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Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. -
Experts Predict Move to Communist Russia Analysts Approve Clinton's
R&R's Last Minute Edition Featuring reviews of Casino, Red Hot THE CHRONICLE Chili Peppers, and the GZA. See R&R. THURSDAY, NOVEMBER 30, 1995 IE ONE COPY FREE DUKE UNIVERSITY DURHAM, NORTH CAROLINA CIRCULATION: 15.000 VOL. 91, NO. 64 Analysts approve Clinton's plan Professors cite America's unique responsibility By MISTY ALLEN Clinton's reasons for interven we're'going to have to send In the wake of President tion, citing America's unique re troops—as much as we find that Clinton's Monday night address sponsibility as the world's sole distasteful," he said. to the American public concern remaining superpower. Herbert Kitschelt, professor ing the dispatch of 20,0U0 Amer "I think he's making a rhetor of political science, underscored ican troops to Bosnia, University ical nod to the public's sentiment Eldridge's statement by saying students and professors have ex about not wanting to be the that the United States has a pressed opinions ranging from world's policeman, but at the strategic interest in the Balkan tactful criticism to tempered ap same time saying that if we war because of its vested inter proval. don't do it, then who will?" said est in the stability of Eastern By all accounts, the speech Peter Feaver, assistant professor Europe. "I think that this is the was a crucial one for Clinton, of political science. He was only way to attain peace in the whose administration promised speaking to the distinction be region. The United States' [pres military support to the warring tween unilateral and multilater ence] is an essential element," Balkan factions in the sweeping al military action, a longstand he said. -
Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A
Williams, J. A. (2014). Theoretical Approaches to Quotation in Hip- Hop Recordings. Contemporary Music Review, 33(2), 188-209. https://doi.org/10.1080/07494467.2014.959276 Publisher's PDF, also known as Version of record Link to published version (if available): 10.1080/07494467.2014.959276 Link to publication record in Explore Bristol Research PDF-document University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ This article was downloaded by: [University of Bristol] On: 26 March 2015, At: 13:07 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Contemporary Music Review Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gcmr20 Theoretical Approaches to Quotation in Hip-Hop Recordings Justin A. Williams Published online: 28 Oct 2014. Click for updates To cite this article: Justin A. Williams (2014) Theoretical Approaches to Quotation in Hip-Hop Recordings, Contemporary Music Review, 33:2, 188-209, DOI: 10.1080/07494467.2014.959276 To link to this article: http://dx.doi.org/10.1080/07494467.2014.959276 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch. -
An Interview with the Pharcyde, Page 4A. Plus, the Finest in Incredibly Strange Music, Page 5A
AN INTERVIEW WITH THE PHARCYDE, PAGE 4A. PLUS, THE FINEST IN INCREDIBLY STRANGE MUSIC, PAGE 5A. 2A Thursday, November 10,1994 Daily Nexus TREE ClOTMNfi with Coupon ▼ 'THE WINTER Buy 1 Get 1 Free THAT NEVER ENDS'* of equal or lesser value Various Artists take out a second mort A- •Jeans • Blouses The Best of Kansas City gage on the wide-screen •Pants «Vintage K-TEL TV? The answer is A, none •Collectibles »Clothing of the above. You won’t Imagine if you could pay $500 for this invest THURSDAY New Arrivals Daily hear all your favorites ment — you won’t even singing “Kansas City” on pay $2501 Nov. 10 8 & 10PM THRIFT $5 Gen, $4 Student one single album. Well, If you order now, we’ll Sponsored by UCSB Sid Club friends, have I got a deal throw in “Kansas City” by CENTER for you! the luscious Peggy Lee and 5718 Hollister Ave. This hot little number is yet another version by the Downtown Goleta ironically called The Best tender (although once in a Next to Wendy’s Of Kansas City. Now, you while salty and over get “Kansas City” per cooked) Wilbert Harrison. formed by the great Little If you order sooner, we’ll H 5 SEASON Willie Littlefield. If that even throw in this won wasn’t enough, you also derful canying case made get this song called “Kan of real plastic. Notice how sas City” by the mighty Joe the cover is clear, so you Williams! But wait, there’s can see right through it! If morel You also get the you are nice, we’ll let you blissfully talented Everly have the two-page story of Brothers doing a song Kansas City, absolutely better! Order this very in ceive this handsome called “Kansas City.” How free. -
No Bitin' Allowed a Hip-Hop Copying Paradigm for All Of
20 Tex. Intell. Prop. L.J. 115 Texas Intellectual Property Law Journal Fall, 2011 Article NO BITIN’ ALLOWED: A HIP-HOP COPYING PARADIGM FOR ALL OF US Horace E. Anderson, Jr.a1 Copyright (c) 2011 Intellectual Property Law Section of the State Bar of Texas; Horace E. Anderson, Jr. I. History and Purpose of Copyright Act’s Regulation of Copying 119 II. Impact of Technology 126 A. The Act of Copying and Attitudes Toward Copying 126 B. Suggestions from the Literature for Bridging the Gap 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying 129 IV. The Hip-Hop Imitation Paradigm 131 A. Structure 131 1. Biting 131 2. Beat Jacking 133 3. Ghosting 135 4. Quoting 136 5. Sampling 139 B. The Trademark Connection 140 C. The Authors’ Rights Connection 142 D. The New Style - What the Future of Copyright Could Look Like 143 V. Conclusion 143 VI. Appendix A 145 VII. Appendix B 157 VIII. Appendix C 163 *116 Introduction I’m not a biter, I’m a writer for myself and others. I say a B.I.G. verse, I’m only biggin’ up my brother1 It is long past time to reform the Copyright Act. The law of copyright in the United States is at one of its periodic inflection points. In the past, major technological change and major shifts in the way copyrightable works were used have rightly led to major changes in the law. The invention of the printing press prompted the first codification of copyright. The popularity of the player piano contributed to a reevaluation of how musical works should be protected.2 The dawn of the computer age led to an explicit expansion of copyrightable subject matter to include computer programs.3 These are but a few examples of past inflection points; the current one demands a similar level of change. -
Korn All Albums Download Korn – Discography (1994 – 2014) UPDATE
korn all albums download Korn – Discography (1994 – 2014) UPDATE. Korn – Discography (1994 – 2014) EAC Rip | 19xCD + 4xDVD | FLAC Image & Tracks + Cue + Log | Full Scans included Total Size: 11.2 GB | 3% RAR Recovery STUDIO ALBUMS | LIVE ALBUMS | COMPILATION | EP Label: Various | Genre: Alternative Rock, Nu Metal. Korn’s cathartic alternative metal sound positioned the group among the most popular and provocative to emerge during the post-grunge era. Korn began their existence as the Bakersfield, California-based metal band LAPD, which included guitarists James “Munky” Shaffer and Brian “Head” Welch, bassist Reginald “Fieldy Snuts” Arvizu, and drummer David Silveria. After issuing an LP in 1993, the members of LAPD crossed paths with Jonathan Davis, a mortuary science student moonlighting as the lead vocalist for the local group Sexart. They soon asked Davis to join the band, and upon his arrival the quintet rechristened itself Korn. After signing to Epic’s Immortal imprint, they issued their debut album in late 1994; thanks to a relentless tour schedule that included stints opening for Ozzy Osbourne, Megadeth, Marilyn Manson, and 311, the record slowly but steadily rose in the charts, eventually going gold. Its 1996 follow- up, Life Is Peachy, was a more immediate smash, reaching the number three spot on the pop album charts. The following summer, they headlined Lollapalooza, but were forced to drop off the tour when Shaffer was diagnosed with viral meningitis. While recording their best-selling 1998 LP Follow the Leader, Korn made national headlines when a student in Zeeland, Michigan, was suspended for wearing a T-shirt emblazoned with the group’s logo (the school’s principal later declared their music “indecent, vulgar, and obscene,” prompting the band to issue a cease-and-desist order). -
PDF Examples
MTO 26.2 Examples: Adams, Harmonic, Syntactic, and Motivic Parameters of Phrase in Hip-Hop (Note: audio, video, and other interactive examples are only available online) https://mtosmt.org/issues/mto.20.26.2/mto.20.26.2.adams.html Example 1a. Kurtis Blow, “Basketball” (1984), verse 1, 0:25–0:35 (borrowed from Adams 2009) Example 1b. Eric B. and Rakim, “Paid in Full” (1987), 0:46–1:10 Example 3. Danger Doom, “Sofa King” (from The Mouse and the Mask, 2005), 1:12–1:48 (produced by Danger Mouse [Brian Burton]) Example 4. Repetitive beat: De La Soul, “The Grind Date” (from The Grind Date, 2005), 0:28–0:49 (produced by Dave West) Example 5a. Oscillating beat, alternating by second: A Tribe Called Quest, “Excursions“ (from The Low End Theory, 1990), 0:28–0:52 (produced by Ali Shaheed Muhammad) Example 5b. Oscillating beat, alternating by third: Aesop Rock (Ian Bavitz), “None Shall Pass” (from None Shall Pass, 2007), 0:15–0:34 (produced by Blockhead [Tony Simon]) Example 5c. Oscillating beat, alternating by fourth: People under the Stairs, “Montego Slay” (from O.S.T., 2002), 0:20–0:44 (produced by Thes One [Christopher Portugal]) Example 5d. Oscillating beat, sequential: Cunninlynguists, “Lynguistics” (from Will Rap for Food, 2001), 0:18–0:46 (produced by Kno [Ryan Wisler]) Example 5e. Oscillating beat, uneven: Migos, “Bad and Boujee,” (from Culture, 2017), 0:15–0:30 (produced by DY and Tre Pounds [Dwan Avery and Jeffrey LaCroix]) Example 6a. Expansional beat, I → iv: Atmosphere, “The Best Day” (from To All My Friends, Blood Makes the Blade Holy: The Atmosphere EP’s [sic], 2010), 2:17–2:41 (produced by Ant [Anthony Davis]) Example 6b. -
The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
(Sandy) Alex G - Brite Boy 1910 Fruitgum Company - Indian Giver 2 Live Jews - Shake Your Tuchas 45 Grave - The Snow Miser Song 6ix Toys - Tomorrow's Children (feat. MC Kwasi) 99 Posse;Alborosie;Mama Marjas - Curre curre guagliò still running A Brief View of the Hudson - Wisconsin Window Smasher A Certain Ratio - Lucinda A Place To Bury Strangers - Straight A Tribe Called Quest - After Hours Édith Piaf - Paris Ab-Soul;Danny Brown;Jhene Aiko - Terrorist Threats (feat. Danny Brown & Jhene Aiko) Abbey Lincoln - Lonely House - Remastered Abbey Lincoln - Mr. Tambourine Man Abner Jay - Woke Up This Morning ACID MOTHERS TEMPLE - Are We Experimental? Adolescents - Democracy Adrian Sherwood - No Dog Jazz Afro Latin Vintage Orchestra - Ayodegi Afrob;Telly Tellz;Asmarina Abraha - 808 Walza Afroman - I Wish You Would Roll A New Blunt Afternoons in Stereo - Kalakuta Republik Afu-Ra - Whirlwind Thru Cities Against Me! - Transgender Dysphoria Blues Aim;Qnc - The Force Al Jarreau - Boogie Down Alabama Shakes - Joe - Live From Austin City Limits Albert King - Laundromat Blues Alberta Cross - Old Man Chicago Alex Chilton - Boplexity Alex Chilton;Ben Vaughn;Alan Vega - Fat City Alexia;Aquilani A. - Uh La La La AlgoRythmik - Everybody Gets Funky Alice Russell - Humankind All Good Funk Alliance - In the Rain Allen Toussaint - Yes We Can Can Alvin Cash;The Registers - Doin' the Ali Shuffle Amadou & Mariam - Mon amour, ma chérie Ananda Shankar - Jumpin' Jack Flash Andrew Gold - Thank You For Being A Friend Andrew McMahon in the Wilderness - Brooklyn, You're -
00:00:00 Music Transition “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Transition “Crown Ones” off the album Stepfather by People Under The Stairs. Chill, grooving instrumentals. 00:00:05 Oliver Host Hello, I’m Oliver Wang. 00:00:07 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Like the rest of you, we are all in our social distancing mode, and this of course is an unprecedented time of isolation and anxiety. And I know many of us, myself included, are turning to art and culture as a way to stay sane and connected and inspired. As such, we wanted to create a few episodes around the idea of comfort music, and we’ve already been engaging with all of you in our audience about it. 00:00:31 Oliver Host To tackle this, we will be using a format that Morgan helped to inspire, the Starting Five, which is both a reference to basketball as well as a nod to those five-CD changers that used to be all the range back in the 1990s. And so both Morgan and I chose five albums, and the last episode you heard her starting five. And today, it’s gonna be my five in terms fo what constitutes my idea of comfort music. 00:00:56 Morgan Host In the third installment, that airs next week, we’ll be choosing a starting five from suggestions that you, our audience, has made via our various social media accounts. So, you asked me and now I’m asking you, what is your definition of comfort music, or what does comfort music really mean to you, especially now? 00:01:15 Oliver Host I really enjoyed hearing what you had to say last week in terms of the albums or the music that reminded you of falling in love wit music, or just falling in love in general. -
The Revive Big Band Resource Guide
THE REVIVE BIG BAND RESOURCE GUIDE ABOUT REVIVE MUSIC GROUP Revive Music launched in 2006 as a boutique live music agency that specializes in producing genre-bending, creative-concept live music shows that tour worldwide with the purpose of educating and inspiring audiences about artistic and authentic forms of music. In effort further provide an advocacy platform for musicians, Revive launched the leading online journal, www.revive-music.com, for the burgeoning jazz community dedicated to their musicianship, artistry and creative expression as a part of www.okayplayer.com and a label imprint with the legendary Blue Note Records. ABOUT THE REVIVE BIG BAND “We’re carrying on within the tradition of big bands, what would be relevant today – modifying the message and making it translatable and accessible to the people, so that they have something to connect to. We represent that bridge” -Igmar Thomas Heralded by the Village Voice for having New York City’s “most electrifying young lions in jazz, Revive Big Band has a finger on the pulse of today’s emerging progressive sound while pointing to things yet to come for a new era of music. Formed in 2010 by trumpeter, composer and arranger Igmar Thomas, this multi-generational ensemble knows no limits while seeking to advance, celebrate and re-imagine sonic freedom in big band form. The Revive Big Band’s well-honed musical sensibilities powerfully synthesize the art of the beat, treatment of melody, reverence of the standard, and nuances of time. Expanding the contemporary canon of composition as it dwells at the intersection of jazz, hip hop, soul and beyond, the band's repertoire features original compositions and inventive orchestrations of jazz standards and contemporary classics by artists ranging from Oliver Nelson, Wayne Shorter and Freddie Hubbard to A Tribe Called Quest, J Dilla, Gangstarr, Bilal and more, in rare live performances.