Bonobo's 'Kerala'

Total Page:16

File Type:pdf, Size:1020Kb

Bonobo's 'Kerala' 13:2 Autumn 19 MSMI https://doi.org/10.3828/msmi.2019.9 Living with Time-Space Compression: Bonobo’s ‘Kerala’ and ‘No Reason’ STE V EN SH AV IRO Living with Time-Space Compression Bonobo’s 2017 album Migration is about shifting identities and passages from place to place: the migratory movement of bodies through space and time. The music blends multiple styles and sonic motifs from around the world in order to produce a cosmopolitan vision of multiple cultures, mutually influencing one another and coexisting in harmony. But the music videos for several of the tracks on this album – particularly Dave Bullivant’s video for ‘Kerala’ and Oscar Hudson’s video for ‘No Reason’ – tease out and complicate our sense of what is at stake in the processes of globe-spanning migration. Under the regime of globalised capitalism, not all substances transport themselves in time and through space with the same degree of ease. Financial capital passes quickly and seamlessly over the entire globe, while human bodies are all too often boxed in, shut out or even exterminated. Bullivant and Hudson both use strikingly innovative formal means in order to explore the blockages in time and space that underlie and qualify Bonobo’s utopian vision. The British electronic producer known as Bonobo (Simon Green) released his album Migration in 2017. The album’s music is grounded in midtempo dance rhythms, but its sonic palette is diversified with touches of (so-called) ‘world music’. With such a soundscape, Bonobo might well be accused of musical tourism or colonialism. But I am willing to accept at face value Bonobo’s claim that the album is not primarily engaged in appropriating cool sounds from the developing world. Rather, as its title indicates, Migration is concerned with passages from one place to another. Bonobo is more interested in shifting identities, and especially in the process of transit itself, than he is in identifying, or appropriating and laying claim to, fixed styles, and fixed points of origin and destination. He says that he is fascinated by ‘how one person will take an influence from one part of the world and move with that influence and affect another part of the world. Over time, the identities of places evolve’ 148 13:2 Autumn 19 MSMI Steven Shaviro ♦ Living with Time-Space Compression (‘Migration, by Bonobo’, 2017). Bonobo’s music traces and enacts these fluctuating processes, rather than revelling in exoticism for its own sake. At a time when politicians in the United States, Britain, and Europe are cynically manipulating anti-immigrant hysteria, I can only welcome Bonobo’s celebration of open borders. Nonetheless, I cannot help feeling that the music in Migration is a bit bland. The problem is not so much that Bonobo appropriates from so many non-Western sources, as that he does not seem to do anything compelling or distinctive with these appropriations. The textures are varied, but the overall effect is still fairly indifferent. One pseudonymous reviewer cruelly – but not to my mind inaccurately – describes Migration as ‘a melodically pleasant electronica record that completely blends together towards the beginning and never really shows any unique musical charac- teristics’ (Zabboo, 2017). This all changes, however, when we consider Bonobo’s music videos. Four of the twelve tracks in Migration have been given video treatments; there are actually five videos overall, because one of the songs (‘Break Apart’) has been made into a video twice. All these videos are unique, provocative, and powerfully expressive – in a way that (to my mind at least) the music by itself is not. The five videos also resonate strongly with one another, even though they are all made by different directors. None of the videos feature Simon Green himself, nor display any sort of musical performance. Rather, they are all more or less abstract; they either lack narratives altogether or place their human figures into stories that are fragmented and enigmatic at best. Most of them feature understated, but still disturbing, visual anomalies. They are all edited in ways that not only call our attention to the rhythms and textures of the music, but also make these rhythms and textures stand out in higher and more explicitly varying profiles. The great theorist of film sound Michel Chion famously writes about how sound temporalises and vectorises the cinematic image (Chion, 2019); but in Bonobo’s post-cinematic videos it is more the case that moving images temporalise and vectorise what would otherwise be a fairly static soundtrack. It is in these videos, rather than through sound alone, that Bonobo reaches his full measure as an artist. This makes sense for a music that is more orientated towards blissing us out (synesthetic absorption and mental travel) than towards making our bodies writhe on the dance floor. We know that music resonates in time and space, and that perception is multimodal, or at least implicitly synesthetic. Digital production accentuates these tendencies, both because it encodes sounds and images alike in ones and zeroes, and because it allows for the ready combination of contents that, as Bonobo says, ‘originally had nothing to do with each other’ (‘Bonobo: The Path 13:2 Autumn 19 MSMI 149 Steven Shaviro ♦ Living with Time-Space Compression to Migration’, 2016). Digital production allows for the ready migration of sonic and visual elements, their displacement from one setting or context to another. In this way, digital production provides an analogue for – or better, it gives an idealised aesthetic form to – the migratory movement of bodies through space and time that Bonobo celebrates. Bonobo’s visual collaborators tease out the ways that music is an art of time and duration, which works by passing through and permeating volumes of space. The music videos unfold, and make explicit, the implicit multidimensionality of Bonobo’s musical tracks. All five of theMigration videos do this to a greater or lesser extent. But in what follows, I will focus on the two most intense and perplexing of these videos: ‘Kerala’ directed by Bison aka Dave Bullivant, and ‘No Reason’ directed by Oscar Hudson. Bullivant and Hudson are both accomplished video directors of a decidedly experimental bent. In their work for Bonobo, they respec- tively explore the paradoxical formations of time (‘Kerala’) and space (‘No Reason’) in Bonobo’s music. In their different ways, Bullivant’s and Hudson’s visualisations of Bonobo’s soundscapes tease out and complicate our sense of what is at stake in the processes of globe-spanning migration. In the twenty- first century, we do not experience time and space as being even and homogeneous. Time does not flow uniformly, but knots up, stutters and repeats, and jumps irregularly. Space is not smooth and continuous, but lumpy and cluttered, and folded and stretched out, densified at some places and rarefied at others. Migration, or the movement through space over the course of time, is therefore not an easy and open flow. It is continually being interrupted, impeded and redirected, or even pushed back against itself. Not all substances transport themselves in time and through space with the same degree of ease: financial capital passes quickly and seamlessly over the entire globe, while human bodies are all often boxed in, shut out, or even exterminated. As I write these lines, the British Home Secretary has just announced, with an air of jubilant self-congratulation, her intention ‘to end the free movement of people once and for all’ (‘Priti Patel’, 2019). Where Bonobo’s album expresses a utopian hope for free movement, Bullivant’s and Hudson’s videos offer us allegories for the vicious, actually existing impediments to this hope. ‘Kerala’ ‘Kerala’ can best be described as midtempo electronica (125 bpm); it is in a minor key, but fairly bright and relaxed. It is an instrumental track, in 4/4 time, mostly strings and percussion, with wordless vocals added in the second half (a repeated ‘hey yeah yeah yeah yeah yeah’ 150 13:2 Autumn 19 MSMI Steven Shaviro ♦ Living with Time-Space Compression sampled from the chorus of Brandy’s 1994 song ‘Baby’). ‘Kerala’ starts out sparse, but becomes increasingly dense as instrumental layers are added, one at a time. These layers occasionally stutter or syncopate, but usually stay on the beat. The samples wash through the song in repeating loops, perhaps invoking the ebb and flow of (not very funky) dancing. At the same time, the piece’s changing textures do suggest a limited degree of narrative progression. As the sounds thicken, a simple two-chord alternation is fleshed out into an almost-melody. Bonobo avoids the dramatic soars and drops of mainstream EDM; but the song does build in intensity, with occasional lighter interludes. There is no climax, however; rather, the track ends with an extended coda, allowing its energy to slowly dissipate. All in all, ‘Kerala’ walks a fine line between putting the listener into a hypnotic trance and sounding, well, cheerily chintzy. Why does the track have this particular title? Kerala is a state in southwest India. It is best known, internationally, for the fact that it has been under Communist Party rule for most of the past sixty years, and that it has flourished economically and culturally as a result. Indeed, Kerala has the highest Human Development Index, the highest literacy rate and the highest life expectancy of any state in India (‘Kerala’, n.d.). Bonobo says in an interview, however, that he named the track not for political reasons, but because the state is an important stopping place for birds from North Asia, migrating south for the winter (O’Connor, 2017). Migration, as a global phenomenon, includes, but is not restricted to, human beings.
Recommended publications
  • To View Our Program Guide
    EXECUTIVE DIRECTOR’S NOTE Greetings everyone, and welcome to Kaslo Bay Park! We are gathering in one of the most beautiful places on Earth and I want to thank the Ktunaxa Nation, as well as residents of Kaslo, for allowing us to use this land and for supporting this important yearly celebration in such a magnificent part of the planet. Also a very special thank you to each of you for joining us in making the Kaslo Jazz Etc Festival a unique experience that thrives when passionate people combine community with the arts. A lot of people have worked incredibly hard on this year’s celebration, and we can’t wait to share this weekend with you! When we were determining the performers for this year’s festival, it felt like we were taking a big step into new territory. Every year we take a chance with our programming and hope that people will see the value in experiencing these performers in such a unique setting. We put an emphasis on selecting musicians that would take everyone on a musical journey through all three days of the festival and I feel this year’s line-up will do just that. This festival is intended to be a full weekend experience, and as I write this today - we have sold more weekend passes than ever before. Thank you everyone for being part of this journey with us! I am hoping that this weekend will leave you feeling energized and inspired. In the words of past performer Mickey Hart “The feeling we have here — remember it, take it home and do some good with it” Watching people absorb the power of music is the greatest reward of this job for me.
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
    MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril.
    [Show full text]
  • Acid Anniversaries: New Album Reviews
    Acid Anniversaries: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world January and February are usually quiet months for new music. So it is with 2017! New Year hangovers and Christmas overspending means most artists keep their shiny new records under wraps until the daffodils start to bloom. For the discerning listener though, there are still enough quality new releases to be found to make a trip to the local record store worthwhile. By JOHN BITTLES This week we’ll begin with what should already be considered a modern acid house classic, as Johannes Auvinen returns to his Tin Man alias with a stunning collection of instrumental grooves. If you delight in the sound of weeping 303s, soaring 808s, and/or funky 909s then tracking down a copy of Dripping Acid should be considered a must. In truth, it is no departure from his previous releases on Acid Test, containing as it does 6 separate 12inches of melancholy jams. Yet, as songs such as Oozing Acid, Underwater Acid, Undertow Acid and Viscocity Acid attest, mastering a specific sound is no bad thing. Take opener Flooding Acid for instance, which utilizes heart-wrenching 303s over sombre techno to mesmerising effect. Seriously, if your eyes don’t well up with tears at least once over the song’s ten minute running time you should probably check they still work. Whether you consider yourself an acid techno connoisseur or not, there are few finer experiences in life than finding yourself lost within a Tin Man groove. 9/10.
    [Show full text]
  • Recording Sessions Concert Series Focusing on Recording Projects of Free Improvisation, Free Jazz, Electro- Acoustic Improvisation and Contemporary Compositions
    PROGRAMME #5 Recording Sessions Concert series focusing on recording projects of free improvisation, free jazz, electro- acoustic improvisation and contemporary compositions. Tom Chant – saxophones John Edwards – Double Bass Eddie Prevost – Drums + Interview with Philip Clark IKLECTIK Art Lab, Old Paradise, 20 Carlisle Lane, London, SE1 7LG Saturday 10th March 2018, doors open 7:30pm - starts 8:00pm. Entry: £12. Website: http://www.giovannilarovere.co.uk/recording-sessions/ This concert series is made possible through the goodwill of the musicians involved and the support of IKLECTIK Art Lab. Curated by Giovanni La Rovere Recording Sessions #5 – Chant / Edwards / Prevost Recording Sessions Recording Sessions is a concert series focusing on live recordings of free improvisation, free jazz, electro- acoustic improvisation and experimental composition projects. This series of events works with musicians and artists to develop an idea (or project), undertake research, capture a specific meeting of particular musicians and ultimately to explore the creative resource that is listening and the differences between the two predominant modes of making music: composition & improvisation. Experimental music and recording technology has undeniably influenced 20th and 21st century music making and developing a culture of listening to experimental music. Recording sessions intends to explore the interconnections among the aesthetics of Experimental Music and the aesthetics of sound recording with a focus on the act of Listening to research & explore our responses to music as it is experienced at live events (or when listening to recordings). Tom Chant, John Edwards, Eddie Prévost Trio Eddie created the trio in the spring of 1997 for a recording session that was to be used for their first disc “Touch.” This was followed in the year 2000 with “The Virtue In If” and 2003 with “The Blackbirds Whistle.” Their fourth disc, titled “All Change” was recorded beneath Waterloo Station in London in the summer of 2012.
    [Show full text]
  • Final Nominations List
    NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 60th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2016 through September 30, 2017 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, and/or Mixer(s) and mastering engineer(s), if other than the artist. Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist. 1. REDBONE Childish Gambino 1. "AWAKEN, MY LOVE!" Childish Gambino Donald Glover & Ludwig Goransson, producers; Donald Donald Glover & Ludwig Goransson, producers; Bryan Carrigan, Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, Chris Fogel, Donald Glover, Ludwig Goransson, Riley Mackin & engineers/mixers; Bernie Grundman, mastering engineer Ruben Rivera, engineers/mixers; Donald Glover & Ludwig 2. DESPACITO Goransson, songwriters; Bernie Grundman, mastering engineer Luis Fonsi & Daddy Yankee Featuring Justin Bieber 2. 4:44 Josh Gudwin, Mauricio Rengifo & Andrés Torres, JAY-Z producers; Josh Gudwin, Jaycen Joshua, Chris ‘TEK’ JAY-Z & No I.D., producers; Jimmy Douglass & Gimel "Young O’Ryan, Mauricio Rengifo, Juan G Rivera “Gaby Music,” Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, Luis “Salda” Saldarriaga & Andrés Torres, songwriters; Dave Kutch, mastering engineer engineers/mixers; Dave Kutch, mastering engineer 3.
    [Show full text]
  • March 10, 2021 Jordan Rakei Announces Late Night Tales Compilation, out April
    March 10, 2021 For Immediate Release Jordan Rakei Announces Late Night Tales Compilation, Out April 9th ​ ​ Listen to Rakei’s Exclusive Cover of Jeff Buckley’s “Lover, You Should've Come Over” (Photo Credit: Dan Medhurst) The artist-curated mix series, Late Night Tales, is pleased to announce its next compilation, ​ ​ this time curated by multi-instrumentalist, vocalist and producer Jordan Rakei, out April ​ ​ ​ 9th. For Rakei’s Late Night Tales, the first mix of the acclaimed series’ 20th year, the ​ ​ ​ ​ ​ 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song. “I wanted to try and showcase as many people as I knew on this mix,” says Rakei. “My idea of ​ ​ ​ Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relaxation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and buddies to give their songs a little push out into the world.
    [Show full text]
  • Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture
    Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture Feature Article Christopher Charles University of Bristol (UK) Abstract Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”). Keywords: psyculture; genre; internet; forest psytrance; psydub Christopher Charles is a musician and researcher from Bristol, UK. His recent PhD thesis (2019) looked at the careers of psychedelic musicians in Bristol with chapters on event promotion, digital music distribution, and online learning. He produces and performs psydub music under the name Geoglyph, and forest psytrance under the name Espertine. Email: <[email protected]>. Dancecult: Journal of Electronic Dance Music Culture 12(1): 22–47 ISSN 1947-5403 ©2020 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2020.12.01.09 Charles | Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture 23 Introduction The internet has brought about important changes to the nature and function of genre in today’s musical cultures.
    [Show full text]
  • The Top 100 Listener Picks for 2013, from NPR Music 1. Vampire
    The Top 100 Listener Picks For 2013, From NPR Music 1. Vampire Weekend, Modern Vampires Of The City 2. Arcade Fire, Reflektor 3. Daft Punk, Random Access Memories 4. The National, Trouble Will Find Me 5. Lorde, Pure Heroine 6. Chvrches, The Bones Of What You Believe 7. Kanye West, Yeezus 8. HAIM, Days Are Gone 9. Neko Case, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You 10. James Blake, Overgrown 11. Volcano Choir, Repave 12. Phosphorescent, Muchacho 13. Queens Of The Stone Age, ...Like Clockwork 14. Kurt Vile, Wakin On A Pretty Daze 15. The Avett Brothers, Magpie And The Dandelion 16. The Civil Wars, The Civil Wars 17. Janelle Monáe, The Electric Lady 18. Justin Timberlake, The 20/20 Experience - 1 of 2 19. David Bowie, The Next Day 20. Local Natives, Hummingbird 21. Atoms For Peace, Amok 22. Sigur Rós, Kveikur 23. Foxygen, We Are The 21st Century Ambassadors Of Peace & Magic 24. Rhye, Woman 25. The Head And The Heart, Let's Be Still 26. Tegan And Sara, Heartthrob 27. My Bloody Valentine, m b v 28. Typhoon, White Lighter 29. Phoenix, Bankrupt! 30. Jason Isbell, Southeastern 31. Iron And Wine, Ghost On Ghost 32. Disclosure, Settle 33. Laura Marling, Once I Was An Eagle 34. Chance The Rapper, Acid Rap 35. Edward Sharpe & The Magnetic Zeros, Edward Sharpe & The Magnetic Zeros 36. Kacey Musgraves, Same Trailer Different Park 37. Daughter, If You Leave 38. The Flaming Lips, The Terror 39. Nick Cave & The Bad Seeds, Push The Sky Away 40.
    [Show full text]
  • Video Goes Live Coverfeature
    04-05 Tools Rotor Videos 06–07 Campaigns VR goes classical, Univision/Deezer, Marika Hackman, Kygo 08-11 Behind The Campaign Yussef Kamaal MARCH 01 2017 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 174 VIDEO GOES LIVE COVERFEATURE interested, with the last few weeks seeing an increasing amount of musicians taking to live video (and especially Facebook Live) on the promotional trail. In January, Ninja Tune artist Bonobo streamed his new album Migration through his Facebook page; at the start of February Mariah Carey took to Facebook Live for a chat with fans; and on 6th February Chance The Rapper debuted his new video ‘Same Drugs’ on Facebook Live Last year, Facebook started nudging users towards (as you will see, the definition of “live” on Facebook can be rather fluid). natively uploading video – but this year, and across all platforms, it is about an emphasis on live video. Live all the time – YouTube has opened up the live option to smaller and everywhere creators and Instagram is also seeing this as key to its It is a similar story on the other live video growth. The metrics are, for now, suggesting that live platforms: Lady Gaga recently used Periscope’s new 360 video format to take on Facebook (and other platforms) is connecting with fans behind the scenes of her Super Bowl far more users than normal video posts; but artists performance; Linkin Park, Young Thug, Fetty Wap and Hardwell have all been early have to think carefully about why they broadcast adopters of YouTube’s Mobile Live; and Justin live just as much as what they broadcast live with.
    [Show full text]
  • Digital Sampling and Appropriation As Approaches to Electronic Music Composition and Production Gene Shill
    Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Author Shill, Gene Published 2016-12 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/3631 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/370569 Griffith Research Online https://research-repository.griffith.edu.au Digital Sampling and Appropriation as Approaches to Electronic Music Composition and Production Gene Shill BA, MA (Distinction) Queensland Conservatorium Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 2016 “The most beautiful experience we can have is the mysterious - the fundamental emotion which stands at the cradle of true art and true science.” Albert Einstein Abstract Through analysis, observation, critical listening, interviews and creative practice, this study explores how techniques of appropriation via digital music sampling are used for electronic musical composition and production. Included is an examination of literature and creative work focused on the Golden Age of Hip-Hop that explores early sampling processes and techniques. Through original compositions and an exegesis, the study provides unique and significant contributions to the field including the identification of four approaches to the design and construction of sample-based composition and associated techniques for achieving them using contemporary music technologies. The Golden Age of Hip-Hop is presented as a historical period of musical significance, not only for defining new genres and sub genres of music, but because of the influencing factors that emerging technologies had on new compositional processes and outcomes.
    [Show full text]
  • Bonobo All in Forms Lyrics
    Bonobo All In Forms Lyrics estimateKilted Engelbert methionine. ice-skates Dissolved buzzingly Horacio and sometimes insincerely, devolving she strike any her anthropophagite vermiculations adjustssuberize featly. mindfully. Vainly long-lasting, Jerald deplanes unanimity and Function to all forms, he has been? No se ha encontrado nada en esta ubicación. The band thing. Click to bonobo was right now! Have an influence from it comes from the studio equipment from the red bull account to give a right choice for. Take a callback immediately report and beyond, categoria y a musicianship that brooklyn music and beyond, where do some restrictions. This rule out of a bonobo, lyrics or providing an entire track. Guaranteed fast delivery and seeing all forms, and listen to bonobo, either express or providing an idea for subscribing to. Is reformatted to bonobo all in forms lyrics are always on bonobo, lyrics powered by www. Bonobo a tune was released on. Thanks also nominated for example becoming a lot smaller now and try using our full band during his last album from family folk traditions and personal. But only in all lyrics provided for bonobo and tales of it seems a lot of. Please log in this concept is tremendous in first video is that might compare that was partly inspired by category here. Tru thoughts before accessing the opening bars evoke the track makes me, musica online services. Hop came rap music genres together to all lyrics and we started making music. No revolutionary change from subscriber data has never be presented for bonobo all in forms lyrics powered by bonobo.
    [Show full text]