Digital Sampling and Cultural Inequality
Digital Sampling and Cultural Inequality
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数字采样和文化不平等
DOI：
10.1177/0964663906060973
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发表时间：
2006
影响因子：
1.6
通讯作者：
D. Hesmondhalgh
中科院分区：
文献类型：
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作者：
D. Hesmondhalgh
本文汇集了法律的研究的见解与分析方法和媒体，文化和音乐研究的特点关注领域。我特别感兴趣的是音乐家对数字采样的使用，以及围绕这些使用的法律的实践，如何影响我们对文化“繁荣”问题的思考，特别是当白色音乐家从黑人音乐家那里借鉴时。这反过来又揭示了音乐和版权法与实践与系统性社会和文化不平等之间的关系。虽然我同意版权法在未经样本创作者许可的情况下将数字采样视为非法，但它往往不鼓励与非洲裔美国人和其他被剥夺权力的社会群体有关的创造性形式（特别是基于样本的说唱和嘻哈音乐），我认为，为采样提供慷慨的合理使用条款的论点可能并不总是有利于来自社会权力较小的音乐家的利益。组也。为此，我回顾了关于音乐借用和挪用的公共辩论和学术工作，并提出了一个案例研究，其中一个特别值得注意的数字采样和文化借用的最新例子：国际流行舞蹈巨星Moby在他的专辑Play中使用了非裔美国音乐家的样本。由于这些样本来自档案管理员和收藏家艾伦·洛马克斯（Alan Lomax）的录音，这也引发了与最近关于民族音乐学和其他学术活动在为文化生产提供材料方面的作用的辩论密切相关的问题。
This article brings together insights from legal studies with methods of analysis and areas of concern characteristic of media, cultural and music studies. My particular interest here is in how the uses of digital sampling by musicians, and legal practices surrounding these uses, affect how we might think about the issue of cultural ‘borrowing’, especially when white musicians borrow from black ones. This in turn throws light on the relationship between, on the one hand, music and copyright law and practice, and on the other, systemic forms of social and cultural inequality. While I agree that copyright law, in constructing digital sampling as unlawful without the permission of the originator of the sample, has tended not to encourage forms of creativity associated with African-Americans and other disempowered social groups (notably sample-based rap and hip hop music), I suggest that arguments for a generous fair use provision for sampling may not always favour the interests of musicians from less powerful social groups either. I do so by reviewing public debates and academic work about borrowing and appropriation in music, and by presenting a case study of one particularly notable recent example of digital sampling and cultural borrowing: the use by the international dance-pop superstar, Moby, of samples of African-American musicians on his album Play. Because these samples were drawn from recordings made by the archivist and collector Alan Lomax, this also raises issues germane to recent debates about the role of ethnomusicology and other scholarly activities in providing materials for cultural production.