‘Not Necessarily Mahler’: Remix, Samples and Borrowing in the Age of WikiFootnote
^†The title of this article is taken from the CD collection of UK experimental music from 1960 to 1977, curated by Toop (Citation2001). In his introduction to the CD, editor of Leonardo Music Journal, Nicolas Collins, writes:
The British experimental music that emerged in the mid-1960s owed as much to … Pop sensibility as to the dominant European modernist style … Composers got on stage to play, rejecting the classical distinction between creator and interpreter; they drew on musical material and ideas outside the high-art canon, including Pop and ‘World’ music. (Collins, Citation2001, p. 1)

Jeremy BarhamCorrespondence[email protected]

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Niyi Akingbe & Paul Ayodele Onanuga. (2020) ‘Voicing Protest’: Performing Cross-Cultural Revolt in Gambino's ‘This is America’ and Falz's ‘This is Nigeria’. Contemporary Music Review 39:1, pages 6-36.
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Juliette Yu-Ming Lizeray & Chee-Hoo LumChee-Hoo Lum. 2018. Semionauts of Tradition. Semionauts of Tradition 107 123 .

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