Some Digital Music Resources
Excellent posts over the last few days since my lecture. Thanks folks. You've no idea how good that makes a po' teacher feel. Anyhow, I thought that some references might be useful for those of you writing on music/sound. I've pasted my biblios from those two essays I've written this year and described in broad terms in a previous post. There might be some repetitions and apologies for the different referencing halfway through. That's coz two different publishers required their particular citation systems. And I haven't had time to sift.
There's loads of literature on sampling and tons on copyright. For sampling apart from some of the articles and books below, check out other work by Steven Feld,
Thomas Schumacher, Timothy Taylor, Mark Katz.
There's also a huge literature on copyright. I've found Simon Frith & Lee Marshall, Rosemary Coombe, Siva Vaidhyanathan quite useful.
Check out this website with many articles and audio:
Illegal Art
Electronic Frontier Foundation
Australasian Performing Right Association
I'll post other stuff as and when I find it or it gets forwarded to me. Hope this is a start at least for those of you interested. My office hours are Tuesdays 1-3 pm in Room 314.
Thanks
Nabeel
The Basement radio show
Topical Ointment blog
Bolter, Jay David & Richard Grusin. Remediation: Understanding new media. Cambridge: MIT Press, 2000.
Buse, Peter & Andrew Scott, eds. Ghosts: Deconstruction, Psychoanalysis, History. London: Macmillan, 1999.
Cooper, Carolyn. Sound Clash: Jamaican Dancehall Culture at Large. New York: Palgrave Macmillan: 2004)
Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Peggy Kamuf. New York: Routledge, 1994.
Dissensus,“Hauntology.” 23 July 2006. http://www.dissensus.com/showthread.php?t=3020&page=1&pp=15>
Ellison, Ralph. Invisible Man. New York: Vintage, 1990.
Eshun, Kodwo. More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998.
Feld, Steven. “The Poetics and Politics of Pygmy pop.” Western music and its others: Difference, representation and appropriation in music. Eds. Georgina Born & David Hesmondhalgh. Berkeley: University of California Press, 2000. 254-79.
Fink, Robert. “The story of ORCH5, or, the classical ghost in the hip-hop machine.” Popular Music, 24(3), 2005: 339-356.
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press, 1993.
---. Against Race: Imagining Political Culture beyond the Color Line. Cambridge: Harvard University Press, 2000.
---. “Steppin’ out of Babylon: Race, Class and Autonomy.” The Empire Strikes Back: Race and Racism in 70s Britain. Eds. Centre for Contemporary Cultural Studies. London & New York: Routledge in association with the Centre for Cultural Studies, Birmingham, 1992. 276-314.
Glissant, Edouard. Caribbean Discourse. Charlottesville: University Press of Virginia, 1989.
Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 1997.
Green, Richard & Monique Guillory. “Question of a ‘Soulful’ Style: Interview with Paul Gilroy.” Soul: Black Power, Politics, and Pleasure. Eds. Monique Guillory & Richard C. Green. New York: New York University Press, 1998. 250-65.
Grossberg, Lawrence (2002). “Reflections of a disappointed popular music scholar.” Rock over the edge: Transformations in popular music culture. Eds. Roger Beebe, Denise Fulbrook & Ben Saunders. Durham, NC: Duke University Press, 2002. 25-49.
Gutterbreakz, “Hauntology.” 25 July 2006.
http://gutterbreakz.blogspot.com/2006/01/hauntology-whats-all-that-about-then.html
Hemment, Drew (2004). “Affect and individuation in popular electronic music.” Deleuze and Music. Eds. Ian Buchanan & Marcel Swiboda. Edinburgh: Edinburgh University Press, 2004. 77-94.
Hesmondhalgh, David. “Digital sampling and cultural inequality.” Social and Legal Studies, 15(1), 2006: 53-75.
Hesse, Barnor (1993) ‘Black to Front and Black Again: Racialization through Contested Times and Spaces.” Place and the Politics of Identity. Eds. Michael Keith & Steve Pile. London & New York: Routledge, 1993. 162-182.
Landon, Brooks. “Diegetic or Digital? The Convergence of Science-Fiction Literature and Science-Fiction Film in Hypermedia.” Alien Zone II: the spaces of science fiction cinema. Ed. Annette Kuhn. London & New York: Verso, 2002. 31-49.
Latour, Bruno (1999). “On recalling ANT.” Actor network theory and After. Eds. John Law & John Hansard. Oxford: Blackwell Publishers, 1999. 15-25.
Lovink, Geert. “Everything was to be done. All the adventures are still there: A Speculative Dialogue with Kodwo Eshun.” Nettime. 23 July 2006.
http://www.nettime.org/Lists-Archives/nettime-l-0007/msg00112.html
McRobbie, Angela. In the Culture Society: Art, Fashion and Popular Music. London & New York: Routledge, 1999.
Miller, Paul AKA DJ Spooky That Subliminal Kid. Rhythm Science. Boston: MIT Press, 2004.
Radano, Ronald. Lying up a nation: race and black music. Chicago: University of Chicago Press, 2003.
http://www.blogger.com/img/gl.link.gif
Reynolds, Simon. “Web of Ghosts.” Blissout. 26 July 2006.
---. “Rogue Unit.” Abstract Dynamics. 26 July 2006.
Snead, James A. “Repetition as a Figure of Black Culture.” Out There: Marginalization and Contemporary Culture. Eds. Russell Ferguson, Martha Gever, Trinh T. Minh-Ha & Cornel West. Boston: MIT Press, 1990. 213-30.
Tate, Greg. “Hip Hop Turns 30: Whatcha Celebratin’ for?” Village Voice, 4 January 2005. Accessed 26 July 2006.
http://www.villagevoice.com/news/0501,tate,59766,2.html
---. “The Color ofhttp://www.blogger.com/img/gl.link.gif Money.” The Nation, 9 February 2006. Accessed 27 July 2006.
---. “Unchained Melodies: the black Atlantic Jawn.” Black Atlantic Project. 26 July 2006.
http://www.britishcouncil.org/usa-arts-music-black-atlantic-greg-tate-article.htm
Taussig, Michael. Mimesis and Alterity: A particular history of the senses. New York & London: Routledge, 2003.
Toynbee, Jason. “Music, culture and creativity.” The Cultural Study of Music: A Critical Introduction. Eds. Martin Clayton, Trevor Herbert & Richard Middleton. London & New York: Routledge, 2003. 102-112.
Weheliye, Alexander G. “‘Feenin’: Posthuman Voices in Contemporary Black Popular Music.” Social Text, 71, 20 (2), 2002: 21-47.
Weheliye, Alexander G. Phonographies: Grooves in Sonic Afro-Modernity. Durham: Duke University Press, 2005.
Berry, E. M. (2003). The last hustle. The Village Voice, November 26-December 2, 2003. Retrieved April 13, 2006 from http://www.villagevoice.com/news/0348,berry,48963,1.html.
BMI (2006). BMI forecasts U.S ringtones sales to hit $600 million in 2006. Retrieved April 13, 2006 from http://bmi.com/news/200604/20060403a.asp.
Chadha, T. (2003, July 2-8). Mix this. The Village Voice. Retrieved April 13, 2006 from http://www.villagevoice.com/news/0327,chadha,45230,1.html.
Cooper, C. (2004). Sound clash: Jamaican dancehall culture at large. New York: Palgrave Macmillan.
Deleuze, G. & Guattari, F. (1987). Translated by B. Massumi. A Thousand Plateaus: Capitalism and schizophrenia. University of Minnesota Press.
Gilroy, P. (1993). The Black Atlantic: Modernity and double consciousness. Cambridge: Harvard University Press.
Hemment, D. (2004). Affect and individuation in popular electronic music. In I. Buchanan & M. Swiboda (Eds.), Deleuze and music (pp. 77-94). Edinburgh: Edinburgh University Press.
Howard-Spink, S. (2005). Grey Tuesday, online cultural activism and the mash-up of music and politics. First Monday, 9(10). Retrieved April 13, 2006 from http://www.firstmonday.org/issues/issue9_10/howard/ .
Ilx. (2002). June 5, 2002. Retrieved April 13, 2006 from .
http://www.blogger.com/img/gl.link.gif
Jones, L. (1967). Black music. New York: Morrow Paperback Editions.
King, J. (2001). Rap and Feng Shui: On ass politics, cultural studies, and the Timbaland sound. In T. Miller (Ed.), Companion to cultural studies (pp. 430-453). Oxford: Blackwell Publishers.
Kraidy, M. (2005). Hybridity, or the cultural logic of globalization. Philadelphia: Temple University Press.
Latour, B. (1999). On recalling ANT. In J. Law & J. Hansard (Eds.), Actor network theory and after (pp. 15-25). Oxford: Blackwell Publishers.
Manuel, P. (1993). Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press.
Maira, S. (2002). Desis in the house: Indian American youth culture in New York City. Philadelphia: Temple University Press.
Melwani, L. (2002). Desi Flava. Little India. Retrieved April 13, 2006 from http://www.littleindia.com/june2002/Desi%20Flava.htm.
Miller, K. (2004). Bolly’hood remix. Newsletter, 33(2). Retrieved April 13, 2006 from the Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York Web site: http://depthome.brooklyn.cuny.edu/isam/S04Newshtml/Bollyhood/Bollyhood.htm.
Mitchell, T. (2001). Global noise: Rap and hip-hop outside the USA. Middletown, CT: Wesleyan University Press.
Oswald, J. (2004). Bettered by the borrower: The ethics of musical debt. In C. Cox & D. Warner (Eds.), Audio culture: Readings in modern music (pp. 131-137). New York & London: Continuum Books.
Prashad, V. (2000). The karma of brown folk. Minneapolis: University of Minnesota Press.
Radano, R. (2003). Lying up a nation: Race and black music. Chicago: University of Chicago Press.
Reynolds, S. (2004). Lost in music: Obsessive record collecting. In E. Weisbard (Ed.), This is pop: In search of the elusive at Experience Music Project (pp 289-307). Cambridge, MA: Harvard University Press.
Schloss, J. (2004). Making Beats: The art of sample-based hip-hop. Middletown, CN: Wesleyan University Press.
Sharma, N. (2005). Musical crossings: Identity formations of second-generation South Asian American hip hop artists. Institute for the study of social change fellows working papers. Retrieved April 13, 2006 from University of California, Berkeley Web site http://repositories.cdlib.org/issc/fwp/ISSC_WP_02/.
Sharma, S. (2003). The sounds of alterity. In M. Bull & L. Back (Eds.), The auditory culture reader (pp 409-418). Oxford: Berg.
Smith, C. H. (2003). ‘I don’t like to dream about getting paid’: Representations of social mobility and the emergence of the hip-hop mogul. Social Text, 21(4), 69-97.
Taylor, T. (2004). Some versions of difference: Discourses of hybridity in transnational musics. In T.G. Oren & P. Petro (Eds.), Global currents: Media and technology now (pp. 219-244). Piscataway, NJ: Rutgers University Press
Weheliye, A. G. (2002) “Feenin”: Posthuman voices in contemporary black popular musicin. Social Text, 20(2), 21-47.
Wolk, D. (2004). Compressing pop: How your favorite song got squished. In E. Weisbard (Ed.), This is pop: In search of the elusive at Experience Music Project (pp. 212-222). Cambridge, Mass. & London: Harvard University Press.
Zuberi, N. (2002). India song: Popular music genres since economic liberalization. In D. Hesmondhalgh & K. Negus (Eds.), Popular Music Studies (pp 238-250). London: Arnold/New York: Oxford University Press.
There's loads of literature on sampling and tons on copyright. For sampling apart from some of the articles and books below, check out other work by Steven Feld,
Thomas Schumacher, Timothy Taylor, Mark Katz.
There's also a huge literature on copyright. I've found Simon Frith & Lee Marshall, Rosemary Coombe, Siva Vaidhyanathan quite useful.
Check out this website with many articles and audio:
Illegal Art
Electronic Frontier Foundation
Australasian Performing Right Association
I'll post other stuff as and when I find it or it gets forwarded to me. Hope this is a start at least for those of you interested. My office hours are Tuesdays 1-3 pm in Room 314.
Thanks
Nabeel
The Basement radio show
Topical Ointment blog
Bolter, Jay David & Richard Grusin. Remediation: Understanding new media. Cambridge: MIT Press, 2000.
Buse, Peter & Andrew Scott, eds. Ghosts: Deconstruction, Psychoanalysis, History. London: Macmillan, 1999.
Cooper, Carolyn. Sound Clash: Jamaican Dancehall Culture at Large. New York: Palgrave Macmillan: 2004)
Derrida, Jacques. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. Translated by Peggy Kamuf. New York: Routledge, 1994.
Dissensus,“Hauntology.” 23 July 2006. http://www.dissensus.com/showthread.php?t=3020&page=1&pp=15>
Ellison, Ralph. Invisible Man. New York: Vintage, 1990.
Eshun, Kodwo. More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998.
Feld, Steven. “The Poetics and Politics of Pygmy pop.” Western music and its others: Difference, representation and appropriation in music. Eds. Georgina Born & David Hesmondhalgh. Berkeley: University of California Press, 2000. 254-79.
Fink, Robert. “The story of ORCH5, or, the classical ghost in the hip-hop machine.” Popular Music, 24(3), 2005: 339-356.
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press, 1993.
---. Against Race: Imagining Political Culture beyond the Color Line. Cambridge: Harvard University Press, 2000.
---. “Steppin’ out of Babylon: Race, Class and Autonomy.” The Empire Strikes Back: Race and Racism in 70s Britain. Eds. Centre for Contemporary Cultural Studies. London & New York: Routledge in association with the Centre for Cultural Studies, Birmingham, 1992. 276-314.
Glissant, Edouard. Caribbean Discourse. Charlottesville: University Press of Virginia, 1989.
Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: University of Minnesota Press, 1997.
Green, Richard & Monique Guillory. “Question of a ‘Soulful’ Style: Interview with Paul Gilroy.” Soul: Black Power, Politics, and Pleasure. Eds. Monique Guillory & Richard C. Green. New York: New York University Press, 1998. 250-65.
Grossberg, Lawrence (2002). “Reflections of a disappointed popular music scholar.” Rock over the edge: Transformations in popular music culture. Eds. Roger Beebe, Denise Fulbrook & Ben Saunders. Durham, NC: Duke University Press, 2002. 25-49.
Gutterbreakz, “Hauntology.” 25 July 2006.
http://gutterbreakz.blogspot.com/2006/01/hauntology-whats-all-that-about-then.html
Hemment, Drew (2004). “Affect and individuation in popular electronic music.” Deleuze and Music. Eds. Ian Buchanan & Marcel Swiboda. Edinburgh: Edinburgh University Press, 2004. 77-94.
Hesmondhalgh, David. “Digital sampling and cultural inequality.” Social and Legal Studies, 15(1), 2006: 53-75.
Hesse, Barnor (1993) ‘Black to Front and Black Again: Racialization through Contested Times and Spaces.” Place and the Politics of Identity. Eds. Michael Keith & Steve Pile. London & New York: Routledge, 1993. 162-182.
Landon, Brooks. “Diegetic or Digital? The Convergence of Science-Fiction Literature and Science-Fiction Film in Hypermedia.” Alien Zone II: the spaces of science fiction cinema. Ed. Annette Kuhn. London & New York: Verso, 2002. 31-49.
Latour, Bruno (1999). “On recalling ANT.” Actor network theory and After. Eds. John Law & John Hansard. Oxford: Blackwell Publishers, 1999. 15-25.
Lovink, Geert. “Everything was to be done. All the adventures are still there: A Speculative Dialogue with Kodwo Eshun.” Nettime. 23 July 2006.
http://www.nettime.org/Lists-Archives/nettime-l-0007/msg00112.html
McRobbie, Angela. In the Culture Society: Art, Fashion and Popular Music. London & New York: Routledge, 1999.
Miller, Paul AKA DJ Spooky That Subliminal Kid. Rhythm Science. Boston: MIT Press, 2004.
Radano, Ronald. Lying up a nation: race and black music. Chicago: University of Chicago Press, 2003.
http://www.blogger.com/img/gl.link.gif
Reynolds, Simon. “Web of Ghosts.” Blissout. 26 July 2006.
---. “Rogue Unit.” Abstract Dynamics. 26 July 2006.
Snead, James A. “Repetition as a Figure of Black Culture.” Out There: Marginalization and Contemporary Culture. Eds. Russell Ferguson, Martha Gever, Trinh T. Minh-Ha & Cornel West. Boston: MIT Press, 1990. 213-30.
Tate, Greg. “Hip Hop Turns 30: Whatcha Celebratin’ for?” Village Voice, 4 January 2005. Accessed 26 July 2006.
http://www.villagevoice.com/news/0501,tate,59766,2.html
---. “The Color ofhttp://www.blogger.com/img/gl.link.gif Money.” The Nation, 9 February 2006. Accessed 27 July 2006.
---. “Unchained Melodies: the black Atlantic Jawn.” Black Atlantic Project. 26 July 2006.
http://www.britishcouncil.org/usa-arts-music-black-atlantic-greg-tate-article.htm
Taussig, Michael. Mimesis and Alterity: A particular history of the senses. New York & London: Routledge, 2003.
Toynbee, Jason. “Music, culture and creativity.” The Cultural Study of Music: A Critical Introduction. Eds. Martin Clayton, Trevor Herbert & Richard Middleton. London & New York: Routledge, 2003. 102-112.
Weheliye, Alexander G. “‘Feenin’: Posthuman Voices in Contemporary Black Popular Music.” Social Text, 71, 20 (2), 2002: 21-47.
Weheliye, Alexander G. Phonographies: Grooves in Sonic Afro-Modernity. Durham: Duke University Press, 2005.
Berry, E. M. (2003). The last hustle. The Village Voice, November 26-December 2, 2003. Retrieved April 13, 2006 from http://www.villagevoice.com/news/0348,berry,48963,1.html.
BMI (2006). BMI forecasts U.S ringtones sales to hit $600 million in 2006. Retrieved April 13, 2006 from http://bmi.com/news/200604/20060403a.asp.
Chadha, T. (2003, July 2-8). Mix this. The Village Voice. Retrieved April 13, 2006 from http://www.villagevoice.com/news/0327,chadha,45230,1.html.
Cooper, C. (2004). Sound clash: Jamaican dancehall culture at large. New York: Palgrave Macmillan.
Deleuze, G. & Guattari, F. (1987). Translated by B. Massumi. A Thousand Plateaus: Capitalism and schizophrenia. University of Minnesota Press.
Gilroy, P. (1993). The Black Atlantic: Modernity and double consciousness. Cambridge: Harvard University Press.
Hemment, D. (2004). Affect and individuation in popular electronic music. In I. Buchanan & M. Swiboda (Eds.), Deleuze and music (pp. 77-94). Edinburgh: Edinburgh University Press.
Howard-Spink, S. (2005). Grey Tuesday, online cultural activism and the mash-up of music and politics. First Monday, 9(10). Retrieved April 13, 2006 from http://www.firstmonday.org/issues/issue9_10/howard/ .
Ilx. (2002). June 5, 2002. Retrieved April 13, 2006 from .
http://www.blogger.com/img/gl.link.gif
Jones, L. (1967). Black music. New York: Morrow Paperback Editions.
King, J. (2001). Rap and Feng Shui: On ass politics, cultural studies, and the Timbaland sound. In T. Miller (Ed.), Companion to cultural studies (pp. 430-453). Oxford: Blackwell Publishers.
Kraidy, M. (2005). Hybridity, or the cultural logic of globalization. Philadelphia: Temple University Press.
Latour, B. (1999). On recalling ANT. In J. Law & J. Hansard (Eds.), Actor network theory and after (pp. 15-25). Oxford: Blackwell Publishers.
Manuel, P. (1993). Cassette culture: Popular music and technology in north India. Chicago: University of Chicago Press.
Maira, S. (2002). Desis in the house: Indian American youth culture in New York City. Philadelphia: Temple University Press.
Melwani, L. (2002). Desi Flava. Little India. Retrieved April 13, 2006 from http://www.littleindia.com/june2002/Desi%20Flava.htm.
Miller, K. (2004). Bolly’hood remix. Newsletter, 33(2). Retrieved April 13, 2006 from the Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York Web site: http://depthome.brooklyn.cuny.edu/isam/S04Newshtml/Bollyhood/Bollyhood.htm.
Mitchell, T. (2001). Global noise: Rap and hip-hop outside the USA. Middletown, CT: Wesleyan University Press.
Oswald, J. (2004). Bettered by the borrower: The ethics of musical debt. In C. Cox & D. Warner (Eds.), Audio culture: Readings in modern music (pp. 131-137). New York & London: Continuum Books.
Prashad, V. (2000). The karma of brown folk. Minneapolis: University of Minnesota Press.
Radano, R. (2003). Lying up a nation: Race and black music. Chicago: University of Chicago Press.
Reynolds, S. (2004). Lost in music: Obsessive record collecting. In E. Weisbard (Ed.), This is pop: In search of the elusive at Experience Music Project (pp 289-307). Cambridge, MA: Harvard University Press.
Schloss, J. (2004). Making Beats: The art of sample-based hip-hop. Middletown, CN: Wesleyan University Press.
Sharma, N. (2005). Musical crossings: Identity formations of second-generation South Asian American hip hop artists. Institute for the study of social change fellows working papers. Retrieved April 13, 2006 from University of California, Berkeley Web site http://repositories.cdlib.org/issc/fwp/ISSC_WP_02/.
Sharma, S. (2003). The sounds of alterity. In M. Bull & L. Back (Eds.), The auditory culture reader (pp 409-418). Oxford: Berg.
Smith, C. H. (2003). ‘I don’t like to dream about getting paid’: Representations of social mobility and the emergence of the hip-hop mogul. Social Text, 21(4), 69-97.
Taylor, T. (2004). Some versions of difference: Discourses of hybridity in transnational musics. In T.G. Oren & P. Petro (Eds.), Global currents: Media and technology now (pp. 219-244). Piscataway, NJ: Rutgers University Press
Weheliye, A. G. (2002) “Feenin”: Posthuman voices in contemporary black popular musicin. Social Text, 20(2), 21-47.
Wolk, D. (2004). Compressing pop: How your favorite song got squished. In E. Weisbard (Ed.), This is pop: In search of the elusive at Experience Music Project (pp. 212-222). Cambridge, Mass. & London: Harvard University Press.
Zuberi, N. (2002). India song: Popular music genres since economic liberalization. In D. Hesmondhalgh & K. Negus (Eds.), Popular Music Studies (pp 238-250). London: Arnold/New York: Oxford University Press.
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