Whosampled.com is a website that hosts user-compiled lists of samples, covers, and remixes of pre... more Whosampled.com is a website that hosts user-compiled lists of samples, covers, and remixes of pre-existing music. This article will evaluate the accuracy of the information on whosampled.com through cases studies on the music of Bruno Mars, Janelle Monáe, Dua Lipa, and the reported samples of Classical music, to determine which types of entries are most likely to be accurate and why. While the site is an informative resource for exploring clear examples of direct samples in genres like hip hop, it is less reliable in documenting other forms of borrowing, especially in genres in which digital sampling is not commonly practiced.
Imitation within sonic arts, linguistic, musical, or otherwise, broadly defined, is a heterogeneo... more Imitation within sonic arts, linguistic, musical, or otherwise, broadly defined, is a heterogeneous set of practices ranging from comical impersonation to outright counterfeit or forgery. This paper provides a taxonomy of imitation and mimicry within both language and music, dividing each into two respective categories, autographic imitation and allographic imitation, the terms for which are repurposed from Nelson Goodman’s Languages of Art.
It has long been argued that disruption and interruption are essential to Schumann’s idiolect, es... more It has long been argued that disruption and interruption are essential to Schumann’s idiolect, especially that of his early character pieces. Although early critics were quick to dismiss the jarring contrasts of both key and affect between movements within collections as incoherent, or even incomprehensible,1 this aspect of his works is now most typically viewed not as a blemish, but as a manifestation of Schumann’s literary bent. Siegel argued nearly fifty years ago that the style of these pieces “still puzzles both critic and player alike because it is not derived from any musical source but from a literary one: the novels of Schumann’s idol, Jean Paul Richter.”2 Similarly, Anthony Newcomb suggests that these cycles share deep stylistic affinities with early Romantic fiction because “Schumann, like Jean Paul, avoids clear linear narrative through a stress on interruption, embedding, digression, and willful reinterpretation.”3
University of Minnesota Ph.D. dissertation. December 2013. Major: Music. Advisor: Matthew P. Brib... more University of Minnesota Ph.D. dissertation. December 2013. Major: Music. Advisor: Matthew P. Bribitzer-Stull. 1 computer file (PDF); iii, 225 pages.
Whosampled.com is a website that hosts user-compiled lists of samples, covers, and remixes of pre... more Whosampled.com is a website that hosts user-compiled lists of samples, covers, and remixes of pre-existing music. This article will evaluate the accuracy of the information on whosampled.com through cases studies on the music of Bruno Mars, Janelle Monáe, Dua Lipa, and the reported samples of Classical music, to determine which types of entries are most likely to be accurate and why. While the site is an informative resource for exploring clear examples of direct samples in genres like hip hop, it is less reliable in documenting other forms of borrowing, especially in genres in which digital sampling is not commonly practiced.
Imitation within sonic arts, linguistic, musical, or otherwise, broadly defined, is a heterogeneo... more Imitation within sonic arts, linguistic, musical, or otherwise, broadly defined, is a heterogeneous set of practices ranging from comical impersonation to outright counterfeit or forgery. This paper provides a taxonomy of imitation and mimicry within both language and music, dividing each into two respective categories, autographic imitation and allographic imitation, the terms for which are repurposed from Nelson Goodman’s Languages of Art.
It has long been argued that disruption and interruption are essential to Schumann’s idiolect, es... more It has long been argued that disruption and interruption are essential to Schumann’s idiolect, especially that of his early character pieces. Although early critics were quick to dismiss the jarring contrasts of both key and affect between movements within collections as incoherent, or even incomprehensible,1 this aspect of his works is now most typically viewed not as a blemish, but as a manifestation of Schumann’s literary bent. Siegel argued nearly fifty years ago that the style of these pieces “still puzzles both critic and player alike because it is not derived from any musical source but from a literary one: the novels of Schumann’s idol, Jean Paul Richter.”2 Similarly, Anthony Newcomb suggests that these cycles share deep stylistic affinities with early Romantic fiction because “Schumann, like Jean Paul, avoids clear linear narrative through a stress on interruption, embedding, digression, and willful reinterpretation.”3
University of Minnesota Ph.D. dissertation. December 2013. Major: Music. Advisor: Matthew P. Brib... more University of Minnesota Ph.D. dissertation. December 2013. Major: Music. Advisor: Matthew P. Bribitzer-Stull. 1 computer file (PDF); iii, 225 pages.
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