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The Critique of Sample-Based Music

Permanent Link: http://ncf.sobek.ufl.edu/NCFE003492/00001

Material Information

Title: The Critique of Sample-Based Music Creating a Foundation for Understanding
Physical Description: Book
Language: English
Creator: Chayt, Eliot
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2005
Publication Date: 2005

Subjects

Subjects / Keywords: Music
Philosophy of Music
Cultural Critique
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: This thesis concerns the establishment of a discursive model for music in order to solve the problems implicit in purely technical or purely subjective criticisms of sample-based music. A purely technical criticism neglects this music's power to evoke cultural signifiers, and a purely subjective criticism has the potential to forget that that sample-based music is music at all. Foucault's Archaeology of Knowledge provides the basis for the discursive model. Examples of structural and formal critique, in the form of Heinrich Schenker and Theodor Adorno, are used to reveal the limitations of formalism for both Popular and experimental music. John Oswald's Plunderphonics project, which contains aspects of both Popular and experimental music, is used as a focus for the specific problems of criticism for the genre-straddling form of sample-based music. Music-as-discourse, a model which views musical works as the simultaneous referent of many critical discourses, is presented as a possible new formal model for determining musical meaning in sample-based music--one that specifically opens up the discourse to broader cultural concerns raised by contextualists, but views sample-based music as a basically objective 'art object, ' albeit one that may represent the transition to a new status quo in music.
Statement of Responsibility: by Eliot Chayt
Thesis: Thesis (B.A.) -- New College of Florida, 2005
Supplements: Accompanying materials: Includes 1 CD with Musical Examples.
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Miles, Stephen

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2005 C5
System ID: NCFE003492:00001

Permanent Link: http://ncf.sobek.ufl.edu/NCFE003492/00001

Material Information

Title: The Critique of Sample-Based Music Creating a Foundation for Understanding
Physical Description: Book
Language: English
Creator: Chayt, Eliot
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2005
Publication Date: 2005

Subjects

Subjects / Keywords: Music
Philosophy of Music
Cultural Critique
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: This thesis concerns the establishment of a discursive model for music in order to solve the problems implicit in purely technical or purely subjective criticisms of sample-based music. A purely technical criticism neglects this music's power to evoke cultural signifiers, and a purely subjective criticism has the potential to forget that that sample-based music is music at all. Foucault's Archaeology of Knowledge provides the basis for the discursive model. Examples of structural and formal critique, in the form of Heinrich Schenker and Theodor Adorno, are used to reveal the limitations of formalism for both Popular and experimental music. John Oswald's Plunderphonics project, which contains aspects of both Popular and experimental music, is used as a focus for the specific problems of criticism for the genre-straddling form of sample-based music. Music-as-discourse, a model which views musical works as the simultaneous referent of many critical discourses, is presented as a possible new formal model for determining musical meaning in sample-based music--one that specifically opens up the discourse to broader cultural concerns raised by contextualists, but views sample-based music as a basically objective 'art object, ' albeit one that may represent the transition to a new status quo in music.
Statement of Responsibility: by Eliot Chayt
Thesis: Thesis (B.A.) -- New College of Florida, 2005
Supplements: Accompanying materials: Includes 1 CD with Musical Examples.
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Miles, Stephen

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2005 C5
System ID: NCFE003492:00001

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