentes del HIP HOP 22 The Notorious B.I.G. 22 Tupac Shakur 29 Dr. Dre 45 Snoop Dogg 53 Ice Cube 64 Eminem 72 Nate Dogg 86 Cartel de Santa 90 Referencias Fuentes y contribuyentes del artículo 93 Fuentes de imagen, Licencias y contribuyentes 95 Licencias de artículos Licencia 96 1 Capitulo l: El mundo de el HIP HOP Hip hop Hip Hop Orígenes musicales Funk, Disco, Dub, R&B, Soul, Toasting, Doo Wop, scat, Blues, Jazz Orígenes culturales Años 1970 en el Bronx, Nueva York Instrumentos comunes Tocadiscos, Sintetizador, DAW, Caja de ritmos, Sampler, Beatboxing, Guitarra, bajo, Piano, Batería, Violin, Popularidad 1970 : Costa Este -1973 : Costa, Este y Oeste - 1980 : Norte America - 1987 : Países Occidentales - 1992 : Actualidad - Mundial Derivados Electro, Breakbeat, Jungle/Drum and Bass, Trip Hop, Grime Subgéneros Rap Alternativo, Gospel Hip Hop, Conscious Hip Hop, Freestyle Rap, Gangsta Rap, Hardcore Hip Hop, Horrorcore, nerdcore hip hop, Chicano rap, jerkin', Hip Hop Latinoamericano, Hip Hop Europeo, Hip Hop Asiatico, Hip Hop Africano Fusiones Country rap, Hip Hop Soul, Hip House, Crunk, Jazz Rap, MerenRap, Neo Soul, Nu metal, Ragga Hip Hop, Rap Rock, Rap metal, Hip Life, Low Bap, Glitch Hop, New Jack Swing, Electro Hop Escenas regionales East Coast, West Coast,
    [Show full text]
  • 1 Becoming a Radio DJ
    TEAM LinG - Live, Informative, Non-cost and Genuine ! © 2004 by Thomson Course Technology PTR. All rights reserved. SVP, Thomson Course No part of this book may be reproduced or transmitted in any form Technology PTR: or by any means, electronic or mechanical, including photocopying, Andy Shafran recording, or by any information storage or retrieval system without written permission from Thomson Course Technology PTR, Publisher: except for the inclusion of brief quotations in a review. Stacy L. Hiquet The Premier Press and Thomson Course Technology PTR logo and Senior Marketing Manager: related trade dress are trademarks of Thomson Course Technology Sarah O’Donnell PTR and may not be used without written permission. Marketing Manager: All trademarks are the property of their respective owners. Heather Hurley Important: Thomson Course Technology PTR cannot provide Manager of Editorial Services: hardware or software support. Please contact the appropriate Heather Talbot manufacturer’s technical support line or Web site for assistance. Senior Editor/Acquisitions Editor: Thomson Course Technology PTR and the author have attempted Mark Garvey throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the Associate Marketing Managers: manufacturer. Kristin Eisenzopf and Sarah Dubois Information contained in this book has been obtained by Thomson Course Technology PTR from sources believed to be reliable. Developmental/Project/ However, because of the possibility of human or mechanical error Copy Editor: by our sources, Thomson Course Technology PTR, or others, the Brian Proffitt Publisher does not guarantee the accuracy, adequacy, or Technical Reviewer: completeness of any information and is not responsible for any Chad Carrier errors or omissions or the results obtained from use of such information.
    [Show full text]
  • MINE Progettazione Di Un Controller Modulare Per Dj Studente
    MINE Progettazione di un controller modulare per dj Studente: Belingheri Riccardo Matricola: 765598 Relatore: Prof. Venanzio Arquilla Laurea Magistrale Design del Prodotto per l’Innovazione Politecnico di Milano Scuola del Design A.A 2012/2013 Il disco digitale: il Compact Disc 127 Indice Digitalizzazione 128 La crisi del CD e la nascita della musica liquida 129 DJing nell’era digitale 132 1. INTRODUZIONE 4 Il futuro 136 2. DJ CULTURE 6 4. ABLETON LIVE! 140 - Il dj e le sue origini 10 - Caratteristiche e funzionalità 142 Tipologie di prodotti 88 Chi è e cosa fa il dj? 10 Cos’è Ableton Live? 142 L’era della radio 12 Workflow 144 R’n’b e rock’n’roll 4 Arrange View 146 Jimmy Savile, il primo esempio di dj da discoteca 18 Session View 147 Le prime discoteche 20 Browser 148 Una rivoluzione nel ballo: il twist 22 L’inizio della club culture 24 Vista Traccia e Vista Clip 148 Gli acidi 25 - Djing con Ableton Live! Perchè? 151 - Il dj moderno e i nuovi generi musicali 26 Ableton Live non è un Dj Software 152 Motivi per usare Live 154 Northern Soul 26 Chi dovrebbe usare Ableton per il djing? 159 Reggae 30 Considerazioni 159 La rivoluzione Disco e il primo dj moderno, Francis Grasso 34 Gli ideali del Loft di David Mancuso 36 - Device per Ableton Live 162 La nascita del remix e del 12” 38 Cresce il fenomeno disco 40 5. USER INTERFACE (UI) 188 La morte della disco 44 Cos’è l’UI? 190 L’Hip Hop e il suo precursore, dj Kool Herc 46 Le interfacce dei midi controller 191 Il maestro dei giradischi: Grandmaster Flash 48 Nuove interfacce 204 Afrika Bambaataa 52 Ableton Dj Setup 209 I rapper 53 6.
    [Show full text]
  • Mt-Djing: Multitouch Djing Table
    Mt-Djing: Multitouch DJing Table Pedro Lopes Dissertation for the degree of Master in Information Systems and Computer Engineering J´uri Chairman: Professor Doutor Jos´eManuel Nunes Salvador Tribolet Adviser: Professor Doutor Jo~aoAnt´onioMadeiras Pereira Co-adviser: Professor Doutor Alfredo Manuel dos Santos Ferreira Junior Jury Member: Professor Doutor Nuno Manuel Robalo Correia October 2010 Acknowledgements As DJ history itself, this thesis has been a long journey, full of turning points and milestones. The astonishing number of people I would like to acknowledge shows how numerous were the dark alleys and obstacles I had to transpose during this last year. Firstly, to my father and mother for outstanding support, not only through this work but for the two decades before. To my advisor and co-advisor, Prof. Jo~aoMadeiras Pereira and Prof. Alfredo Ferreira Jr., for strong belief on Mt-Djing from square one. Moreover I kindly acknowledge the contribution of my colleague Diogo Mariano, whom I thank for all the support given, endless brainstorming sessions and late work nights. A word of appreciation to Ricardo Jota and Bruno de Ara´ujo,for the interest and support to this work, shown in the form of the many conversations exchanged upon this subject. Other colleagues have their place within this thank-you note, namely Tiago Ribeiro and Guilherme Fernandes, for their help in reviewing and discussing the contents. And at last, but (definitely) not least, to all DJs and accompanying group, that took the time and effort to contribute so much to this work - that ultimately is theirs more than it is mine - specially: Pedro Farinha, Pedro Sousa (aka Alfredo Carajillo), Jo~aoGomes (aka Mush Von Namek), Igor Sousa and Nuno Moita.
    [Show full text]
  • 32 - Bmm2020 the Get- Down Part
    32 - BMM2020 THE GET- DOWN PART By Miles Marshall Lewis to hear the story and 2Pac. But their points of view underlined that “ YOU LOV E again and again,” hip-hop culture now stretches long enough (nearly said the legend- five decades) for different generations to have their ary MC Shan, “of how it all got started way back own “OK boomer” views about who’s hot and who’s when.” Back when the hip-hop holy trinity of DJs not in rap history. The almost 50-year passage of Kool Herc, Afrika Bambaataa and Grandmaster time since its beginnings at public-park jams in the Flash appeared together on the cover of The Source South Bronx also means that the genre spans from magazine in late 1993, only the hardcore adherents the mature dad rap of 4:44-era Jay-Z to the so-called of rap music knew its history in intimately famil- SoundCloud rhymes of the late Juice WRLD. iar terms. Things like the 1520 Sedgwick Avenue Still, even an outsider like Australian director Pictured above: address of Kool Herc or crews like the Universal Baz Luhrmann felt comfortable enough creat- DJs Afrika Bambaataa, Zulu Nation—of which DJ Jazzy Jay was an early ing the fictive world of The Get Down, a scripted Grandmaster Flash member—were largely unfamiliar outside of the Netflix series set in the mise-en-scène of hip-hop’s and Kool Herc. Bronx. As hip-hop developed throughout the years formative years in the ’70s. From the American into the pop music of the world, spawning docu- Book Award-winning Can’t Stop Won’t Stop to the mentaries and historical biographies, rap’s origin Peabody-winning docuseries Hip-Hop Evolution, story has become as well-known to music lovers as many have laid bare the origins of rap music for the Beatles’ roots in Liverpool.
    [Show full text]
  • Quelle Est La Dimension Politique De La Culture Hip-Hop Durant Les Années Obama ? »
    UNIVERSITÉ DE LIÈGE Faculté de Droit, de Science Politique et de Criminologie Département de science politique « Quelle est la dimension politique de la culture hip-hop durant les années Obama ? » Mémoire présenté par Axel Mudahemuka Choba GOSSIAUX En vue de l’obtention du grade de Master en sciences politiques, orientation générale, à finalité spécialisée en relations internationales Membres du Jury : M. Jérôme Jamin (Promoteur) M. Marco Martiniello (Lecteur) M. Antonios Vlassis (Lecteur) Année académique 2015-2016 Je souhaiterais remercier l’ensemble des personnes qui m’ont épaulé d’une quelconque manière au cours de la réalisation de ce travail, que ce soit d’un point de vue académique ou plus personnel. Je tiens à remercier mon Promoteur pour le temps qu’il m’a accordé et pour les nombreux conseils et indications qui furent très utiles à l’élaboration de cette étude. J’adresse aussi un très grand merci à Messieurs Carl Havelange et Raphaël Schraepen pour leur lecture avisée et leur aide qui ont pu me confirmer dans mon approche. Je tiens également à remercier le hip-hop, sa culture, son mouvement, ses activistes et ses artistes. Peace ! Je tiens tout particulièrement à adresser un immense merci à mes parents, à mon frère, à ma sœur et à mes amis, pour l’appui et pour le soutien constant qu’ils m’ont apporté et qui fut déterminant dans la poursuite de cette étude. Toute ma gratitude va aussi à ma compagne qui m’a encouragé et remotivé, et qui a partagé tous ces moments de remises en questions et de réflexions qui ont abouti à ce travail.
    [Show full text]
  • Sample ! Aux Origines Du Son Hip-Hop
    BRICE MICLET SAMPLE ! AUX ORIGINES DU SON « Sample ! » est une injonction. Celle que les producteurs hip-hop se lancent à eux-mêmes depuis près de quarante ans. En allant piller HIP-HOP les musiques qui les entourent, ces musiciens donnent naissance à l’un des courants musicaux les plus importants de notre époque et redéfinissent le principe de composition musicale, quitte à faire face aux avocats et à provoquer de retentissants procès. Se pencher sur les samples marquants du hip-hop, c’est explorer de nombreuses portes d’entrée vers cette musique, révéler les secrets BRICE MICLET de fabrication de hits tels que « California Love » de 2Pac ou « Hard Knock Life » de Jay-Z ou partir à la redécouverte d’artistes oubliés et trop peu connus. C’est parcourir les ponts dressés entre le hip- . ! hop et ses origines soul, jazz et funk, ses relations avec le rock, le classique, la chanson française, le musique tibétaine etc. C’est découvrir l’histoire des technologies qui ont permis ce travail, celle de labels mythiques, de producteurs talentueux. C’est embrasser toute la richesse du hip-hop. SAMPLE Brice Miclet est journaliste musical pour plusieurs médias (Slate, Trax, Les Inrockuptibles, Jack, Ouest-France, Guitar Part, Bikini). AUX ORIGINESAUX DU SON HIP-HOP Prix : 20 euros M ISBN : 978-2-36054-496-7 9782360 544967 — LE MOT ET LE RESTE R couv_sample.indd 1 07/12/2017 14:00 BRICE MICLET SAMPLE ! AUX ORIGINES DU SON HIP-HOP le mot et le reste 2018 « DANCE TO THE DRUMMER’S BEAT » LE BIG BANG La mémoire collective de la musique fonctionne par dates, par événements charnières.
    [Show full text]