[spectre] VARIATIONS podcast series, by Jon Leidecker. On the history of sampling!

[Radio Web MACBA]

In case you missed it!

A compilation of all the episodes available so far of the ongoing series by
the plunderphonic musician and historian Jon Leidecker for Ràdio Web MACBA.

*VARIATIONS, by Jon Leidecker* <http://rwm.macba.cat/en/variations_tag>

The idea of a completely original piece of music is fairly recent. Music
was passed on through sound, through generations, even for centuries after
the invention of written music. Only in the 14th century did it become
standard practice for a composer to sign his name to a piece of music and
claim it entirely as his own, giving rise to the cult of the individual
composer. But as recording supplanted sheet music in the 20th century, the
presence of communal influence became unavoidably obvious once again as
composers began to use recordings to make new recordings. We can now hear
the presence of more than one voice. And there is a reason why people don't
say they listen to a record – they say that they play a record. From the
beginning, recordings have been instruments.


*VARIATIONS #1. Transition*
*As recording supplanted sheet music in the 20th century, the presence of
communal influence became unavoidably obvious once again as composers began
to use recordings to make new recordings. From the beginning, recordings
have been instruments.*

Podcast: http://bit.ly/KV8gXc  <http://bit.ly/KV8gXc%20>
Transcript: http://bit.ly/ggLzop  <http://bit.ly/KV8gXc%20>

*VARIATIONS #2. The Globe*
The second episode of this series presents an overview of the sixties,
starting with the world music collages of Richard Maxfield, Teiji Ito and
Karlheinz Stockhausen, and following through to the impact of John Cage and
Marshall McLuhan on the Beatles.

Podcast: http://bit.ly/IIa07h  <http://bit.ly/IIa07h>
Transcript: http://bit.ly/eca9yd  <http://bit.ly/eca9yd%20>

*VARIATIONS #3. The Approach*
In the seventies the avant-garde finally crosses the line into wholesale
plundering of commercial pop music, and the pop disciplines of disco and
dub become increasingly comfortable with manipulating released music into
new forms, narrowing the divide between art and pop practices.

Podcast: http://bit.ly/IY5C7G
Transcript: http://bit.ly/INIiEF

*VARIATIONS #4. The Explosion*
An overview as the art music tradition of collage music is joined by the
popular culture tradition of hip-hop, which would establish many of the
same aesthetics and practices solidly in the mainstream.

Podcast: http://bit.ly/J2S7F0  <http://bit.ly/J2S7F0>
Transcript: http://bit.ly/KM3Zvm

*VARIATIONS #5. The Discipline*
As art and industrial practitioners formally map out the discipline,
hip-hop's discovery of digital sampling technology in the mid-80's provided
a reintroduction to its original roots in block party DJ collage.

Podcast: http://bit.ly/JiPAX8
Transcript: http://bit.ly/J50Q30

*VARIATIONS #6. The Library*
Sound libraries are collections of sounds explicitly designed or collected
for further use, presented as unfinished ingredients. Sounds increasingly
detach from their sources and are used by new authors less as references
than as simple objects.

Podcast: http://bit.ly/JlxK1Q
Transcript: http://bit.ly/J50WHM

*VARIATIONS #7. The Composer*
If sampling had seemed an inherently revolutionary practice in the eighties
that called into question the definition and the authority of the composer,
the proliferation of artists in the decade that followed reasserted that
authority. Mainstream audiences finally recognized appropriation as a
legitimate form of creativity once artists became comfortable practicing it
as a form of self-expression.

Podcast: http://bit.ly/LAWPst
Transcript: http://bit.ly/MW97ei

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