Reimagining sample-based hip hop: making records within records
"Reimagining Sample-based Hip Hop: Making Records within Records presents the poetics of hip hop record production and the significance of sample material in record making, providing analysis of key releases in hip-hop discography and interviews with experts from the world of Hip Hop and beyond...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge
2024
|
| Schriftenreihe: | Perspectives on music production
A Focal Press book |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Reimagining Sample-based Hip Hop: Making Records within Records presents the poetics of hip hop record production and the significance of sample material in record making, providing analysis of key releases in hip-hop discography and interviews with experts from the world of Hip Hop and beyond. Beginning with the history of hip-hop music-making, this book guides the reader through the alternative techniques deployed by beat-makers to avoid the use of copyrighted samples and concludes with a consideration of the future of hip hop, alongside a companion album that has been created using findings from this research. Challenging previous theoretical understandings about Hip Hop, the author focuses on deconstructing sonic phenomena using his hands-on engineering expertise and in-depth musicological knowledge about record production. With a significant emphasis on both practice and theory, Reimagining Sample-based Hip Hop will be of interest to advanced undergraduates, postgraduates and researchers working in audio engineering, music production, hip-hop studies, and musicology"-- |
| Beschreibung: | xx, 175 Seiten Illustrationen 24,6 cm |
| ISBN: | 9780367461805 9780367461812 |
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Datensatz im Suchindex
| _version_ | 1804185429937750016 |
|---|---|
| adam_text | CONTENTS List offigures List of tables Preface Acknowledgements xiii xv xvii xix · 1 Introduction Project hypothesis 2 Background 3 Methodology/ies and research design 4 Reflex interaction, (grounded theory) and creative praxis 8 Phase 1 10 Phase 2 10 Reflective analysis, (hermeneutics) and journaling 11 Critically reflexive questioning, (post-structuralism) and the ‘outside’ 12 Phonographic (aural) analysis and its phenomenological dimensions 12 Structural organisation 13 0 Sample-based Hip Hop as metamodern phonographic practice (An autoethnography of oscillating between—and beyond—analogue nostalgia and digital futurism) 22
x Contents PART 1 (Inter-stylistic) Composition, and tools 1 Sonic necessity, mother of compositional invention (Making Blues for sample-based Hip Hop) 33 35 Background 36 Samplin’ and tumblin’ (case studies) 37 Case 1: ‘Bridging The Gap’ 38 Case 2: ‘The Trill Is Gone’ 39 Case 3: ‘Broken’ 41 Meta-jamming: setting up the inter-stylistic experiment 43 Chopping the Blues: sample-based composition 45 Conclusion 47 2 Boom-bap aesthetics and the machine 53 A quick rewind « 54 The boom-bap signature 54 Boom Bap ex machina 55 Weapon of chop 57 A typology 58 Rhythmic signatures 60 Dynamic signatures 61 Motivic signatures 62 Textural signatures 63 Natural (sample) selection 64 Reflections 66 Practical sonification 66 Reframing and layering 67 Chopping for ‘hooks’ 68 Trans-morphing 69 Revelations 69 Hybridisation 70 PART 2 (Reverse) Engineering 3 Sonic pasts in Hip Hop’s future Case studies 79 Live Hip Hop 79 75 77
Contents xl Creating sample-replacement content 80 Creating new content for sampling 80 Theorising 81 Aesthetic problem #1: The function of nostalgia 81 Aesthetic problem #2: How much historicity is needed? 83 Aesthetic problem #3: On phonographic ‘magic’ 84 Aesthetic problem #4: The irony of reconstruction / a metamodern ‘structure-of-feeling’ 88 A practice-based anecdote 90 Conclusions 91 PART 3 (The magic of sample-based) Production 4 Phonographic ghosts and meta-illusions in contemporary beat-making 95 97 Conditions and parallels 97 Structure, control, and subgenre 100 Technology, mediation, and the alchemy of beat-making 103 Impossibility, motion, and the ecology of ‘alief’ 108 In practice 113 Example 1 113 Example 2 115 Example 3 116 Conclusion 117 PART 4 Mixing (records within records) 5 Manufacturing phonographic ‘otherness’ for sample-based Hip Hop On ‘phonographic otherness 127 Hearing otherness 127 Defining sonic otherness 129 Featuring otherness 131 Further practice-based illustrations 135 Conclusions 137 123 125
xii Contents PART 5 (Exponential) Re/mastering 6 ‘Past’ masters, present beats 141 143 Staging literature and hip-hop sonics 144 (Illustrating) Sample-staging in discography 145 Width, height, and media-based staging 145 Depth/proximity 147 (Constructing) Sample-staging in creative practice 147 The autonomous sonic object 147 The multitrack sonic object 149 Exponential staging in sample-creating-based hip-hop practice 152 Further practice 154 Conclusions 156 Outroduction 159 Future directions 160 End credits Index 163 169
|
| adam_txt |
CONTENTS List offigures List of tables Preface Acknowledgements xiii xv xvii xix · 1 Introduction Project hypothesis 2 Background 3 Methodology/ies and research design 4 Reflex interaction, (grounded theory) and creative praxis 8 Phase 1 10 Phase 2 10 Reflective analysis, (hermeneutics) and journaling 11 Critically reflexive questioning, (post-structuralism) and the ‘outside’ 12 Phonographic (aural) analysis and its phenomenological dimensions 12 Structural organisation 13 0 Sample-based Hip Hop as metamodern phonographic practice (An autoethnography of oscillating between—and beyond—analogue nostalgia and digital futurism) 22
x Contents PART 1 (Inter-stylistic) Composition, and tools 1 Sonic necessity, mother of compositional invention (Making Blues for sample-based Hip Hop) 33 35 Background 36 Samplin’ and tumblin’ (case studies) 37 Case 1: ‘Bridging The Gap’ 38 Case 2: ‘The Trill Is Gone’ 39 Case 3: ‘Broken’ 41 Meta-jamming: setting up the inter-stylistic experiment 43 Chopping the Blues: sample-based composition 45 Conclusion 47 2 Boom-bap aesthetics and the machine 53 A quick rewind « 54 The boom-bap signature 54 Boom Bap ex machina 55 Weapon of chop 57 A typology 58 Rhythmic signatures 60 Dynamic signatures 61 Motivic signatures 62 Textural signatures 63 Natural (sample) selection 64 Reflections 66 Practical sonification 66 Reframing and layering 67 Chopping for ‘hooks’ 68 Trans-morphing 69 Revelations 69 Hybridisation 70 PART 2 (Reverse) Engineering 3 Sonic pasts in Hip Hop’s future Case studies 79 Live Hip Hop 79 75 77
Contents xl Creating sample-replacement content 80 Creating new content for sampling 80 Theorising 81 Aesthetic problem #1: The function of nostalgia 81 Aesthetic problem #2: How much historicity is needed? 83 Aesthetic problem #3: On phonographic ‘magic’ 84 Aesthetic problem #4: The irony of reconstruction / a metamodern ‘structure-of-feeling’ 88 A practice-based anecdote 90 Conclusions 91 PART 3 (The magic of sample-based) Production 4 Phonographic ghosts and meta-illusions in contemporary beat-making 95 97 Conditions and parallels 97 Structure, control, and subgenre 100 Technology, mediation, and the alchemy of beat-making 103 Impossibility, motion, and the ecology of ‘alief’ 108 In practice 113 Example 1 113 Example 2 115 Example 3 116 Conclusion 117 PART 4 Mixing (records within records) 5 Manufacturing phonographic ‘otherness’ for sample-based Hip Hop On ‘phonographic otherness' 127 Hearing otherness 127 Defining sonic otherness 129 Featuring otherness 131 Further practice-based illustrations 135 Conclusions 137 123 125
xii Contents PART 5 (Exponential) Re/mastering 6 ‘Past’ masters, present beats 141 143 Staging literature and hip-hop sonics 144 (Illustrating) Sample-staging in discography 145 Width, height, and media-based staging 145 Depth/proximity 147 (Constructing) Sample-staging in creative practice 147 The autonomous sonic object 147 The multitrack sonic object 149 Exponential staging in sample-creating-based hip-hop practice 152 Further practice 154 Conclusions 156 Outroduction 159 Future directions 160 End credits Index 163 169 |
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| id | DE-604.BV049092276 |
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| index_date | 2024-07-03T22:30:10Z |
| indexdate | 2024-07-10T09:55:06Z |
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| isbn | 9780367461805 9780367461812 |
| language | English |
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| physical | xx, 175 Seiten Illustrationen 24,6 cm |
| psigel | BSB_NED_20230925 |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| publisher | Routledge |
| record_format | marc |
| series2 | Perspectives on music production A Focal Press book |
| spelling | Exarhos, Mihalis 1978- Verfasser (DE-588)1181454255 aut Reimagining sample-based hip hop making records within records Michail Exarchos London ; New York Routledge 2024 xx, 175 Seiten Illustrationen 24,6 cm txt rdacontent n rdamedia nc rdacarrier Perspectives on music production A Focal Press book "Reimagining Sample-based Hip Hop: Making Records within Records presents the poetics of hip hop record production and the significance of sample material in record making, providing analysis of key releases in hip-hop discography and interviews with experts from the world of Hip Hop and beyond. Beginning with the history of hip-hop music-making, this book guides the reader through the alternative techniques deployed by beat-makers to avoid the use of copyrighted samples and concludes with a consideration of the future of hip hop, alongside a companion album that has been created using findings from this research. Challenging previous theoretical understandings about Hip Hop, the author focuses on deconstructing sonic phenomena using his hands-on engineering expertise and in-depth musicological knowledge about record production. With a significant emphasis on both practice and theory, Reimagining Sample-based Hip Hop will be of interest to advanced undergraduates, postgraduates and researchers working in audio engineering, music production, hip-hop studies, and musicology"-- Sampling Musik (DE-588)4236246-5 gnd rswk-swf Hip-Hop (DE-588)4303517-6 gnd rswk-swf Musikproduktion (DE-588)4235850-4 gnd rswk-swf Rap (DE-588)4303518-8 gnd rswk-swf Rap (Music) / History and criticism Sampler (Musical instrument) / History Rap (Music) / Production and direction / History Rap (Music) Sampler (Musical instrument) Criticism, interpretation, etc History Hip-Hop (DE-588)4303517-6 s Rap (DE-588)4303518-8 s Sampling Musik (DE-588)4236246-5 s Musikproduktion (DE-588)4235850-4 s DE-604 Erscheint auch als Online-Ausgabe 9781003027430 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034353973&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Exarhos, Mihalis 1978- Reimagining sample-based hip hop making records within records Sampling Musik (DE-588)4236246-5 gnd Hip-Hop (DE-588)4303517-6 gnd Musikproduktion (DE-588)4235850-4 gnd Rap (DE-588)4303518-8 gnd |
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| title | Reimagining sample-based hip hop making records within records |
| title_auth | Reimagining sample-based hip hop making records within records |
| title_exact_search | Reimagining sample-based hip hop making records within records |
| title_exact_search_txtP | Reimagining sample-based hip hop making records within records |
| title_full | Reimagining sample-based hip hop making records within records Michail Exarchos |
| title_fullStr | Reimagining sample-based hip hop making records within records Michail Exarchos |
| title_full_unstemmed | Reimagining sample-based hip hop making records within records Michail Exarchos |
| title_short | Reimagining sample-based hip hop |
| title_sort | reimagining sample based hip hop making records within records |
| title_sub | making records within records |
| topic | Sampling Musik (DE-588)4236246-5 gnd Hip-Hop (DE-588)4303517-6 gnd Musikproduktion (DE-588)4235850-4 gnd Rap (DE-588)4303518-8 gnd |
| topic_facet | Sampling Musik Hip-Hop Musikproduktion Rap |
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