This post is longer and more formal than usual because it was my term paper for a class in the NYU Music Technology Program. Questions of authorship, ownership and originality surround all forms of music (and, indeed, all creative undertakings.) Nowhere are these questions more acute or more challenging than in digital music, where it [...]
Filed in Composition, Copyright and Authorship, Key Musicians, Music, Music Business, Politics, Recording, Sampling
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Also tagged ableton, afrika bambaataa, amen break, authenticity, bach, beatles, beyonce, biz markie, brian eno, classical, compulsory licensing, copyright, danger mouse, david shields, dj, dj earworm, dj premier, double dee and steinski, entropy, Evolution, fairlight cmi, fugees, girl talk, grandmaster flash, harold bloom, hip-hop, informationtheory, jay-z, jesse walker, john coltrane, jonathan lethem, linkedin, looping, marcus boon, mashups, memes, midi, missy elliot, mohawks, nas, nyu, originality, plato, plunderphonics, questlove, reason, Recording, remixes, richard dawkins, Sampling, sasha frere-jones, stravinsky, susan blackmore, theodor adorno, walter benjamin, william gibson
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Sample-based music isn’t stealing. It’s valuable and important. It shows the way toward a future for recorded music that’s more in continuity with music’s past. Recordings are cool and everything, but they encourage passivity. If I buy a recording, I can listen to it or dance to it, both fine activities, but what if I [...]
Filed in Copyright and Authorship, Music, Politics, Sampling, Software
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Also tagged blues, copyright, folk, google, Improvisation, Internet, jazz, kanye west, learning, memes, Music, Music Theory, opensource, remixes, Sampling, transcribing
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