Did The Beatles Use Samples
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Sampling Politics
Author: M.I. Franklin
language: en
Publisher: Oxford University Press
Release Date: 2021-07-28
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.
Musicâs Most Hated
""Music's Most Hated"" explores the intriguing phenomenon of extreme musical aversion, probing why certain songs, artists, and albums provoke intense backlash. It examines how societal values, cultural norms, and artistic expression collide to create musical controversies. The book argues that these controversies often reflect deeper societal anxieties and ideological clashes, and it highlights how music can challenge and disrupt established expectations. One might be surprised to learn how often musical controversies are less about the music itself and more about the societal context in which it is received. This exploration isn't just about pointing fingers; it's about understanding the dynamics between creators, critics, and audiences. The book progresses through thematically organized case studies. It delves into instances of transgression and taboo, cultural appropriation, and political conflict. By analyzing these cases, ""Music's Most Hated"" offers insights into the boundaries of artistic freedom and the influence of cultural norms on aesthetic judgment. The book uses critical reviews, interviews, and historical research to support its arguments. Musical aversion is a complex topic, and this book sheds light on the subject.
The Beatles and the Beatlesque: A Crossdisciplinary Analysis of Sound Production and Stylistic Impact
The Beatles and the Beatlesque address a paradox emanating from The Beatles’ music through a cross-disciplinary hybrid of reflections, drawing from both, musical practice itself and academic research. Indeed, despite their extreme stylistic variety, The Beatles’ songs seem to always bear a distinctive identity that emerges even more in similar works by other artists, whether they are merely inspired, derivative or explicitly paying homage. The authors, a musicologist and music producer, emphasize the importance of record production in The Beatles' music in a way that does justice not only to the final artifacts (the released songs) but also to the creative process itself (i.e., the songs "in the making"). Through an investigation into the work of George Martin and his team, as well as The Beatles themselves, this text sheds light on the role of the studio in shaping the group's eclectic but unique sound. The chapters address what makes a song “Beatlesque”, to what extent production choices are responsible for developing a style, production being understood not as a mere set of technicalities, but also in a more conceptual way, as well as the aesthetics, semiotics and philosophy that animated studio activity. The outcome is a book that will appeal to both students and researchers, as well as, of course, musicophiles of all kinds.