Soul Samples
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| Author | : Crystal S. Anderson |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 184 |
| Release | : 2020-08-25 |
| Genre | : Music |
| ISBN | : 1496830113 |
K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip-hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop’s music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.
| Author | : R. Leo Sprinkle |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1999 |
| Genre | : Human-alien encounters |
| ISBN | : 9781893183056 |
Explore eight case studies of individuals, both Indigo children and adults, who experience advanced levels of telepathy and multi-dimensional awareness. Their stories will inspire you and help yo to better understand and develop your won or your children's abilities further.
| Author | : Joanna Teresa Demers |
| Publisher | : University of Georgia Press |
| Total Pages | : 194 |
| Release | : 2010-01-25 |
| Genre | : Law |
| ISBN | : 0820330752 |
Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Joanna Demers’s timely look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse’s “Grey Album” and Mike Batt’s homage-gone-wrong to John Cage’s silent composition “4’33.” Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation—the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated. This two-tiered system had long facilitated transformative appropriation while prohibiting blatant forms of theft. The advent of digital file sharing and the specter of global piracy changed everything, says Demers. Now, record labels and publishers are broadening the scope of IP “infringement” to include allusive borrowing in all forms: sampling, celebrity impersonation—even Girl Scout campfire sing-alongs. Paying exorbitant licensing fees or risking even harsher penalties for unauthorized borrowing have become the only options for some musicians. Others, however, creatively sidestep not only the law but also the very infrastructure of the music industry. Moving easily between techno and classical, between corporate boardrooms and basement recording studios, Demers gives us new ways to look at the tension between IP law, musical meaning and appropriation, and artistic freedom.
| Author | : Stephan Kreher |
| Publisher | : BoD – Books on Demand |
| Total Pages | : 148 |
| Release | : 2022-12-06 |
| Genre | : Social Science |
| ISBN | : 3946507298 |
This monograph examines how sampling in U.S. Hip Hop transgresses national and regional boundaries. By contextualizing and comparing the Brazilian source material from the 1960s and 1970s with U.S. Hip Hop from the 1990s onwards, it traces flows of musicians, music, and ideology along the Interamerican U.S.-Brazil axis. The fusion and recontextualization of music styles through sampling shed light on aspects of the African American struggle and result in transcultural musical hybrids that encompass the African diaspora in the Americas, activism, cultural resistance, and 'double consciousness'. Building on postmodern intertextuality, these hybrids become products of a 'sonic cosmopolitanism' for a world shaped by the heritage of the black Atlantic.
| Author | : |
| Publisher | : |
| Total Pages | : 132 |
| Release | : 1997-07 |
| Genre | : |
| ISBN | : |
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
| Author | : Giovanni Bennardo |
| Publisher | : Oxford University Press |
| Total Pages | : 338 |
| Release | : 2014 |
| Genre | : Medical |
| ISBN | : 0199908044 |
This book is about cultural models. Cultural models are defined as molar organizations of knowledge. Their internal structure consists of a 'core' component and 'peripheral' nodes that are filled by default values. These values are instantiated, i.e., changed to specific values or left at their default values, when the individual experiences 'events' of any type. Thus, the possibility arises for recognizing and categorizing events as representative of the same cultural model even if they slightly differ in each of their specific occurrences. Cultural models play an important role in the generation of one's behavior. They correlate well with those of others and the behaviors they help shape are usually interpreted by others as intended. A proposal is then advanced to consider cultural models as fundamental units of analysis for an approach to culture that goes beyond the dichotomy between the individual (culture only in mind) and the collective (culture only in the social realm). The genesis of the concept of cultural model is traced from Kant to contemporary scholars. The concept underwent a number of transformations (including label) while it crossed and received further and unique elaborations within disciplines like philosophy, psychology, anthropology, sociology, artificial intelligence, and cognitive science. A methodological trajectory is outlined that blends qualitative and quantitative techniques that cross-feed each other in the gargantuan effort to discover cultural models. A survey follows of the extensive research about cultural models carried out with populations of North Americans, Europeans, Latino- and Native-Americans, Asians (including South Asians and South-East Asians), Pacific Islanders, and Africans. The results of the survey generated the opportunity to propose an empirically motivated typology of cultural models rooted in the primary difference between foundational and molar types. The book closes with a suggestion of a number of avenues that the authors recognize the research on cultural models could be traversing in the near future.
| Author | : Tom Perchard |
| Publisher | : Routledge |
| Total Pages | : 563 |
| Release | : 2017-07-05 |
| Genre | : History |
| ISBN | : 1351566237 |
The essays contained in this volume address some of the most visible, durable and influential of African American musical styles as they developed from the mid-1960s into the 21st-century. Soul, funk, pop, R&B and hip hop practices are explored both singly and in their many convergences, and in writings that have often become regarded as landmarks in black musical scholarship. These works employ a wide range of methodologies, and taken together they show the themes and concerns of academic black musical study developing over three decades. While much of the writing here is focused on music and musicians in the United States, the book also documents important and emergent trends in the study of these styles as they have spread across the world. The volume maintains the original publication format and pagination of each essay, making for easy and accurate cross-reference and citation. Tom Perchards introduction gives a detailed overview of the book‘s contents, and of the field as a whole, situating the present essays in a longer and wider tradition of African American music studies. In bringing together and contextualising works that are always valuable but sometimes difficult to access, the volume forms an excellent introductory resource for university music students and researchers.
| Author | : Michail Exarchos |
| Publisher | : CRC Press |
| Total Pages | : 249 |
| Release | : 2023-07-24 |
| Genre | : Music |
| ISBN | : 1000913066 |
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.
| Author | : Hanif Abdurraqib |
| Publisher | : University of Texas Press |
| Total Pages | : 216 |
| Release | : 2019-02-01 |
| Genre | : Music |
| ISBN | : 1477316485 |
How does one pay homage to A Tribe Called Quest? The seminal rap group brought jazz into the genre, resurrecting timeless rhythms to create masterpieces such as The Low End Theory and Midnight Marauders. Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group’s history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself. Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast–West Coast rivalry that threatened to destroy the genre, and some record labels’ shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he’s remembering The Source magazine cover announcing the Tribe’s 1998 breakup or writing personal letters to the group after bandmate Phife Dawg’s death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that—like the low end, the bass—are not simply heard in the head, but felt in the chest.
| Author | : Richard Iton |
| Publisher | : Oxford University Press |
| Total Pages | : 433 |
| Release | : 2010 |
| Genre | : Political Science |
| ISBN | : 0199733600 |
Prior to the 1960s, when African Americans had little access to formal political power, black popular culture was commonly seen as a means of forging community and effecting political change. But as Richard Iton shows, despite the changes politics, black artists have continued to play a significant role in the making of critical social spaces.
