MUSIC AND MEDIA Martin Scherzinger [email protected]
“Sound design everywhere!” proclaims Steve Wurtzler in a recent commentary on the ubiquity of music in today’s world. Course Description This course investigates the mediation of music and music-‐like sounds in both private and public life. Commercial venues, from restaurants to rest rooms, pipe Muzak into its spaces; radios broadcast more music than any other content today; soundtracks imprint the texture of signifying associations for television shows and films; we carry personal playlists on mobile music players; and musical media and technologies for making music are more readily available to us on our home computers than ever before. We examine music and media from a variety of perspectives, including its cultural, sensory, technological, ideological and metaphysical dimensions; as well as the relation of music to mass media (radio, television, the internet) and the film and music industries. Learning Objectives By the end of the course, students should be able to: -‐Describe and analyze technologies of musical production and reproduction over the last hundred years. -‐Compare the various media that have shaped how music is produced, distributed, and circulated. -‐Analyze how media has been a key form through which music is monetized and consumed. -‐Deploy a set of critical tools to assess music’s mediation in its (1) cultural, (2) sensory, (3) technological, (4) metaphysical, (5) ideological, and (6) industrial contexts. -‐Critique discourses of mediation and music,
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Readings All the assigned book excerpts and articles listed on the course schedule will be made available through the New York University Blackboard system. I will upload as many audio examples as possible. These will also be found on the Blackboard site under “Course Documents” (in the folder named “Audio Examples”). Any CDs or videos that are placed on reserve will be in the Avery Fisher Center for Music and Media (on the second floor of the Bobst Library). Assignments Weekly Assignments For most weeks you will be asked to post a short response paper or a fragment of your research to the Blackboard “Discussion Board.” Your submission will be due by 6.00 p.m. Sunday evening before our next class meeting. This deadline is not negotiable. Remember, this seminar is being conceived of as a collaborative endeavor—your participation, contributions, and insights are essential. Your five best submissions will constitute 50% of your grade. Please respect the other members of this seminar by posting your work by the Sunday evening deadline. To post to the Discussion Board: Click on the button labeled “Communication” on the left-‐hand side of the Blackboard homepage for this course. Click on “Discussion Board.” Click on the appropriate topic. Click on “Add New Thread” button at the top left of the page. Attach your response to the message (there is not enough space in the box for detailed responses or large files. Note: I believe that you do need to add a subject and at least a character in the box labeled “Message” in order for your thread to be uploaded). Further information on the weekly assignments will be given in class. Sound/Video/Web Examples You might be expected to upload a sound, video or web example that illustrates some of the major themes covered in the reading for that particular week. There will be folders for this purpose on the Discussion Board. Also, insofar as it's possible, you should bring these examples with you to class.
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Research Paper In addition to the in-‐class assignments, a final research paper on an original topic that highlights aspects of modern aural culture is required for this course. We will discuss options for this paper throughout the semester (e.g., an analysis of the advertising campaign for Apple’s iPod, an ethnography of the sonic environment of New York’s public spaces, a concert report on a musical event or concert, an account of the aesthetics of sound for the 2011 election campaigns, a diagnosis of recent music/sound/recording software and its cultural impact, a history of a musical genre, etc.) This paper should be in the range of five to ten pages. Further information on this assignment will be given in class. The paper will be due by the last day of class. Evaluation Standards and Policies A=Excellent. Outstanding work in all respects. Demonstrates comprehensive and solid understanding of course material, and presents thoughtful interpretations, well focused and original insights, and well reasoned commentary and analysis. Includes skilful use of source materials, illuminating examples and illustrations, fluent expression, and contains no grammatical or typographical errors. B=Good. This work demonstrates a complete and accurate understanding of course material, presents a reasonable degree of insight and broad levels of analysis. Work reflects competence, but stays at a general or predictable level of understanding. Source materials and examples are used appropriately and articulation/writing is clear. Paper has been carefully proofread. C=Adequate/fair. This work demonstrates understanding that hits in the ballpark but which remains superficial, incomplete, or expresses some significant errors or weaknesses. Source materials may be used inadequately or inappropriately, and arguments lack concrete, specific examples and illustrations. Writing or articulation may appear vague, hard to follow, or loaded with typos and other technical errors. D=Unsatisfactory. This work demonstrates a serious lack or error in understanding, and fails to express the most rudimentary aspects of the course. Sources may be used entirely inappropriately or not at all, and writing is deficient. F=Failed. Work not submitted or attempted.
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Grading Rubric five online assignments (10 % each) one oral presentation (10 %) final research paper (20%) class participation (20%) COURSE POLICIES Absences and Lateness More than two unexcused absences will automatically result in a lower grade. Chronic lateness will also be reflected in your evaluation of participation. Regardless of the reason for your absence you will be responsible for any missed work. Travel arrangements do not constitute a valid excuse for rescheduling exams. There are no extra credit assignments for this class. Format Please type and double-‐space your written work. Typing improves the clarity and readability of your work and double-‐spacing allows room for me to comment. Please also number and staple multiple pages. You are free to use your preferred citation style. Please use it consistently throughout your writing. If sending a document electronically, please name the file in the following format Yourlastname Coursenumber Assignment1.doc Grade Appeals Please allow two days to pass before you submit a grade appeal. This gives you time to reflect on my assessment. If you still want to appeal your grade, please submit a short but considered paragraph detailing your concerns. Based on this paragraph I will review the question and either augment your grade or refine my explanation for the lost points. General Decorum Slipping in late or leaving early, sleeping, text messaging, surfing the Internet, doing homework in class, eating, etc. are distracting and disrespectful to all participants in the course. Academic Dishonesty and Plagiarism http://steinhardt.nyu.edu/policies/academic_integrity The relationship between students and faculty is the keystone of the educational experience at New York University in the Steinhardt School of Culture, Education, and Human Development. This relationship takes an honor code for granted and mutual trust, respect, and responsibility as foundational requirements. Thus, how you learn is as important as what you learn. A university education aims not only to produce high-‐quality scholars, but to also cultivate honorable citizens.
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Academic integrity is the guiding principle for all that you do, from taking exams to making oral presentations to writing term papers. It requires that you recognize and acknowledge information derived from others and take credit only for ideas and work that are yours. You violate the principle of academic integrity when you • cheat on an exam, • submit the same work for two different courses without prior permission from your professors, • receive help on a take home examination that calls for independent work, or • plagiarize. Plagiarism, one of the gravest forms of academic dishonesty in university life, whether intended or not, is academic fraud. In a community of scholars, whose members are teaching, learning, and discovering knowledge, plagiarism cannot be tolerated. Plagiarism is failure to properly assign authorship to a paper, a document, an oral presentation, a musical score, and/or other materials that are not your original work. You plagiarize when, without proper attribution, you do any of the following: • copy verbatim from a book, an article, or other media; • download documents from the Internet; • purchase documents; • report from other’s oral work; • paraphrase or restate someone else’s facts, analysis, and/or conclusions; or • copy directly from a classmate or allow a classmate to copy from you.
Your professors are responsible for helping you to understand other people's ideas, to use resources and conscientiously acknowledge them, and to develop and clarify your own thinking. You should know what constitutes good and honest scholarship, style guide preferences, and formats for assignments for each of your courses. Consult your professors for help with problems related to fulfilling course assignments, including questions related to attribution of sources.
Through reading, writing, and discussion, you will undoubtedly acquire ideas from others, and exchange ideas and opinions with others, including your classmates and professors. You will be expected, and often required, to build your own work on that of other people. In so doing, you are expected to credit those sources that have contributed to the development of your ideas.
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Avoiding Academic Dishonesty
• Organize your time appropriately to avoid undue pressure, and acquire good study habits, including note taking.
• Learn proper forms of citation. Always check with your professors of record for their preferred style guides. Directly copied material must always be in quotes; paraphrased material must be acknowledged; even ideas and organization derived from your own previous work or another's work need to be acknowledged.
• Always proofread your finished work to be sure that quotation marks, footnotes and other references were not inadvertently omitted. Know the source of each citation.
• Do not submit the same work for more than one class without first obtaining the permission of both professors even if you believe that work you have already completed satisfies the requirements of another assignment.
• Save your notes and drafts of your papers as evidence of your original work.
Disciplinary Sanctions When a professor suspects cheating, plagiarism, and/or other forms of academic dishonesty, appropriate disciplinary action may be taken following the department procedure or through referral to the Committee on Student Discipline.
Departmental Procedure
• The Professor will meet with the student to discuss, and present evidence for the particular violation, giving the student opportunity to refute or deny the charge(s).
• If the Professor confirms the violation(s), he/she, in consultation with the Program Director and Department Chair may take any of the following actions:
o Allow the student to redo the assignment o Lower the grade for the work in question o Assign a grade of F for the work in question o Assign a grade of F for the course o Recommend dismissal
Once an action(s) is taken, the Professor will inform the Program Director and Department Chair, and inform the student in writing, instructing the student to schedule an appointment with the Associate Dean for Student Affairs, as a final step. Copies of the letter will be sent to the Department Chair for his/her confidential student file and the Associate Dean for Student Affairs. The student has the right to appeal the action taken in accordance with the School's Student Complaint Procedure as outlined in The Steinhardt School of Culture, Education, and Human Development Student's Guide.
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Referral to the Steinhardt Committee on Student Discipline In cases when dismissal is recommended, and in cases of repeated violations and/or unusual circumstances, faculty may choose to refer the issue to the Committee on Student Discipline for resolution, which they may do through the Office of the Associate Dean for Student Affairs.
The Steinhardt School Statement on Academic Integrity is consistent with the New York University Policy on Student Conduct, published in the NYU Student Guide.
STUDENT RESOURCES
• Students with physical or learning disabilities are required to register with the Moses Center for Students with Disabilities, 719 Broadway, 2nd Floor, (212-‐998-‐4980) and are required to present a letter from the Center to the instructor at the start of the semester in order to be considered for appropriate accommodation.
• Writing Center: 269 Mercer Street, Room 233. Schedule an appointment online
at www.rich15.com/nyu/ or just walk-‐in.
SCHEDULE OF CLASSES
NOTE: A selection of readings will be chosen each week from the list of readings listed, the rest will be recommended and resources. MUSIC, MEDIATION, COMMUNICATION Week 1: Music as Cultural Text Small. Christopher. 1998. “Prelude: Music and Musicking.” Musicking: The Meanings of Performing and Listening. Hanover: Wesleyan University Press, pp. 1-‐18 Denora, Tia. 2000. “Music as a Device of Social Ordering.” Music and Everyday Life. New York: Cambridge University Press, pp. 109-‐150. Blacking. John. 1974. How Musical Is Man? University of Washington Press. pp. 3-‐31
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Week 2: The Sensory Turn: Immediation of Music Monson, Ingrid. 2011. “On the Sensory Turn in Music Scholarship,” Sensory ecology Abbate, Carolyn. 2004. "Music – Drastic or Gnostic?" Critical Inquiry 30, no. 3: 505-‐536 Auslander, Philip. 1999. “Tryin’ to Make it Real,” Liveness: Performance in a Mediatized Culture. London; New York: Routledge. Gumbrecht, Hans Ulrich. 2004. “Epiphany, Presentification, Deixis,” Production of Presence: What Meaning Cannot Convey. Stanford, Calif.: Stanford University Press. Massumi, Brian. “The Autonomy of Affect,” Parables of the Virtual: Movement, Affect, Sensation. Durham: Duke UP, 2002 (optional) Dean, Jodi. “Affective Networks,” MediaTropes eJournal Vol II, No 2, 2010, 19-‐44 (optional) MUSIC AND MASS MEDIA Week 3: Radio and Television Adorno, Theodor. 2002. “On Popular Music”. Essays on Music (transl. Susan H. Gillespie) Berkeley, Los Angeles, London: California University Press, 437-‐468 Douglas, Susan. 2004. “Introduction”. Listening In: Radio and the American Imagination. Minneapolis and London: University of Minnesota Press, 3-‐21 Foege, Eric. 2008. “The Backlash”. Right of the Dial: The Rise of Clear Channel and the Fall of Commercial Radio. New York: Faber and Faber, 187-‐205 Goodwin, Andrew. 1992. Dancing in the Distraction Factory: Music Television and Popular Culture. Minneapolis, MN: University of Minnesota Press. Chapter 6, pp. 131-‐155. Klein, Naomi. “The Brand Expands,” No Logo, 27-‐61 Klein, Bethany. As Heard on TV: Popular Music in Advertising. Ashgate (selections)
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Remarks made at the Forum on Media Ownership Rules held at Columbia University on January 16, 2003, Webcast of proceedings available at HYPERLINK http://www.law.columbia.edu/media_inquiries/news_events/2003/January_2003/media_owner Week 4: Cybersound, Mobile Sound Sterne, Jonathan. “Is Music a Thing?” Forthcoming in MP3: The Meaning of a Format. Durham: Duke University Press, 2012 Bull, Michael. “Bergson’s iPod? The Cognitive Management of Everyday Life,” Sound Moves: iPod Culture and Urban Experience, New York: Routledge, 2008 Ling, Rich, and Donner, Jonathan. “Introduction,” Mobile Communication. Malden: Polity, 2010, 1-‐29 Handbook of Mobile Communication (ed. James E. Katz). Ch. 10, Sherry Turkle, “Always-‐On/Always-‐on-‐You: The Tethered Self”; Ch. 14, Naomi Baron, “Adjusting the Volume: Technology and Multitasking in Discourse Control”; and Katz, James et al. “Mobile Music as Environmental Control and Prosocial Entertainment,” Cambridge: MIT Beer, David. 2007. “Tune out: Music, Soundscapes and the Urban Mise-‐en-‐Scene,” Information, Communication & Society 10: 6, 846-‐866 Gopinath, Sumanth. “Ringtones, or the Auditory Logic of Globalization”. First Monday. HYPERLINK http://www.firstmonday.org/Issues/issue10_12/gopinath/index.html Sterne, Jonathan, et al. “The Politics of Podcasting”. Fiberculture: the journal. HYPERLINK http://journal.fibreculture.org/issue13/issue13_sterne.html Bull, Michael. 2006. “Soundscapes of the Car: A Critical Study of Automobile Habituation”. The Auditory Culture Reader (eds. Michael Bull and Les Black). Oxford and New York: Berg, 357-‐374 (optional) Wurtzler, Steve. 2009. “Sound Design: Everywhere!” (unpublished)
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MUSIC INDUSTRIES Week 5: Industrial Music and Dissemination Negus, Keith. 1999. Musical Genres and Corporate Cultures. New York and London: Routledge Suisman, David. 2009. “When Songs Became a Business,” Selling Sounds: The Commercial Revolution in American Music. Harvard University Press. Dannen, F. 1990. Hit men: power brokers and fast money inside the music business. New York: Times Books. Chapter 1, pp. 3-‐17. Caves, R. E. 2002. Creative Industries. Cambridge: Harvard University Press. Chapters 3 & 9 &18 (music sections thereof), pp. 61-‐67, 146-‐160, 286-‐296 Williams, Raymond. 2003. Television, Technology and Cultural Form. New York and London: Routledge Week 6: Digital Music and Networks Wikstrom, Patrik. 2009. “Introduction – Music in the Cloud” and “Music and the Media,” in The Music Industry: Music in the Cloud. Malden, MA: Polity, 1-‐11, 85-‐117 Kernfeld, Barry, 2011. “Song Sharing,” in Pop Song Piracy: Disobedient Music Distribution Since 1929. Chicago. Benkler, Yochai. 2007. “Peer Production and Sharing,” The Wealth of Networks: How Social Production Transforms Markets and Freedom, 59-‐90. Frere-‐Jones, Sasha. 2010. “You, the DJ: Online Music Moves to the Cloud,” The New Yorker, June 14 & 21, 2010, 1389-‐139 Lessig, Lawrence. 2008. Remix: Marking Art and Commerce Thrive in the Hybrid Economy. Penguin: New York (Preface and Introduction) Burkart, Patrick. 2010. Music and Cyberliberties. Wesleyan (excerpt) Saxon, Elijah, “The Price of Free,” Social Text, November 2009 Viewing
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RIP! A Remix Manifesto (dir. Brett Gaylor) Good Copy, Bad Copy (dir. Andreas Johnsen, et al) MUSIC TECHNOLOGIES Week 7: Standardization and Reproducibility Sousa, John Philip. 1906. “The Menace of Mechanical Music” HYPERLINK http://www.phonozoic.net/n0155.htm Edison, Thomas. 1878. “The Phonograph and its Future” HYPERLINK http://www.phonozoic.net/n0020.htm Benjamin, Walter. 1969. “The Work of Art in the Age of Mechanical Reproduction”. Illuminations (ed. Hannah Arendt, transl. Harry Zorn). New York: Schocken, 217-‐251 Katz, Mark. 2004. Capturing Sound: How Technology Has Changed Music. Berkeley, Los Angeles and London: University of California Press, 1-‐47 Mowitt, John. “The Sound of Music in the Era of Its Electronic Reproducibility,” in Music and Society: The Politics of Composition, Performance and Reception, edited by Richard Leppert and Susan McClary, 173-‐197. New York: Cambridge University Press, 1987 Gitelman, Lisa. 2006. “New Media Publics.” Always Already New: Media,History and the Data of Culture, Cambridge: MIT Press, 25-‐58. Suisman, David. 2009. “Music Without Musicians.” Selling Sounds: The Commercial Revolution in American Music. Cambridge: Harvard University Press. 90-‐124. Stanyek, Jason, and Benjamin Piekut. 2010. “Deadness: Technologies of the Intermundane.” The Drama Review 54, no. 1: 14-‐38. Jackson, Myles. 2006. “The Fetish of Precision II: Standardizing Music.” Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-‐Century Germany. Cambridge: MIT Press, 183-‐220. Week 8: High Fidelity and Hyperfidelity Baudrillard, Jean. 1994. “The Precession of Simulacra”. Simulacra and Simulation (Transl. Sheila Faria Glaser). Michigan, 1-‐42
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Katz, Mark. 2004. Capturing Sound: How Technology Has Changed Music. Berkeley, Los Angeles and London: University of California Press, 48-‐71 Kittler, Friedrich. 1999. “Introduction”. Gramaphone, Film, Typewriter (Trans. Geoffrey Winthrop-‐Young and Michael Wutz). Stanford, Calif.: Stanford University Press, 1-‐19 Sterne, Jonathan. 2003. “The Social Genesis of Sound Fidelity”. The Audible Past: Cultural Origins of Sound Reproduction. Durham and London: Duke University Press, 215-‐286 Thompson, Emily. 2004. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-‐1933. Cambridge MA, London: MIT, 1-‐12 and 115-‐168 DeNora, Tia and A. Bergh. “From wind-‐up to iPod: techno-‐cultures of listening.” In The Cambridge Companion to Recorded Music, eds. Eric Clarke, Nicholas Cook, Daniel Leech-‐Wilkinson and John Rink. Cambridge: Cambridge University Press, forthcoming Théberge, Paul. “The New ‘Sound’ of Music: Technology and Changing Concepts of Music,” Any Sound You Can Imagine: Making Music/Consuming Technology, 186-‐213. Hanover: Wesleyan University Press, 1997 Week 9: Ideologies of Sonic Emplacement Meintjes, Louise. 2003. “The Recording Studio as Fetish,” Sounds of Africa! Making Music Zulu in a South African Studio. Durham and London: Duke University Press, 71-‐108 Rodgers, Tara. 2010. “Introduction.” Pink Noises: Women on Electronic Music and Sound. Durham: Duke University Press, 1-‐24 Doyle, Peter. 2005. “Harnessing the Echo.” Echo and Reverb: Fabricating Space in Popular Music Recording, Hanover: Wesleyan University Press.
Veal, Michael. 2007. “Starship Africa: The Acoustics of Diaspora and the Postcolony.” Dub: Soundscapes, and Shattered Songs in Jamaican Reggae. 196-‐219. Hanover: Wesleyan University Press
Fales, Cornelia. 2005. “Short Circuiting Perceptual Systems: Timbre in Ambient and Techno Music,” Wired for Sound: Engineering and Technologies in Sonic Cultures, edited by Paul D. Greene and Thomas Porcello, 156-‐180. Middletown: Wesleyan University Press.
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MUSIC PHILOSOPHIES Week 10: Metaphysics and Listening Sorgner, Stefan Lorenz et al. 2010. “Kant,” “Schopenhauer,” “Nietzsche” in Music in German Philosophy. Chicago. McLuhan, Marshall, “Visual and Acoustic Space,” Audioculture: Readings in Modern Music. New York: Continuum, 67-‐72 Schaefer, Pierre. “Acousmatics,” Audioculture: Readings in Modern Music. New York: Continuum, 76-‐81 Barthes, Roland. “Listening” Responsibility of Forms Chion, Michel, “The Three Listening Modes,” Audiovision: Sound on Screen. New York: Columbia UP, 1994, 25-‐34 Derrida, Jacques. “Differance,” Margins of Philosophy Crawford, Kate. 2009. “Following You: Disciplines of Listening in Social Media.” Continuum: Journal of Media and Cultural Studies, 23, no.4, 525-‐535. Week 11: Voice and Interiority Roland Barthes, “The Grain of the Voice,” in The Responsibility of Forms. Berkeley: University of California Press, 1995, 267-‐77. Dolar, Mladen. “Metaphysics of Voice,” A Voice and Nothing More Neumark, Norie, et al. 2010. Voice: Vocal Aesthetics in Digital Arts and Media. Boston: MIT Press (Essays by Leeuwen, Taussig, and Brophy) Chion, Michel. “The Acousmêtre,” The Voice of Cinema Wolfe, Charles. “Historicizing the ‘Voice of God:’ The Place of Voice-‐Over in Classical Documentary” Cavarero, Adriana. For More Than One Voice: Toward a Philosophy of Vocal Expression Eidsheim, Nina. “Voice as a Technology of Selfhood: Towards an Analysis of Racialized Timbre and Vocal Performance,” PhD dissertation, UCSD, 2008 (excerpt)
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Olwage, Grant. “The Class and Colour of Tone: An Essay on the Social History of Vocal Timbre,” Ethnomusicology Forum, 13/2, 2004, 203-‐26. Week 12: MUSIC AND AUDIOVISUAL MEDIA Belazs, Bela. 1985. “Theory of the Film: Sound,” Film Sound: Theory and Practice (eds. Elizabeth Weis and John Belton. New York: Columbia UP, 116-‐125. Miller, Kiri. 2009. “Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity,” Journal of the Society for American Music. Vol. 3 No. 4, 395-‐429 Chion, Michel. Audio-‐Vision: Sound on Screen (selections) Lastra, James. Sound Technology and the American Cinema (selections) Altman, Rick (ed.). Sound Theory Sound Practice (selections) Smith, Jeff. The Sounds of Commerce: Marketing Popular Film Music (selections) Week 13: LOOP, SAMPLE, DUB, REMIX, MASHUP: MUSIC GENRES TODAY
Chang, Jeff. “Loop 1”, Can’t Stop, Won’t Stop.
Katz, Mark. “The Breaks and the Bronx,” unpublished paper, forthcoming in 2012
Rose, Tricia. “Soul Sonic Forces: Technology, Orality, and Black Cultural Practice in Rap Music,” Black Noise: Rap Music and Black Culture in Contemporary America. Hanover and London: Wesleyan University Press, 1994, 62-‐98
Hebdige, Dick. “Rap and Hip Hop: the New York Connection,” Cut ‘n’ Mix: Culture, Identity and Caribbean Music. London and New York: Routledge, 2000 (1987), 136-‐148
Schumacher, T.G. “‘This is a sampling sport:’ Digital Sampling, Rap Music and the Law in Cultural Production”. Media, Culture and Society 17, 1995, 253-‐273
Lipsitz, George. Diasporic NoiseL History, Hip Hop, and the Post-‐colonial Politics of Sound,” Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London and New York: Verso, 1997, 23-‐4
Sylvan, Robin. Trance Formation: The Spiritual and Religious Dimensions of Global Rave Culture. New York and London: Routledge, 2005, 17-‐33 and 63-‐96
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Hallowell, Sean. “Adorno and Mashup” (forthcoming) Sinnreich, Aram. “Mash it Up!” unpublished article (summary of Mashed Up!, 2010)
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