<div dir="ltr"><span style="border-collapse:collapse"><font face="georgia, serif"><span style="color:rgb(255,0,255)">In case you missed it! </span><br><br>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. <br>
<br><a href="http://rwm.macba.cat/en/variations_tag"><b><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span>, by Jon Leidecker</b></a><br><br>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.<br>
<br><br><b><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #1. Transition</b></font></span><div><span style="border-collapse:collapse"><b><span style="color:rgb(51,51,51);border-collapse:separate;font-weight:normal"><font face="georgia, serif">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.</font></span></b></span></div>
<div><span><font face="georgia, serif"><span style="border-collapse:collapse"><font color="#333333"><span style="border-collapse:separate"><br></span></font></span><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/KV8gXc%20" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/KV8gXc </a><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/KV8gXc%20" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/ggLzop </a><br>
<br><b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #2. The Globe</b><br><span style="color:rgb(51,51,51)">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.</span></font></span></div>
<div><span><font face="georgia, serif"><span style="border-collapse:collapse"><br></span></font></span></div><div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/IIa07h" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/IIa07h </a><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/eca9yd%20" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/eca9yd </a><br>
<br><b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #3. The Approach</b></font></span></div><div><span><font face="georgia, serif"><span style="color:rgb(51,51,51)">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.</span><font><span style="border-collapse:collapse"><b><br>
</b></span></font><font><span style="border-collapse:collapse"><br></span></font></font></span></div><div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/IY5C7G" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/IY5C7G</a><font><span style="border-collapse:collapse"> </span></font><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/INIiEF" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/INIiEF</a><font><span style="border-collapse:collapse"> </span></font><br>
<br><b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #4. The Explosion</b></font></span></div><div><span><font face="georgia, serif"><span style="color:rgb(51,51,51)">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.</span><font><span style="border-collapse:collapse"><b><br>
</b></span></font><font><span style="border-collapse:collapse"><br></span></font></font></span></div><div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/J2S7F0" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/J2S7F0 </a><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/KM3Zvm" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/KM3Zvm</a><font><span style="border-collapse:collapse"> </span></font><br>
<br><b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #5. The Discipline</b></font></span></div><div><span><font face="georgia, serif"><span style="color:rgb(51,51,51)">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.</span><font><span style="border-collapse:collapse"><b><br>
</b></span></font><font><span style="border-collapse:collapse"><br></span></font></font></span></div><div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/JiPAX8" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/JiPAX8</a><font><span style="border-collapse:collapse"> </span></font><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/J50Q30" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/J50Q30</a><br><br>
<b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #6. The Library</b></font></span></div><div><span><font face="georgia, serif"><span style="color:rgb(51,51,51)">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.</span><font><span style="border-collapse:collapse"><b><br>
</b></span></font><font><span style="border-collapse:collapse"><br></span></font></font></span></div><div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/JlxK1Q" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/JlxK1Q</a><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/J50WHM" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/J50WHM</a><font><span style="border-collapse:collapse"> </span></font><br>
<br><b style="border-collapse:collapse"><span style="background-image:initial;background-color:rgb(255,255,204);color:rgb(34,34,34)"><span class="">VARIATIONS</span></span> #7. The Composer</b></font></span></div><div><span><font face="georgia, serif"><span style="color:rgb(51,51,51)">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.</span><font><span style="border-collapse:collapse"><b><br>
</b></span></font><font><span style="border-collapse:collapse"><br></span></font></font></span></div><span><font face="georgia, serif"><font><span style="border-collapse:collapse">Podcast: </span></font><a href="http://bit.ly/LAWPst" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/LAWPst</a><br>
<font><span style="border-collapse:collapse">Transcript: </span></font><a href="http://bit.ly/MW97ei" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://bit.ly/MW97ei</a><br><br>
<font><span style="border-collapse:collapse">Follow us at </span></font><a href="http://twitter.com/Radio_Web_MACBA" style="color:rgb(17,85,204);border-collapse:collapse" target="_blank">http://twitter.com/Radio_Web_MACBA</a></font></span></div>