Quotation and Context: Sampling and John Oswald’s Plunderphonics
Quotation and Context: Sampling and John Oswald’s Plunderphonics
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引文和背景：采样和约翰·奥斯瓦尔德的掠夺语音学
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发表时间：
2016
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影响因子：
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通讯作者：
K. Holm
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作者：
K. Holm
尽管音乐产业(并非没有矛盾)坚持认为数字采样是一种“盗窃”，但在历史和理论背景下，它可能更好地被视为Timbrai的引用。通常，样本的功能是引用，它被重新设置了语境，但仍然承载着原始语境的分量。作者比较了几种建立样本使用分类法的尝试，最后讨论了作曲家约翰·奥斯瓦尔德备受争议的作品《幻想曲》。奥斯瓦尔德的作品揭示了在机械复制时代，当代流行音乐经常被忽视的一个方面：他的样本不仅指的是特定的歌曲(在那里它们是可识别的)，而且还指与整个流派相关的音色。
Although the music industry (not without inconsistency) has insisted that digital sampling is “theft,” it is perhaps better viewed in historical and theoretical context as timbrai quotation. Often the sample functions as a quote that is recontextualized but that nevertheless bears the weight of its original context. The author compares some attempts at creating a taxonomy for sampling use and concludes with a discussion of the controversial “plunderphonic” work of composer John Oswald. Oswald’s work reveals an often overlooked aspect of contemporary popular music in the age of mechanical reproduction: his samples refer not only to specific songs (where they are recognizable), but also to the timbres associated with entire genres.