Sampling politics: music and the geocultural
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York, NY, United States of America
Oxford University Press
[2021]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | xii, 345 Seiten Illustrationen, Karten |
| ISBN: | 9780190855475 9780190855482 |
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MARC
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Record in the Search Index
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| adam_text | Contents Listof Figures Acknowledgments xi xiii 1. Introduction Enter in Reverse State of the Art Rationale Modulation Studying Audible Domains: The Intangible Conceptualizing Sampling Musicking Politics Musico-Methodological Cartographies Outline 1 2 3 4 8 11 13 18 22 25 2. The World around Us: Against Musical Common Sense Tacet Intro Change Up Change Down The World around Us Performing/Listening to 4’33” “The Rest Is Silence” Sampled Silences—Disruption or Oppression? Sound and Vision (I): Censoring Sounds after 9/11 Sound and Vision (II) : Culture Wars Recap Back to Beginnings Outro Tacet (Reprise) 31 32 32 33 35 38 41 44 48 51 54 56 60 60 3. The Empire Samples Back: Raga, Dub, and Fortress Europe Long Intro: Borders “Die Welt ist so kaputt” Political Frequencies Aims and Objectives Raga: Theory and Practice Close Listening (A)—“Fortress Europe” Amrapali Close Listening (B)—“Rebel Warrior” Theorizing South Asian Music 61 62 64 66 68 69 70 73 79 80
viii Contents The Artists Reflect “Not Just about the Lyrics”—Aniruddha Das “Women Continually Don’t Get the Credit They Deserve”—Sonia Mehta Long Outro: Music Borrowing Futures and Pasts 4. Loss of Innocence: Found Sounds before and after 9/11 Reverb Intro Organization Rewind Replay: Back to Source How Maqam-Based Music Works One Day, One Performance Part 1—“Hayhât yā abù-z-zuluf ” Part 2—“I Feel Good” Content and Context—Private and Public Cultural Appropriations Revisited The World of Islam Festival Classical/Popular Music in the “World of Islam” Abu-z-zulufin the Bush of Ghosts: Listen Again Part 1—“Regiment” Part 2—“The Carrier Lyrical Matters: On and Off the Record All in the Mix Reflection: Arabic Music in the Bush of Ghosts Outro 5. Re-Imagining Westphalia: Electroacoustic Reminders Prelude Intro Aims and Objectives Question-Space Methodology Question-Spaces Organization Anthems with/without “Words that Maketh Murder” “Please Be Upstanding” Who Cares? Electroacoustic Contexts Concrete Music Electroacoustic Affiliations Sampling as Composition Hymnen: Re-Sounding Westphalia Four Degrees of Separation—Thematic Architecture Frequent Returns, Embedded and Contingent Sounds Human Voices 83 84 87 89 93 94 94 97 98 104 106 109 1Ю 116 116 120 120 124 127 128 129 130 133 139 142 145 146 146 148 149 150 152 153 155 156 159 159 160 160 161 162 165 170
Contents Studio Conversations “God Save the [King] Queen” Red Threads—“Russia” and Russian Chords Close Listening (Selected) A: The “Internationale” (1st Centre of Region I) B: Germany—Remembering (1st Centre of Region II) C: “USA Collage” (2nd Centre of Region III) D: End Announcements (Region IV: Tracks 34-46) Chronologies Time and Space Modus Operandi—Manual “Electroacousmatics” Beginnings, Endings, Beginnings Sampling as Allegory Reflections Crossovers—Listening through Walls Greetings from The Beatles Stockhausen and Miles Davis Frank Zappa—Stockhausen Encounters Time-Shift Controversies Outro 6. “His Master’s Voice” and (R)evolutionary Signifym’ Intro Flashback and Fast Forward Sampling and/as Signifyin(g) “It’s Gonna Be Real” The Revolution Will Be Signified: Aims and Objectives Organization Whose Revolution Will (Not) Be Telvised, Digitized, or Fantasized? The Poem in/as Music Political Subtexts The Sexual Politics of “Your Revolution” “Not”—Sarah Jones, Suheir Hammad, and Terre Thaemlitz Answer Back Generation Gaps Oversights Reconciliations Sexual Politics—Form and Content “Style” versus “Substance” Legal and Definitional Tensions Resampled Politicking The Man Samples Back/Is Remixed Outro 7. Conclusion Intro: Intersections (Re)Sample This ix 170 171 171 176 176 177 179 180 181 181 182 183 184 186 189 189 191 194 196 198 199 200 200 201 203 204 207 209 211 215 220 221 226 228 229 229 230 232 235 238 239 241 242 242
xii Listof Figures 5.9 The first entry of the sampled “Internationale” as scored by Stockhausen in the study score (2012: 3), Region I: Track 3 on the CD. 178 6.1 Eva Schaub (b. 2015) at her tablet watching her favorite animated character (Peppa Pig) and wearing her Unicorn headphones during the 2018 Internet Governance Form meeting at the UNESCO Headquarters, Paris France. 199 6.2 Gil Scott-Heron vocal rhythm (opening lines) “The Revolution Will Not Be Televised” (Scott-Heron 1970b). 214 7.1 Fluchtzieleuropahavarieschallkoerper (2017), Guillermo Galindo, from the fourteenth documenta contemporary art exhibition {documenta 14) in Kassel, Germany. 241
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| adam_txt |
Contents Listof Figures Acknowledgments xi xiii 1. Introduction Enter in Reverse State of the Art Rationale Modulation Studying Audible Domains: The Intangible Conceptualizing Sampling Musicking Politics Musico-Methodological Cartographies Outline 1 2 3 4 8 11 13 18 22 25 2. The World around Us: Against Musical Common Sense Tacet Intro Change Up Change Down The World around Us Performing/Listening to 4’33” “The Rest Is Silence” Sampled Silences—Disruption or Oppression? Sound and Vision (I): Censoring Sounds after 9/11 Sound and Vision (II) : Culture Wars Recap Back to Beginnings Outro Tacet (Reprise) 31 32 32 33 35 38 41 44 48 51 54 56 60 60 3. The Empire Samples Back: Raga, Dub, and Fortress Europe Long Intro: Borders “Die Welt ist so kaputt” Political Frequencies Aims and Objectives Raga: Theory and Practice Close Listening (A)—“Fortress Europe” Amrapali Close Listening (B)—“Rebel Warrior” Theorizing South Asian Music 61 62 64 66 68 69 70 73 79 80
viii Contents The Artists Reflect “Not Just about the Lyrics”—Aniruddha Das “Women Continually Don’t Get the Credit They Deserve”—Sonia Mehta Long Outro: Music Borrowing Futures and Pasts 4. Loss of Innocence: Found Sounds before and after 9/11 Reverb Intro Organization Rewind Replay: Back to Source How Maqam-Based Music Works One Day, One Performance Part 1—“Hayhât yā abù-z-zuluf ” Part 2—“I Feel Good” Content and Context—Private and Public Cultural Appropriations Revisited The World of Islam Festival Classical/Popular Music in the “World of Islam” Abu-z-zulufin the Bush of Ghosts: Listen Again Part 1—“Regiment” Part 2—“The Carrier Lyrical Matters: On and Off the Record All in the Mix Reflection: Arabic Music in the Bush of Ghosts Outro 5. Re-Imagining Westphalia: Electroacoustic Reminders Prelude Intro Aims and Objectives Question-Space Methodology Question-Spaces Organization Anthems with/without “Words that Maketh Murder” “Please Be Upstanding” Who Cares? Electroacoustic Contexts Concrete Music Electroacoustic Affiliations Sampling as Composition Hymnen: Re-Sounding Westphalia Four Degrees of Separation—Thematic Architecture Frequent Returns, Embedded and Contingent Sounds Human Voices 83 84 87 89 93 94 94 97 98 104 106 109 1Ю 116 116 120 120 124 127 128 129 130 133 139 142 145 146 146 148 149 150 '152 153 155 156 159 159 160 160 161 162 165 170
Contents Studio Conversations “God Save the [King] Queen” Red Threads—“Russia” and Russian Chords Close Listening (Selected) A: The “Internationale” (1st Centre of Region I) B: Germany—Remembering (1st Centre of Region II) C: “USA Collage” (2nd Centre of Region III) D: End Announcements (Region IV: Tracks 34-46) Chronologies Time and Space Modus Operandi—Manual “Electroacousmatics” Beginnings, Endings, Beginnings Sampling as Allegory Reflections Crossovers—Listening through Walls Greetings from The Beatles Stockhausen and Miles Davis Frank Zappa—Stockhausen Encounters Time-Shift Controversies Outro 6. “His Master’s Voice” and (R)evolutionary Signifym’ Intro Flashback and Fast Forward Sampling and/as Signifyin(g) “It’s Gonna Be Real” The Revolution Will Be Signified: Aims and Objectives Organization Whose Revolution Will (Not) Be Telvised, Digitized, or Fantasized? The Poem in/as Music Political Subtexts The Sexual Politics of “Your Revolution” “Not”—Sarah Jones, Suheir Hammad, and Terre Thaemlitz Answer Back Generation Gaps Oversights Reconciliations Sexual Politics—Form and Content “Style” versus “Substance” Legal and Definitional Tensions Resampled Politicking The Man Samples Back/Is Remixed Outro 7. Conclusion Intro: Intersections (Re)Sample This ix 170 171 171 176 176 177 179 180 181 181 182 183 184 186 189 189 191 194 196 198 199 200 200 201 203 204 207 209 211 215 220 221 226 228 229 229 230 232 235 238 239 241 242 242
xii Listof Figures 5.9 The first entry of the sampled “Internationale” as scored by Stockhausen in the study score (2012: 3), Region I: Track 3 on the CD. 178 6.1 Eva Schaub (b. 2015) at her tablet watching her favorite animated character (Peppa Pig) and wearing her Unicorn headphones during the 2018 Internet Governance Form meeting at the UNESCO Headquarters, Paris France. 199 6.2 Gil Scott-Heron vocal rhythm (opening lines) “The Revolution Will Not Be Televised” (Scott-Heron 1970b). 214 7.1 Fluchtzieleuropahavarieschallkoerper (2017), Guillermo Galindo, from the fourteenth documenta contemporary art exhibition {documenta 14) in Kassel, Germany. 241 |
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| spelling | Franklin, Marianne I. 1959- Verfasser (DE-588)173773958 aut Sampling politics music and the geocultural M.I. Franklin New York, NY, United States of America Oxford University Press [2021] © 2021 xii, 345 Seiten Illustrationen, Karten txt rdacontent n rdamedia nc rdacarrier Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Sampling Musik (DE-588)4236246-5 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Nordamerika (DE-588)4042483-2 gnd rswk-swf Music / Social aspects Music / Political aspects Quotation in music Europa (DE-588)4015701-5 g Nordamerika (DE-588)4042483-2 g Sampling Musik (DE-588)4236246-5 s Kulturpolitik (DE-588)4033581-1 s DE-604 Erscheint auch als Online-Ausgabe, epub 978-0-19-085550-5 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=032866557&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Franklin, Marianne I. 1959- Sampling politics music and the geocultural Kulturpolitik (DE-588)4033581-1 gnd Sampling Musik (DE-588)4236246-5 gnd |
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| title | Sampling politics music and the geocultural |
| title_auth | Sampling politics music and the geocultural |
| title_exact_search | Sampling politics music and the geocultural |
| title_exact_search_txtP | Sampling politics music and the geocultural |
| title_full | Sampling politics music and the geocultural M.I. Franklin |
| title_fullStr | Sampling politics music and the geocultural M.I. Franklin |
| title_full_unstemmed | Sampling politics music and the geocultural M.I. Franklin |
| title_short | Sampling politics |
| title_sort | sampling politics music and the geocultural |
| title_sub | music and the geocultural |
| topic | Kulturpolitik (DE-588)4033581-1 gnd Sampling Musik (DE-588)4236246-5 gnd |
| topic_facet | Kulturpolitik Sampling Musik Europa Nordamerika |
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