DOCSLIB.ORG

Sampling and the 'Sound Object'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sampling and the 'Sound Object' SAMPLING AND THE ‘SOUND OBJECT’ IN CONTEMPORARY SONIC ART Nathanael James Bates Master of Arts An exegesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. School of Art College of Design and Social Context RMIT University June 2013 DECLARATION I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and; any editorial work, paid or unpaid, carried out by a third party is acknowledged; ethics procedures and guidelines have been followed. …………………………………. Nathanael James Bates 30 June 2013 ii ACKNOWLEDGEMENTS I wish to acknowledge the generous support of all those who provided encouragement, expertise and advice throughout the period of research. I would like to thank my supervisors; Dr. Philip Samartzis and Darrin Verhagen, the writing circle for writing feedback; Annalea Beattie, Thembi Soddell, Michael Graeve, Matthew Sleeth, Peter Burke, Samara Adamson-Pinczewski and company, fellow artists for the interviews and discussions; Shannon O’Neill, Camilla Hannan, Lloyd Barrett, Thomas Knox-Arnold, Luke Jaaniste, Marcus Schmickler, Lionel Marchetti, Yoko Higashi, Cat Hope, David Shea and Philip Brophy, Annie Lennox for copyright advice, Daniel Teruggi for the blessing on behalf of Bernard and INA, and friends and family; ma and pa, Prue and family, Asher and Charlie, Linda and Paul, Jac, Heather, Kerry, Kristina, Meg and Deb. For Mia: you don’t know how critical you were in making it possible for me to finish. iii CONTENTS TABLE OF CONTENTS INTRODUCTION TO THE PHD………………………………………………………………………. 3 ABSTRACT…………………………………………………………….…………………………….... 3 INTRODUCTION TO THE EXEGESIS…………………………………………………….…… 4 INTRODUCTION TO THE PROJECT……….…………………………………………….…… 5 PART I: THE CONTEXT…………………………………………………………………………………. 8 POSITIONING THE RESEARCH…………………………………………………………….….. 9 LIMITATIONS OF THE STUDY…………………………………………………………….…… 10 SECTION ONE: COMING TO UNDERSTAND SAMPLING.………………………………………….……… 11 PRACTICING SAMPLING IN A CONTEMPORARY SITUATION.............. 11 ESTABLISHING PARAMETERS………………………………………………………… 14 EMPIRICAL COMPOSING: A CASE STUDY………………………………..…….. 18 SECTION TWO: COMING TO UNDERSTAND MUSIQUE CONCRÈTE………………………………….. 21 MUSIQUE CONCRÈTE IN RELATION TO THIS RESEARCH.................... 21 MUSIQUE CONCRÈTE THEORY………………………………………………………. 23 MUSIQUE CONCRÈTE TECHNIQUES………………………………………………. 26 MUSIQUE CONCRÈTE AND THIS RESEARCH IN SUMMARY…………….. 29 SECTION THREE: COMING TO UNDERSTAND PLUNDERPHONIA……………………………………….. 30 PLUNDERPHONIA IN RELATION TO THIS RESEARCH………………………. 30 THIS RESEARCH IN A BROADER PLUNDERPHONIC CONTEXT…………. 33 SUMMARY: MUSIQUE CONCRÈTE VS. PLUNDERPHONIA…………………………………………… 36 ACOUSMATIC MEETS REFERENTIAL………………………………………………. 36 PART II: THE WORKS……………………………………………………………………………………. 38 PROJECT OVERVIEW……………………………………………………………………………… 39 STAGE ONE: THE SCORE…………………………………………………..……………………………………….. 40 SELECTING A WORK TO REMAKE………………………….………………………. 40 CONVERTING THE WORK INTO A SCORE………..………………….…………. 43 1 CONTENTS STAGE TWO: THE SAMPLING.…………………………………………..……………………………………….. 46 SELECTING SOURCES TO SAMPLE FROM……………….………………………. 46 GENERATING SAMPLES…………………………………………………………………. 51 STAGE THREE: THE RE-CREATION…….…….…………………………..……………………………………….. 52 TRANSFORMING SAMPLES…………………………………..………………………. 52 RE-CREATING SOUND OBJECTS………………………………………….…………. 54 THE SAMPLER AS INSTRUMENT……………………………………………………..55 STAGE FOUR: THE RE-COMPOSITION…………….…………………..……………………………………….. 58 PERFORMING ON A SAMPLER………………………………………………………. 58 RE-COMPOSING THE SCORE…………………………………………………………. 64 THE RESULTS…………………………………………………………………………………….….. 69 ROCKreation of the World……………………………………………………………. 70 ROCKreation of the World II…..……………………………………………………. 71 ROCKreation of the World III…………………………………………………………. 72 THE CONCLUSIONS……………………………………………………………………………………… 74 REFERENCES……………………………………………………………………………………………….. 76 DISCOGRAPHY…………………………………………………………………………………………….. 82 THE APPENDICES…….………………………………………………………………………………….. 89 A. La Création du Monde track list………………….…………………………………….. 89 B. Sound object list………………………………………………………………….……………. 90 C. Score conversion charts…………………………………………………………………….. 92 D. List of sample sources……………………………………………………………………….. 98 E. Table of Tones, Mis-tones, Multi-tones and Sones…………………………….. 99 F. Diary/blog of re-creation phase (SAD project)……………………………………. 100 G. List of live performances………………………….……………………………………….. 116 THE APPROPRIATE DURABLE RECORD…………………………………………………… 3 X CDs ROCKreation of the World……………………………………………………………. CD ROCKreation of the World II…..……………………………………………………. CD ROCKreation of the World III…………………………………………………………. CD 2 INTRODUCTION TO THE PHD INTRODUCTION TO THE PHD ABSTRACT This project aims to develop a working methodology for the use of sampling in the production of new sound works for recording and performance. Sampling is the use of fragments of recorded sound using recording technology that affords high fidelity recording, instant playback, transposition and processing facilities. It is explored in the project works as a medium that challenges traditional notions of composition, score, performance, originality and musical legitimacy. The research is conducted using the contemporary understanding of sampling as a practice that uses, or reuses, existing music recordings, most often the work of others. However, this research contends that sampling has its origins in musique concrète, the approach to music developed by Pierre Schaeffer from 1948 onwards, that focuses on music made empirically from recorded sound material separated from its source. In contrast to contemporary sampling, musique concrète adopts a much broader palette that includes recordings of ‘non-musical’ sounds of the environment, in addition to manipulated acoustic and electronic instrumental sound sources. Philosophically, this research develops the position that the tension between sampling sound of recognisable origin and the musique concrète approach of freeing sound from referential allusion is fertile territory for production that does not necessarily require the resolution of the tension. The research reveals a number of fundamental dualities inherent in the practice of sampling that create similar tensions; tensions between composition and performance, between the original and the copy, and between the producer and the consumer. Embedded within the work produced in both recorded form and in live performance, these dualities are shown to be the grey areas ripe for creative exploration. 3 INTRODUCTION TO THE PHD INTRODUCTION TO THE EXEGESIS This research engaged with the following three research questions: • What is the difference between the contemporary practice of sampling and the compositional paradigms posed by musique concrète? • In what ways can the tension between composition and performance, created by sampling technology, inform a contemporary sound practice? • How can this tension, and the relationship between sampling and musique concrète, be translated into a methodology for the execution of work in the practice of sampling? The research has been conducted through a series of iterations of a recorded work and the adaptation of the work for a series of live performances. The work produced was conceived of as a novel way to investigate the above questions with the exegesis focused on clarifying the fundamental basis for the practical work through reflection and interrogation of the principles involved. Any tendency toward simplification in the exegesis is a result of this concern with fundamentals. During the course of the research the specific research questions expanded to become larger questions that addressed the fundamental principles of my practice. These ‘big’ questions included “what is sound,” “what is music,” “what is recording,” and “what is creativity.” Although much of the consideration of, and writing about, these larger questions has been removed from the final exegesis, these questions continue to serve as philosophical underpinnings of my practice and remain, in essence, unanswered. Or rather, they serve their purpose as motivators for my practice because they are unanswerable. It is by undertaking my practice that the questions are responded to with the knowledge that there are multiple possible answers. Rather than provide definitive answers to the research questions, this research then presents an exploration that can serve as one of many possible answers. Having said that, a definitive position is established by the results of the research. That position is that the apparent oppositional binaries implied in the research questions, the binaries of contemporary sampling and traditional musique concrète, of composition and performance, of the original and the copy et cetera, can be successfully embraced as dualities. This embrace of dualities, and the modular nature of a sampling practice, is reflected in the writing of the exegesis. Written in discrete sections and paragraphs, and then ordered and re-ordered in the final redrafting process, the exegesis mirrors the way a sampling practice disassembles and reassembles material, allowing material to be both individual objects and parts of a whole. Similarly, the subtitles scattered throughout the exegesis, and the way they are used to reference something already familiar whilst
Load more

Recommended publications
  • Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops
    Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art 28.9. – 1.10.2017 Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops 1 KONTAKTE’17 28.9.–1.10.2017 Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops KONTAKTE '17 INHALT 28. September bis 1. Oktober 2017 Akademie der Künste, Berlin Programmübersicht 9 Ein Festival des Studios für Elektroakustische Musik der Akademie der Künste A festival presented by the Studio for Electro­ acoustic Music of the Akademie der Künste Konzerte 10 Im Zusammenarbeit mit In collaboration with Installationen 48 Deutsche Gesellschaft für Elektroakustische Musik Berliner Künstlerprogramm des DAAD Forum 58 Universität der Künste Berlin Hochschule für Musik Hanns Eisler Berlin Technische Universität Berlin Ausstellung 62 Klangzeitort Helmholtz ­Zentrum Berlin Workshop 64 Ensemble ascolta Musik der Jahrhunderte, Stuttgart Institut für Elektronische Musik und Akustik der Kunstuniversität Graz Laboratorio Nacional de Música Electroacústica Biografien 66 de Cuba singuhr – projekte Partner 88 Heroines of Sound Lebenshilfe Berlin Deutschlandfunk Kultur Lageplan 92 France Culture Karten, Information 94 Studio für Elektroakustische Musik der Akademie der Künste Hanseatenweg 10, 10557 Berlin Fon: +49 (0) 30 ­ 20057­2236 www.adk.de/sem E­Mail: [email protected] KONTAKTE ’17 www.adk.de/kontakte17 #kontakte17 KONTAKTE’17 Die zwei Jahre, die seit der ersten Ausgabe von KONTAKTE im Jahr 2015 vergangen sind, waren für das Studio für Elektroakustische Musik eine ereignisreiche Zeit. Mitte 2015 erhielt das Studio eine großzügige Sachspende ausgesonderter Studiotechnik der Deut­ schen Telekom, die nach entsprechenden Planungs­ und Wartungsarbeiten seit 2016 neue Produktionsmöglichkeiten eröffnet.
    [Show full text]
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
    [Show full text]
  • Remix Survey 7-6-2010-2
    Remix Culture Survey Instrument Which of the following do you currently own? (check all that apply) • High-definition television set • DVD Player • Personal Video Recorder (e.g. TiVo) • Cable/Satellite television connection • Video Game console (e.g. XBOX, PlayStation) • Portable video game device (e.g. Nintendo DS, PSP) • High-speed internet connection (e.g. DSL, cable modem) • Stereo system or portable CD player • Portable MP3 player (e.g. iPod) • Satellite radio (XM, Sirius) • Turntables • Video camera • E-book reader (e.g. Kindle) • Tablet computer (e.g. iPad) • Smartphone (e.g. iPhone, Blackberry, Droid) • A non-smartphone mobile phone (phone calls and text but doesn’t have more advanced features like video and web) How often have you done the following activities in the past month? Never Rarely Sometimes Often Daily or more • Watched TV shows or movies on a TV set (not computer) • Played non-online games on a console (e.g. XBOX, PlayStation) • Played non-online games on a computer • Listened to CDs • Listened to digital music (e.g. MP3s) • Listened to the radio • Read books • Read newspapers or magazines • Download or streamed a movie, television show, or video clip online. • Played a game online • Downloaded or streamed music online For the remainder of this survey, please consider the following definitions: Sample-based media: Creating something different using elements of preexisting media (pieces of music, games, shows, video, text, or photos). There are two specific subgenres of sample based media: • Remix: Adding, taking out, mixing, combining or editing your own elements or effects with preexisting media (e.g. film, music, video games) to produce something different • Mash-up: Combining only elements of preexisting media together (e.g.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • 1 the Versions Project: Exploring
    THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • “Rapper's Delight”
    1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap.
    [Show full text]
  • Encounters with Wolves
    Marlis Heyer Susanne Hose Hrsg. Mały rjad Serbskeho instituta Budyšin Kleine Reihe des Sorbischen Instituts Bautzen 32 Encounters with Wolves: Dynamics and Futures Begegnungen mit Wölfen Zetkanja z wjelkami 32 · 2020 Mały rjad Serbskeho instituta Budyšin Kleine Reihe des Sorbischen Instituts Bautzen Marlis Heyer Susanne Hose Hrsg. Encounters with Wolves: Dynamics and Futures Begegnungen mit Wölfen Zetkanja z wjelkami © 2020 Serbski institut Budyšin Sorbisches Institut Bautzen Dwórnišćowa 6 · Bahnhofstraße 6 D-02625 Budyšin · Bautzen Spěchowane wot Załožby za serbski lud, kotraž T +49 3591 4972-0 dóstawa lětnje přiražki z dawkowych srědkow na F +49 3591 4972-14 zakładźe hospodarskich planow, wobzamknjenych www.serbski-institut.de wot zapósłancow Zwjazkoweho sejma, Krajneho sejma Braniborska a Sakskeho krajneho sejma. [email protected] Gefördert durch die Stiftung für das sorbische Redakcija Redaktion Volk, die jährlich auf der Grundlage der von den Marlis Heyer, Susanne Hose Abgeordneten des Deutschen Bundestages, des Landtages Brandenburg und des Sächsischen Wuhotowanje Gestaltung Landtages beschlossenen Haushalte Zuwen- Ralf Reimann, Büro für Gestaltung, dungen aus Steuermitteln erhält. Bautzen Ćišć Druck Grafik S. 33 unter Verwendung eines 32 Union Druckerei Dresden GmbH Scherenschnitts von Elisabeth Müller, Collmen Mały rjad Serbskeho instituta Budyšin ISBN 978-3-9816961-7-2 Grafik S. 87 nach GEO-Karte 5/2018 Kleine Reihe des Sorbischen Instituts Bautzen Page Content 5 Marlis Heyer and Susanne Hose Vorwort · Preface 23 Emilia
    [Show full text]
  • Anansi Boys Neil Gaiman
    ANANSI BOYS NEIL GAIMAN ALSO BY NEIL GAIMAN MirrorMask: The Illustrated Film Script of the Motion Picture from The Jim Henson Company(with Dave McKean) The Alchemy of MirrorMask(by Dave McKean; commentary by Neil Gaiman) American Gods Stardust Smoke and Mirrors Neverwhere Good Omens(with Terry Pratchett) FOR YOUNG READERS (illustrated by Dave McKean) MirrorMask(with Dave McKean) The Day I Swapped My Dad for Two Goldfish The Wolves in the Walls Coraline CREDITS Jacket design by Richard Aquan Jacket collage from Getty Images COPYRIGHT Grateful acknowledgment is made for permission to reprint the following copyrighted material: “Some of These Days” used by permission, Jerry Vogel Music Company, Inc. Spider drawing on page 334 © by Neil Gaiman. All rights reserved. This book is a work of fiction. The characters, incidents, and dialogue are drawn from the author’s imagination and are not to be construed as real. Any resemblance to actual events or persons, living or dead, is entirely coincidental. ANANSI BOYS. Copyright© 2005 by Neil Gaiman. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of PerfectBound™. Library of Congress Cataloging-in-Publication Data Gaiman, Neil.
    [Show full text]
  • Serra-Joan-Identification-Of-Versions
    Identification of Versions of the Same Musical Composition by Processing Audio Descriptions Joan Serrà Julià TESI DOCTORAL UPF / 2011 Director de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Copyright c Joan Serrà Julià, 2011. Dissertation submitted to the Deptartment of Information and Communica- tion Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. Als meus avis. Acknowledgements I remember I was quite shocked when, one of the very first times I went to the MTG, Perfecto Herrera suggested that I work on the automatic identification of versions of musical pieces. I had played versions (both amateur and pro- fessionally) since I was 13 but, although being familiar with many MIR tasks, I had never thought of version identification before. Furthermore, how could they (the MTG people) know that I played song versions? I don’t think I had told them anything about this aspect... Before that meeting with Perfe, I had discussed a few research topics with Xavier Serra and, after he gave me feedback on a number of research proposals I had, I decided to submit one related to the exploitation of the temporal information of music descriptors for music similarity. Therefore, when Perfe suggested the topic of version identification I initially thought that such a suggestion was not related to my proposal at all.
    [Show full text]
  • It's Just a Joke: Defining and Defending (Musical) Parody
    It’s just a joke: Defining and defending (musical) parody Paul Jewell, Flinders University Jennie Louise, The University of Adelaide ABSTRACT Australia has recently amended copyright laws in order to exempt and protect parodies, so that, as the Hon. Chris Ellison, the then Minster for Justice told the Senate, ‘Australia’s fine tradition of poking fun at itself and others will not be unnecessarily restricted’. It is predicted that there will be legal debates about the definition of parody. But if the law, as the Minister contends, reflects Australian values, then there is a precursor question. Is there anything wrong with parody, such that it should be restricted? In our efforts to define parody, we discover and develop a moral defence of parody. Parody is the imitation of an artistic work, sometimes for the sake of ridicule, or perhaps as a vehicle to make a criticism or comment. It is the appropriation of another’s original work, and therefore, prima facie, exploits the originator. Parody is the unauthorised use of intellectual property, with both similarity to and difference from other misappropriations such as piracy, plagiarism and forgery. Nevertheless, we argue that unlike piracy, plagiarism and forgery, which are inherently immoral, parody is not. On the contrary, parody makes a positive contribution to culture and even to the original artists whose work is parodied. Paul Jewell <[email protected]> is a member of the Ethics Centre of South Australia. He teaches ethics in Disability and Community Inclusion at Flinders University and he is a musician. Jennie Louise is also a member of the Ethics Centre of South Australia.
    [Show full text]
  • BOONE-DISSERTATION.Pdf
    Copyright by Christine Emily Boone 2011 The Dissertation Committee for Christine Emily Boone Certifies that this is the approved version of the following dissertation: Mashups: History, Legality, and Aesthetics Committee: James Buhler, Supervisor Byron Almén Eric Drott Andrew Dell‘Antonio John Weinstock Mashups: History, Legality, and Aesthetics by Christine Emily Boone, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgements I want to first acknowledge those people who had a direct influence on the creation of this document. My brother, Philip, introduced me mashups a few years ago, and spawned my interest in the subject. Dr. Eric Drott taught a seminar on analyzing popular music where I was first able to research and write about mashups. And of course, my advisor, Dr. Jim Buhler has given me immeasurable help and guidance as I worked to complete both my degree and my dissertation. Thank you all so much for your help with this project. Although I am the only author of this dissertation, it truly could not have been completed without the help of many more people. First I would like to thank all of my professors, colleagues, and students at the University of Texas for making my time here so productive. I feel incredibly prepared to enter the field as an educator and a scholar thanks to all of you. I also want to thank all of my friends here in Austin and in other cities.
    [Show full text]