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Meter, Phrase, and Form in Sample-Ba...

Tatar, Jeremy,

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Meter, Phrase, and Form in Sample-Based Hip Hop /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Meter, Phrase, and Form in Sample-Based Hip Hop // Jeremy Tatar.
Author:	Tatar, Jeremy,
Description:	1 electronic resource (346 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-08, Section: A.
Contained By:	Dissertations Abstracts International86-08A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31836634
ISBN:	9798304949972

Meter, Phrase, and Form in Sample-Based Hip Hop /
Tatar, Jeremy,

Meter, Phrase, and Form in Sample-Based Hip Hop /Jeremy Tatar. - 1 electronic resource (346 pages)

Source: Dissertations Abstracts International, Volume: 86-08, Section: A.

In music production, sampling is the practice of digitally repurposing elements from existing recordings to create new musical works. Pioneered by Bronx disc jockeys as part of hip-hop culture in the 1970s and 80s, sampling has since become a ubiquitous feature of our contemporary musical landscape. Of all the songs to chart on the Billboard Hot 100 in 2022, for example, 17% of them featured sampling of some kind. Previous studies on sampling have typically focused on the intertextual relationships that emerge between artists and their samples, engaging with the cultural and legal implications of this allusion, quotation, and signifyin(g). To date, however, little research has directly investigated the musical transformations that result from the sampling process, especially with respect to meter, phrase, and form. While we may understand the cultural significance of Public Enemy sampling James Brown, in other words, scholars are yet to develop the tools through which to explore the musical consequences of this decision. The goal of my dissertation is to fill this gap in knowledge through a detailed study of the selection, structuring, and manipulation of samples by producers. I propose a typology of three core techniques that producers use to transform their samples and illustrate their use through more than seventy analytical vignettes. My case studies demonstrate that these artists mobilize several distinct forms of musical expertise throughout their work, and that they are highly skilled as analysts, arrangers, and technologists. As I argue, attending to this expertise is especially vital considering the historic exclusion of Black music-making practices from music research.

English

ISBN: 9798304949972Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Music research

Meter, Phrase, and Form in Sample-Based Hip Hop /
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245 1 0 $a Meter, Phrase, and Form in Sample-Based Hip Hop / $c Jeremy Tatar.
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500 $a Advisors: Wild, Jon; Biamonte, Nicole.
502 $b Ph.D. $c McGill University (Canada) $d 2024.
520 $a In music production, sampling is the practice of digitally repurposing elements from existing recordings to create new musical works. Pioneered by Bronx disc jockeys as part of hip-hop culture in the 1970s and 80s, sampling has since become a ubiquitous feature of our contemporary musical landscape. Of all the songs to chart on the Billboard Hot 100 in 2022, for example, 17% of them featured sampling of some kind. Previous studies on sampling have typically focused on the intertextual relationships that emerge between artists and their samples, engaging with the cultural and legal implications of this allusion, quotation, and signifyin(g). To date, however, little research has directly investigated the musical transformations that result from the sampling process, especially with respect to meter, phrase, and form. While we may understand the cultural significance of Public Enemy sampling James Brown, in other words, scholars are yet to develop the tools through which to explore the musical consequences of this decision. The goal of my dissertation is to fill this gap in knowledge through a detailed study of the selection, structuring, and manipulation of samples by producers. I propose a typology of three core techniques that producers use to transform their samples and illustrate their use through more than seventy analytical vignettes. My case studies demonstrate that these artists mobilize several distinct forms of musical expertise throughout their work, and that they are highly skilled as analysts, arrangers, and technologists. As I argue, attending to this expertise is especially vital considering the historic exclusion of Black music-making practices from music research.
520 $a Dans le domaine de la production musicale, l'echantillonnage est la pratique qui consiste a reutiliser numeriquement des elements d'enregistrements existants pour creer de nouvelles oeuvres musicales. Introduit par les disc-jockeys du Bronx dans le cadre de la culture hip-hop dans les annees 1970 et 1980, l'echantillonnage est devenu une caracteristique omnipresente de notre paysage musical contemporain. Par exemple, sur l'ensemble des chansons classees au Billboard Hot 100 en 2022, 17 % d'entre elles comportaient une forme ou une autre d'echantillonnage. Les etudes anterieures sur l'echantillonnage se sont generalement concentrees sur les relations intertextuelles qui emergent entre les artistes et leurs echantillons, en s'interessant aux implications culturelles et juridiques de cette allusion, citation et signification. A ce jour, cependant, peu d'etudes ont examine les transformations musicales qui resultent du processus d'echantillonnage, en particulier en ce qui concerne la metrique, la phrase et l'organisation formelle. Bien que nous puissions comprendre la signification culturelle de l'echantillonnage de James Brown par Public Enemy, en d'autres termes, les chercheurs n'ont pas encore developpe les outils permettant d'explorer les consequences musicales de cette decision. L'objectif de ma these est de combler cette lacune par une etude detaillee de la selection, de la structuration et de la manipulation des echantillons par les producteurs. Je propose une typologie de trois techniques principales que les producteurs utilisent pour transformer leurs echantillons et j'illustre leur utilisation a travers plus de soixante-dix vignettes analytiques. Mes etudes de cas demontrent que ces artistes mobilisent plusieurs formes distinctes d'expertise musicale tout au long de leur travail, et qu'ils sont hautement qualifies en tant qu'analystes, arrangeurs et technologues. Je soutiens que la prise en compte de cette expertise est particulierement vitale compte tenu de l'exclusion historique des pratiques musicales des artistes noirs de la recherche musicale.
546 $a English
590 $a School code: 0781
650 4 $a Music. $3 516178
650 4 $a Music theory. $3 547155
653 $a Music research
653 $a Musical works
653 $a Sampling process
690 $a 0413
690 $a 0221
710 2 $a McGill University (Canada). $e degree granting institution. $3 3759190
720 1 $a Wild, Jon $e degree supervisor.
720 1 $a Biamonte, Nicole $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-08A.
790 $a 0781
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31836634