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Introduction -- The World Around Us : Against Musical Common Sense -- The Empire Samples Back : Raga, Dub, and Fortress Europe -- Loss of Innocence : Found Sounds before and after 9/11 -- Re-Imagining Westphalia : Electroacoustic Reminders -- 'His Master's Voice' and (R)evolutionary Signifyin' -- Conclusion.
Music sampling has become a predominantly digitalized practice. It was popularized with the rise of Rap and Hip-Hop, as well as ambient music scenes, but it has a history stretching back to the earliest days of sound recording and experimental music making from around the world. Digital tools and networks allow artists to sample music across national borders and from diverse cultural traditions with relative ease, prompting questions around not only fair use, copyright, and freedom of expression, but also cultural appropriation and "copywrongs." For example, non-commercial forms of sharing that are now commonplace on the web bring musicians and their audiences into closer contact with emerging regimes of commercial web-tracking and state-sponsored online surveillance. Moreover, when musicians actively engage in political or social causes through their music, they are liable to both commercial and state forces of control. Shifts back to corporate ownership and control of the global music business--online and offline--highlight competing claims for commercial and cultural ownership and control of sampled music from local communities, music labels, and artists. Each case study is based on archival research, close listening, and musical analysis, alongside conversations and public reflections from artists such as David Byrne, Annirudha Das, Asian Dub Foundation, John Cage, Brian Eno, Sarah Jones, Gil Scott-Heron, Karlheinz Stockhausen, Dunya Yunis, and Sonia Mehta. Sampling Politics provides ways to listen and hear (again) how sampling practices and music making work, on its own terms and in context. In so doing, M.I. Franklin corrects some errors in the public record, addressing some longstanding misperceptions over the creative, legal, and cultural legacy of music sampling in some cases of rich, and complex practices that have also been called musical "borrowing," "cultural appropriation," or "theft." This book considers the musicalities and musicianship at stake in each case, as well as the respective creative practices and performance cultures underscoring the ethics of attribution and collaboration when sampling artists make music.
"This book is an exploration of the geocultural politics of music sampling. Each chapter explores one case study - a track, or larger work - from the inside out by starting with the samples that are at the heart of the work. The objective is to unpack how sampled and sampling material work together in light of shifts in the political, economic, and sociocultural contexts of their making, distribution, and reception since. Considering sampling as a material of music, not simply a digital technique or restricted to one sort of music making addresses an under-explored dimension in studies of the relationship between music (any sort) and politics of the day (usually progressive, social movements). This is a tendency to concentrate on the lyrics as where all the political meaning lies. But this overlooks how sampling, or borrowing the music made by others, even one's own, can also be a political act even when this is not the intention Based on extensive archival research, close listening and musical analysis, interviews with artists or their estates, each study provides ways to listen, hear (again), and so learn more about how each piece works, as sampled and sampling work, on its own musico-cultural terms. Some errors in the public record, misperceptions about some of the works and artists who feature are corrected in light of debates over the creative, legal, and cultural legacy of music sampling as either 'borrowing', 'appropriation', or even 'theft'. ; deep"--
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This work digs deep into sampling practices across audio-visual media, from found footage filmmaking to Internet 'memes' that repurpose music videos, trailers and news broadcasts. The book extends the conceptual boundaries of sampling by emphasizing its inter-medial dimensions, exploring its politics, and examining its historical and global scope.
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Author : James N. Druckman,Donald P. Green Publisher : Cambridge University Press Page : 671 pages File Size : 51,6 Mb Release : 2021-04 Category : Political Science ISBN : 9781108478502
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An up-to-date introduction to opinion polling and its impact on, and significance in, British political life. It covers topics such as the history of polling, its methodology, polling in election campaigns and political issues and polling. Using as an example the 1992 British General Election, the book also examines the role of political opinion polling and their future in British politics. For students of British Politics, Electoral Studies, and Political Sociology. Or for anyone interested in British politics.
