‘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)

References

• Adorno, T. (1992). Mahler: A musical physiognomy (E. Jephcott, Trans.). Chicago, IL: University of Chicago Press.
   Google Scholar
• Bakhtin, M. (1981). The dialogical imagination (C. Emerson & M. Holquist, Trans.). Austin, TX: University of Texas Press.
   Google Scholar
• Barham, J. (2011). Programming Mahler: Meaning, re-description, and the post-Adornian counterlife. Nineteenth-Century Music Review, 8, 255–271. doi: 10.1017/S1479409811000280
   Web of Science ®Google Scholar
• Baudrillard, J. (1985). The masses: The implosion of the social in the media (M. Maclean, Trans.). New Literary History, 16(3), 577–589. doi: 10.2307/468841
   Web of Science ®Google Scholar
• Beiner, R. (1984). Walter Benjamin's philosophy of history. Political Theory, 12(3), 423–434. doi: 10.1177/0090591784012003005
   Web of Science ®Google Scholar
• Bishop, C. (2004). Antagonism and relational aesthetics. October, 110, 51–79. doi: 10.1162/0162287042379810
   Google Scholar
• Bourriaud, N. (1998). Relational aesthetics (S. Pleasance & F. Wood, Trans.). Dijon: les presses du réel.
   Google Scholar
• Bourriaud, N. (2001). Today's art practice (Transcript of a lecture delivered on 21 September 2001, location unknown). Retrieved December 1, 2012, from http://www.sanalmuze.org/etkinliklereng/nicolasbourriaod.htm
   Google Scholar
• Bourriaud, N. (2009). Altermodern explained: Manifesto. Retrieved June 1, 2011, from http://www.tate.org.uk/whats-on/tate-britain/exhibition/altermodern/explain-altermodern/altermodern-explainedmanifesto
   Google Scholar
• Coldron, J. (2010, August 25–27). Nelson Goodman's general theory of symbols: Can it help characterise some educational concerns? Paper presented at the European Conference of Education Research, Helsinki, 1–18. Retrieved June 1, 2011, from http://shura.shu.ac.uk/2381/
   Google Scholar
• Collins, N. (2001). Introduction to Not necessarily ‘English music’ (N. Collins, Ed.). Leonardo Music Journal, 11, 1.
   Google Scholar
• Deleuze, G. (2009). Deleuze on assemblages. Interview with Giles Deleuze on A Thousand Plateaus and assemblages. Retrieved June 1, 2011, from http://larvalsubjects.wordpress.com/2009/10/08/deleuze-on-assemblages/
   Google Scholar
• Deleuze, G., & F. Guattari. (1987). A thousand plateaus (B. Massumi, Trans.). London: Athlone Press.
   Google Scholar
• Eco, U. (1992). Interpretation and overinterpretation (S. Collini, Ed.). Cambridge: Cambridge University Press.
   Google Scholar
• Fioretos, A. (1995). Contraction (Benjamin, reading, history). Modern Language Notes, 110(3), 540–564.
   Web of Science ®Google Scholar
• Foucault, M. (1980). Power/knowledge: Selected interviews and other writings 1972–1977 (C. Gordon, L. Marshall, J. Mepham & K. Soper, Trans; C. Gordon, Ed.). Brighton and Harlow: Harvester Press.
   Google Scholar
• Genette, G. (1997). Palimpsests: Literature in the second degree (C. Newman & C. Doubinsky, Trans.). Lincoln, NE and London: University of Nebraska Press. (First published 1982)
   Google Scholar
• Goodman, N. (1968). Languages of art: An approach to a theory of symbols. Indianapolis and New York: Bobbs-Merrill.
   Google Scholar
• Goodman, N. (1978). Ways of worldmaking. Indianapolis, IN: Hackett Publishing Company.
   Google Scholar
• Holm-Hudson, K. (1997). Quotation and context: Sampling and John Oswald's plunderphonics. Leonardo Music Journal, 7, 17–25. doi: 10.2307/1513241
   Web of Science ®Google Scholar
• Iyall Smith, K. E. (2008). Hybrid identities: Theoretical examinations. In K. E. Iyall Smith & P. Leavy (Eds.), Hybrid identities: Theoretical and empirical examinations (pp. 3–12). Boston, MA: Brill Academic Publishers.
   Google Scholar
• Kapchan, D. A., & P. T. Strong. (1999). Theorizing the hybrid. The Journal of American Folklore, 112(445), 239–253. doi: 10.2307/541360
   Web of Science ®Google Scholar
• Kracauer, S. (1927). Das Ornament der Masse, (Parts 1–2), Frankfurter Zeitung 71 (no. 420, June 9), Feuilleton 1; (Parts 3–6), Frankfurter Zeitung 71 (no. 423, June 10), Feuilleton 1–2.
   Google Scholar
• Kracauer, S. (1966). Time and history. History and Theory, 6(6), 65–78. doi: 10.2307/2504252
   Google Scholar
• Kraidy, M. M. (2002). Hybridity in cultural globalization. Communication Theory, 12(3), 316–339. doi: 10.1111/j.1468-2885.2002.tb00272.x
   Web of Science ®Google Scholar
• Ling, L. H. M. (2007). Said's exile: Strategic insights for postcolonial feminists. Millennium – Journal of International Studies, 36, 135–146. doi: 10.1177/03058298070360010901
   Web of Science ®Google Scholar
• Oswald, J. (1985). Plunderphonics, or audio piracy as a compositional prerogative. Talk presented to the Wired Society Electro-Acoustic Conference, Toronto. Retrieved June 1, 2011, from http://www.plunderphonics.com/xhtml/xplunder.html
   Google Scholar
• Oswald, J. (2002). Interview by David Keenan in The Wire, 219 (1 April). Retrieved June 1, 2012, from http://www.electrocd.com/en/cat/seeland_515/critiques/
   Google Scholar
• Pieterse, J. N. (2001). Hybridity, so what? The anti-hybridity backlash and the riddles of recognition. Theory Culture Society, 18(2/3), 219–245. doi: 10.1177/026327640101800211
   Web of Science ®Google Scholar
• Pieterse, J. N. (2004). Globalization and culture: Global mélange. Lanham, MD: Rowman & Littlefield Publishers.
   Google Scholar
• Ryan, B. (2009). Altermodern: A conversation with Nicolas Bourriaud (March 17, 2009). Retrieved December 1, 2012, from http://www.artinamericamagazine.com/news-opinion/conversations/2009-03-17/altermodern-a-conversation-with-nicolas-bourriaud/
   Google Scholar
• Said, E. (1994). Culture and imperialism. New York: Vintage Books.
   Google Scholar
• Shusterman, R. (1995). Rap remix: Pragmatism, postmodernism, and other issues in the house. Critical Inquiry, 22(1), 150–158. doi: 10.1086/448785
   Web of Science ®Google Scholar
• Stallybrass, P., & A. White. (1986). The politics and poetics of transgression. London: Methuen.
   Google Scholar
• Textor, M. (2008). Samples as symbols. Ratio (new series), 21(3), 344–359.
   Web of Science ®Google Scholar
• Toews, J. E. (1989). Perspectives on ‘the old history and the new’: A comment. The American Historical Review, 94(3), 693–698. doi: 10.2307/1873755
   Web of Science ®Google Scholar
• Toews, J. E. (1997). Review: A new philosophy of history? Reflections on postmodern historicizing. History and Theory, 36(2), 235–248. doi: 10.1111/0018-2656.00012
   Web of Science ®Google Scholar
• Toop, D. (2001). Not necessarily ‘English music’ (Leonardo Music Journal, CD Series Volume 11/EMF CD 036).
   Google Scholar
• Wells, H. G. (1896). The island of Dr Moreau. London: William Heinemann.
   Google Scholar
• Wohlfarth, I. (1981). History, literature and the text: The case of Walter Benjamin. Modern Language Notes, 96(5), 1002–1014.
   Web of Science ®Google Scholar