Mashups, Sampling, and Authorship: A Mashupsampliography

BIBLIOGRAPHY

• Aaron, Charles, Fall 1989. “Gettin' Paid: Is Sampling Higher Education or Grand Theft Auto?”, Rock & Roll Quarterly [Village Voice Supplement] (Fall 1989), pp. 22–23.
   Google Scholar
• Aquilante, Dan, August 14, 2005. “Mash Bash: Amster Jam Gets Headliners Mixed Up.”, New York Post (August 14, 2005), Sunday Pulse section, 81.
   Google Scholar
• 2003. Artists, Technology & the Ownership of Creative Content: Creative Control in the Digital Age: Scenarios for the Future. Los Angeles, CA: Norman Lear Center, Annenberg School for Communication (University of Southern California); 2003.
   Google Scholar
• Aucouturier, Jean‐Julien, and Pachet, François, March 2006. “Jamming with Plunderphonics: Interactive Concatenative Synthesis of Music.” In “Audio Mosaicing.” Special issue,, Journal of New Music Research 35 (1) (March 2006), pp. 35–50.
   Web of Science ®Google Scholar
• Ayers, Michael, 2006. "“The Cyberactivism of a Dangermouse.”". In: Ayers, Michael, ed. Cybersounds: Essays on Virtual Music Culture. New York: Peter Lang; 2006. pp. 127–36, Digital Formations, vol. 31.
   Google Scholar
• Baca, Ricardo, December 27, 2004. “Making a Mash‐Up for the Masses.”, Denver Post (December 27, 2004), Scene section, F01.
   Google Scholar
• Barnett, Kyle, November 20–23, 2002. "“The Monster and the Mash‐up: The New Bootlegs vs. the Recording Industry.”". November 20–23, 2002, Presented as part of the “Technologies and Commerce” session at the Popular Music and American Culture inaugural conference, Center for American Music, University of Texas at Austin.
   Google Scholar
• Battenberg, Erik, June 3, 2002. “Bootleg Boom: 10 Years After Columbus Man Mixed Some Music, Hybrid Tunes Are Sizzling.”, Columbus (OH) Dispatch (June 3, 2002), p. 8E.
   Google Scholar
• Belanger, Gerry, July/August 1990. “Plunderphonics: Who Owns the Music?”, Option (July/August 1990), pp. 13–16.
   Google Scholar
• Bernstein, Bob, December 19, 1987. “Too Soon for Court Rulings: Sampling Challenges Copyright Theories.”, Billboard (December 19, 1987), p. 9.
   Google Scholar
• Blay, Zandile, December 13, 2004. “Monstermash: Cut‐and‐Paste Collaborations Have Created a Beast in the Music Industry.”, The Record (Bergen County, NJ) (December 13, 2004), p. F01.
   Google Scholar
• 2001. Bogdanov, Vladimir, Woodstra, Chris, Erlewine, Stephen, and Bush, John, eds. All Music Guide to Electronica: The Definitive Guide to Electronic Music. San Francisco: Backbeat Books; 2001.
   Google Scholar
• Boisvert, Anne‐Marie, April/May 2003. “On Bricolage: Assembling Culture with Whatever Comes to Hand.” Translated by Timothy Barnard., Horizon Zero 8 (April/May 2003), http://www.horizonzero.ca/textsite/remix.php?is=8&file=4&tlang=0 (accessed January 30, 2008).
   Google Scholar
• Bollier, David, and , the Annenberg School of Communications and the Norman Lear Center, 2003. "“Artists, Technology & the Ownership of Creative Content.”". In: Artists, Technology & the Ownership of Creative Content: Creative Control in the Digital Age:Scenarios for the Future. Los Angeles, CA: Norman Lear Center, Annenberg School for Communication (University of Southern California); 2003. pp. 91–123.
   Google Scholar
• Browne, David, March 19, 2004. “Clash of the Titans.” Review of The Grey Album, by Danger Mouse., Entertainment Weekly (March 19, 2004), p. 64.
   Google Scholar
• Caulfield, Keith, and Paoletta, Michael, December 11, 2004. “Technology Spawned Mash‐Up Trend,” cover story., Billboard (December 11, 2004), p. 73.
   Google Scholar
• Chang, Philip, Fall 2006. “The Song Remains the Same…Sort of.”, Phi Kappa Phi Forum 86 (4) (Fall 2006), pp. 23–26.
   Google Scholar
• Considine, Jason, June 14, 1990. “Man, Machine and Music: Larcenous Art?”, Rolling Stone (June 14, 1990), pp. 107–8.
   Google Scholar
• 2004. Cox, Christoph, and Warner, Daniel, eds. Audio Culture: Readings in Modern Music. New York: Continuum; 2004.
   Google Scholar
• Critical Art Ensemble, 1994. "“Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production.”". In: The Electronic Disturbance. Brooklyn, NY: Autonomedia; 1994, Chap. 5.
   Google Scholar
• Crosley, Hillary, July 1, 2006. “Mashing up ‘Purple Rain’: Diplomats, Bangers Join Mix‐tape Frenzy and Unleash Fresh New Tunes Using Prince's Classic Soundtrack,” Real Talk., Billboard (July 1, 2006), p. 34.
   Google Scholar
• Cruger, Roberta, August 9, 2003. “The Mash‐Up Revolution: Destiny's Child vs. Nirvana! Britney vs. Chic! The Ramones vs. ABBA! How Pop's Hottest DJs are Creating Those Wild Bootleg Remixes and Why They're So Hard to Find.”, Salon (August 9, 2003), http://dir.salon.com/story/ent/music/feature/2003/08/09/mashups_cruger/index.html (accessed April 14, 2008).
   Google Scholar
• Cutler, Chris, 2004. "“Plunderphonia.”". In: Cox, Christoph, and Warner, Daniel, eds. Audio Culture: Readings in Modern Music. New York: Continuum; 2004. pp. 138–56.
   Google Scholar
• Davies, Hugh, April 1996. “A History of Sampling.”, Organised Sound 1 (1) (April 1996), pp. 3–11.
   Google Scholar
• Dean, Katie, December 8, 2004. “Ebay Negative on Negativland iPod.”, Wired (December 8, 2004), http://www.wired.com/entertainment/music/news/2004/12/65959 (accessed February 15, 2008).
   Google Scholar
• De Luca, Fabio, 2006. "“This is Pop: How and Why Andy Warhol Had Already Understood Today's Pop Music Thirty Years Ago.”". In: Dehò, Valerio, ed. Sound Zero. Bologna, Italy: Damiani Editore; 2006. pp. 25–26, edited by.
   Google Scholar
• Demers, Joanna, April 10–13, 2003. "“Sampling, Copyright, and Creativity.”". April 10–13, 2003, Presented as part of the “Free Samples” panel session at the 2003 Pop Conference held at the Experience Music Project/Science Fiction Museum, Seattle, WA.
   Google Scholar
• Demers, Joanna, November 20–23, 2002. "“Second‐Order Simulation in Sample‐Based Pop.”". November 20–23, 2002, Presented as part of the “Technologies and Commerce” session at the Popular Music and American Culture inaugural conference, Center for American Music, the University of Texas at Austin.
   Google Scholar
• Demers, Joanna, 2006. Steal This Music: How Intellectual Property Law Affects Musical Creativity. Athens, GA: University of Georgia Press; 2006.
   Google Scholar
• Dery, Mark, 1993. Culture Jamming: Hacking, Slashing, and Sniping in the Empire of Signs. Westfield, NJ: Open Media; 1993, Open Magazine Pamphlet Series, no. 25.
   Google Scholar
• Duckworth, William, 2005. "“The Grey Album: A Case Study in Critical Mass.”". In: Virtual Music: How the Web Got Wired for Sound. New York: Routledge; 2005, Chapter 8.
   Google Scholar
• Dupler, Steven, August 2, 1986. “Digital Sampling: Is It Theft? Technology Raises Copyright Questions.”, Billboard (August 2, 1986), pp. 1–74.
   Google Scholar
• Eddy, Chuck, October 24, 1989. “Reap What You Sew,” Quilt Pop., Village Voice (October 24, 1989), pp. 83–86.
   Google Scholar
• Emmerson, Simon, 2000. "“‘Losing Touch?’: The Human Performer and Electronics.”". In: Emmerson, Simon, ed. Music, Electronic Media and Culture. Aldershot, Hants: Ashgate; 2000. pp. 194–216.
   Google Scholar
• 2000. Emmerson, Simon, ed. Music, Electronic Media and Culture. Aldershot, Hants: Ashgate; 2000.
   Google Scholar
• Eshun, Kodwo, 1998. More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books; 1998.
   Google Scholar
• Fikentscher, Kai, 2000. "“The Cult and Culture of the DJ.”". In: “You Better Work!”: Underground Dance Music in New York City. Hanover, NH: University Press of New England; 2000, Chapter 3.
   Google Scholar
• Fisher, William, 2007. Promises to Keep: Technology, Law, and the Future of Entertainment. Stanford, CA: Stanford University Press; 2007.
   Google Scholar
• Freff, 1989. What's a Sampler?: A Basic Guide to the World of Digital Sampling. Milwaukee, WI: Hal Leonard; 1989.
   Google Scholar
• Frere‐Jones, Sasha, January 10, 2005. Pop Music: “1+1+1 = 1: The New Math of Mashups.”, The New Yorker (January 10, 2005), p. 85.
   Google Scholar
• Frith, Simon, July 1986. “Art Versus Technology: The Strange Case of Popular Music.”, Media, Culture & Society 8 (3) (July 1986), pp. 263–79.
   Web of Science ®Google Scholar
• 2004. Frith, Simon, and Marshall, Lee, eds. Music and Copyright. New York: Routledge; 2004, 2nd ed.
   Google Scholar
• Fryer, Terry, December 1986. “Digital Sampling: The Legality of Sampling from Unauthorized Sources.”, Keyboard Magazine 12 (12) (December 1986), p. 120.
   Google Scholar
• Fryer, Terry, 1989. A Practical Approach to Digital Sampling. Milwaukee, WI: Hal Leonard; 1989.
   Google Scholar
• Gann, Kyle, May 1, 1990. “Sampling: Plundering for Art,” Music., Village Voice (May 1, 1990), p. 102.
   Google Scholar
• Ginsburg, Jane, 2003. "“3 Dead Rats and Sound Recordings: Authorship, Ownership, Technological Protections and Digital ‘Private’ Copying.”". In: the Annenberg School of Communications and the Norman Lear Center, , ed. Artists, Technology & the Ownership of Creative Content: Creative Control in the Digital Age: Scenarios for the Future. Los Angeles, CA: Norman Lear Center at the USC Annenberg School for Communication; 2003. pp. 39–41.
   Google Scholar
• Goodwin, Andrew, 2006. "“Rationalization and Democratization in the New Technologies of Popular Music.”". In: Bennett, Andy, Shank, Barry, and Toynbee, Jason, eds. The Popular Music Studies Reader. London: Routledge; 2006. pp. 276–82.
   Google Scholar
• Goodwin, Andrew, 1990. "“Sample and Hold: Pop Music in the Digital Age of Reproduction.”". In: Frith, Simon, and Goodwin, Andrew, eds. On Record: Rock, Pop, and the Written Word. New York: Pantheon Books; 1990. pp. 258–73.
   Google Scholar
• Gordon, Steven, and Sanders, Charles, 1989. "“The Rap on Sampling: Theft, Innovation, or What?”". In: Thorne, Robert, and Viera, John David, eds. Entertainment, Publishing and the Arts Handbook. New York: Clark Boardman Co.; 1989. pp. 207–24.
   Google Scholar
• Greenwald, Andy, August 2002. “Dirty Pop: Sample This! DIY Bootleggers Reinvent the Art of the Mix.”, Spin 18 (August 2002), p. 115.
   Google Scholar
• Gunkel, David J., October 2008. “Rethinking the Digital Remix: Mash‐Ups and the Metaphysics of Sound Recording.”, Popular Music and Society 31 (4) (October 2008), pp. 489–510.
   Web of Science ®Google Scholar
• Haupt, Adam, 2006. "“The Technology of Subversion: From Digital Sampling in Hip‐Hop to the MP3 Revolution.”". In: Ayers, Michael, ed. Cybersounds: Essays on Virtual Music Culture. New York: Peter Lang; 2006. pp. 107–25, Digital Formations, vol. 31.
   Google Scholar
• Hegarty, Paul, 2007. Noise/Music: A History. New York: Continuum; 2007.
   Google Scholar
• Hennion, Antoine, July 1999. “Music Industry and Music Lovers, Beyond Benjamin: The Return of the Amateur.”, Soundscapes 2 (July 1999), http://www.icce.rug.nl/∼soundscapes/DATABASES/MIE/Part2_chapter06.shtml (accessed February 6, 2008).
   Google Scholar
• Herman, Bill D., March 2006. “Scratching Out Authorship: Representations of the Electronic Music DJ at the Turn of the 21st Century.”, Popular Communication 4 (1) (March 2006), pp. 21–38.
   Google Scholar
• Hesmondhalgh, David, March 2006. “Digital Sampling and Cultural Inequality.”, Social & Legal Studies 15 (1) (March 2006), pp. 53–75.
   Web of Science ®Google Scholar
• Hess, Mickey, 2007. "“Sampling and Stealing.”". In: Is Hip Hop Dead?: The Past, Present, and Future of America's Most Wanted Music. Westport, CT: Praeger; 2007, Chapter 4.
   Google Scholar
• Holland, Bill, and Dupler, Steven, August 9, 1986. “Experts Doubt Legality of Sampling.”, Billboard (August 9, 1986), pp. 4–84.
   Google Scholar
• Holmes, Thom, 2002. Electronic and Experimental Music: Pioneers in Technology and Composition. New York: Routledge; 2002, 2nd ed.
   Google Scholar
• 2006. Holmes, Thom, ed. The Routledge Guide to Music Technology. New York: Routledge; 2006.
   Google Scholar
• Horowitz, Devon, June 1998. “‘I Need a Beat…’: Digging in the Crates with Prince Paul.”, The Source 105 (June 1998), pp. 40–42.
   Google Scholar
• Houpt, Simon, May 15, 2004. “FrankenArt: The Mix and Mash Future.”, The Globe and Mail (Toronto) (May 15, 2004), p. R1‐2.
   Google Scholar
• Howard‐Spink, Sam, October 2004. “Grey Tuesday, Online Cultural Activism and the Mash‐Up of Music and Politics.”, First Monday 9 (10) (October 2004), http://firstmonday.org/issues/issue9_10/howard/index.html (accessed February 6, 2008).
   Google Scholar
• Huhn, Mary, January 8, 2005. “Mash‐Up Mania: Odd Couple Genre‐Benders Make Beautiful Music Together.”, New York Post (January 8, 2005), p. 23.
   Google Scholar
• Igma, Norman, Summer 1990. “Recipes for Plunderphonics: An Interview with John Oswald.” Pt. 1., Musicworks 47 (Summer 1990), pp. 4–10.
   Google Scholar
• Johnson, Emma, March 11, 2005. “Belgium Brothers Have Bags of Enthusiasm,” Clubs., Liverpool Echo (March 11, 2005), p. 2.
   Google Scholar
• Johnson, Kevin C., January 30, 2005. “Shades of ‘Black’ ‘White’ ‘Grey.”’, St. Louis Post‐Dispatch (January 30, 2005), p. F03.
   Google Scholar
• Johnstone, Chris, January 2004. “Underground Appeal: A Sample of the Chronic Questions in Copyright Law Pertaining to the Transformative Use of Digital Music in a Civil Society.”, Southern California Law Review 77 (2) (January 2004), pp. 397–432.
   Web of Science ®Google Scholar
• Jones, Steve, 1992. Rock Formation: Music, Technology, and Mass Communication. Newbury Park, CA: Sage Publications; 1992.
   Google Scholar
• Katz, Mark, 2004. "“Music in 1s and 0s: The Art and Politics of Digital Sampling.”". In: Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press; 2004, Chap. 7.
   Google Scholar
• Kot, Greg, March 12, 2004. “Black Plus White Equals Wow.”, Courier‐Mail (Australia) (March 12, 2004), p. 48.
   Google Scholar
• Lawrence, Dale, April 10–13, 2003. "“Mashups: Forcing Rock's Hand.”". April 10–13, 2003, Presented as part of the “Rhetorics of Technology” panel session at the 2003 Pop Conference held at the Experience Music Project/Science Fiction Museum, Seattle, WA.
   Google Scholar
• Lawrence, Dale, December 3, 2002. “Two Boots: Stiff Old Bands Get Down Like That.”, Village Voice (December 3, 2002), http://www.villagevoice.com/2002‐12‐03/music/two‐boots/ (accessed January 30, 2008).
   Google Scholar
• Lessig, Lawrence, 2001. The Future of Ideas: The Fate of the Commons in a Connected World. New York: Random House; 2001.
   Google Scholar
• Longhurst, Brian, 2007. Popular Music and Society. Cambridge: Polity; 2007, 2nd ed.
   Google Scholar
• Lysloff, René, Spring–Summer 1997. “Mozart in Mirrorshades: Ethnomusicology, Technology, and the Politics of Representation.” In “Issues in Ethnomusicology.” Special issue,, Ethnomusicology 41 (2) (Spring–Summer 1997), pp. 206–19.
   Web of Science ®Google Scholar
• Marshall, Wayne, November 2–5, 2006. "“Mashup Poetics as Pedagogical Practice.”". November 2–5, 2006, Presented as part of the “Collisions, Mashups, and Trajectories: New Intersections in the Analytic Landscape” session at the 72nd annual meeting of the Society for Music Theory, Los Angeles, CA.
   Google Scholar
• Maurstad, Tom, July 28, 2002. “Music Mergers.”, Dallas Morning News (July 28, 2002), p. E01.
   Google Scholar
• McCourt, Tom, May 2005. “Collecting Music in the Digital Realm,” Forum., Popular Music and Society 28 (2) (May 2005), pp. 249–52.
   Web of Science ®Google Scholar
• McLeod, Kembrew, February 2005. “Confessions of an Intellectual (Property): Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist‐Academic,” Forum., Popular Music and Society 28 (1) (February 2005), pp. 79–93.
   Web of Science ®Google Scholar
• Metzer, David, 2003. "“Sampling and Thievery.”". In: Quotation and Cultural Meaning in Twentieth‐Century Music. Cambridge: Cambridge University Press; 2003, Chapter 5.
   Google Scholar
• Micallef, Ken, June 1, 2005. “Z‐Trip.”, Remix (June 1, 2005), http://remixmag.com/mag/remix_ztrip/index.html (accessed February 6, 2008).
   Google Scholar
• Miller, Paul [DJ Spooky], April/May 2003. “Loops of Perception: Sampling, Memory, and the Semantic Web.”, Horizon Zero 8 (April/May 2003), http://www.horizonzero.ca/textsite/remix.php?is=8&file=3&tlang=0 (accessed January 30, 2008).
   Google Scholar
• 2008. Miller, Paul [DJ Spooky], ed. Sound Unbound: Sampling Digital Music and Culture. Cambridge, MA: MIT Press; 2008.
   Google Scholar
• Morales, Riggs, December 2000. “Ear to the Street: Music Matters‐The Death of Sampling.”, The Source 135 (December 2000), p. 55.
   Google Scholar
• Morales, Riggs, September 1999. “Record Breakin': Diggin'.”, The Source 120 (September 1999), pp. 166–70.
   Google Scholar
• Negativland, 1995. Fair Use: The Story of the Letter U and the Numeral 2. Concord, CA: Seeland; 1995.
   Google Scholar
• Norris, Chris, December 15, 2002. “The Year in Ideas: Mash‐ups.”, New York Times Magazine (December 15, 2002), pp. sec. 6–102.
   Google Scholar
• Oswald, John, 2004. "“Bettered by the Borrower: The Ethics of Musical Debt.”". In: Cox, Christoph, and Warner, Daniel, eds. Audio Culture: Readings in Modern Music. New York: Continuum; 2004. pp. 131–37.
   Google Scholar
• Oswald, John, 1995. "“Creatigality.”". In: Sakolsky, Ron, and Ho, Fred Wei‐han, eds. Sounding Off! Music as Subversion/Resistance/Revolution. Brooklyn, NY: Autonomedia; 1995. pp. 87–89.
   Google Scholar
• Oswald, John, Winter 1986. “Plunderphonics or, Audio Piracy as a Compositional Prerogative.”, Musicworks 34 (Winter 1986), pp. 5–8.
   Google Scholar
• Paoletta, Michael, December 11, 2004. “Linkin Park, Jay‐Z Come Together on ‘Collision Course.”’, Billboard (December 11, 2004), pp. 3–73.
   Google Scholar
• Paoletta, Michael, December 25, 2004. “Mash‐Ups, Dance‐Rock Lead Breakthroughs,” Beat Box., Billboard (December 25, 2004), p. 38.
   Google Scholar
• Pareles, Jon, August 27, 1989. “In Pop, Whose Song is it, Anyway?”, New York Times (August 27, 1989), pp. H1–26.
   Google Scholar
• Parvaz, D., March 19, 2005. “iPod Night: Clubbers' 15 Minutes of DJ Fame.”, Seattle Post‐Intelligencer (March 19, 2005), p. E1.
   Google Scholar
• Perkins, Stephen, 1995. "“Plagiarism®: An Interview with the Tape‐beatles.”". In: Sakolsky, Ron, and Ho, Fred Wei‐han, eds. Sounding Off! Music as Subversion/Resistance/Revolution. Brooklyn, NY: Autonomedia; 1995. pp. 217–24.
   Google Scholar
• Phillips, Dom, February 27, 2002. “Smells Like Teen Booty: What Do You Get If You Cross Destiny's Child with Nirvana? Dom Phillips Enters the Weird World of the ‘Mash‐Up’ Remix,” Arts., Guardian (London) (February 27, 2002), pp. sect. G2–G11.
   Google Scholar
• Pinch, Trevor, and Bijsterveld, Karin, October 2004. “Sound Studies: New Technologies and Music.” Special issue., Social Studies of Science 34 (5) (October 2004), pp. 635–48.
   Web of Science ®Google Scholar
• Poschardt, Ulf, 1998. DJ Culture. London: Quartet Books; 1998, Translated by Shaun Whiteside.
   Google Scholar
• Prendergast, Mark, 2000. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age. New York: Bloomsbury; 2000.
   Google Scholar
• Preve, Francis, January 2006. “Mash It Up: It's Caught on in a Flash, and the Hottest Mash‐Up Producers in the World are on Hand to Show You How to Do Your Own.”, Keyboard 32 (1) (January 2006), pp. 38–44.
   Google Scholar
• Quirk, Tim, April 10–13, 2003. "“I Was Going to Name This Paper After a Famous Song, But the Label Demanded Five Grand and the Publisher Wanted Half of Any Money It Ever Earned: Why Every Artist Should be Horrified by Sampling Laws.”". April 10–13, 2003, Presented as part of the “Free Samples” panel session at the 2003 Pop Conference held at the Experience Music Project/Science Fiction Museum, Seattle, WA.
   Google Scholar
• Reynolds, Simon, 1998. Generation Ecstasy: Into the World of Techno and Rave Culture. Boston: Little, Brown and Co.; 1998.
   Google Scholar
• Reynolds, Simon, and Stubbs, David, 1990. "“The End of Music: Sampling.”". In: Reynolds, Simon, ed. Blissed Out: The Raptures of Rock. London: Serpent's Tail; 1990. pp. 167–71.
   Google Scholar
• Rimmer, Matthew, 2007. Digital Copyright and the Consumer Revolution: Hands Off My iPod. Cheltenham, UK: Edward Elgar; 2007.
   Google Scholar
• Rose, Tricia, 1994. "“Give Me a (Break) Beat!: Sampling and Repetition in Rap Production.”". In: Bender, Gretchen, and Druckrey, Timothy, eds. Culture on the Brink: Ideologies of Technology. Seattle, WA: Bay Press; 1994. pp. 249–58, Discussions in Contemporary Culture, no. 9.
   Google Scholar
• Roseman, Jordan [DJ Earworm], 2007. Audio Mashup Construction Kit. Indianapolis, IN: Wiley; 2007.
   Google Scholar
• Rule, Greg, October 1997. “DJ Shadow + Akai MPC  =  History.”, Keyboard 23 (10) (October 1997), pp. 51–53.
   Google Scholar
• 1995. Sakolsky, Ron, and Ho, Fred Wei‐han, eds. Sounding Off! Music as Subversion/Resistance/Revolution. Brooklyn, NY: Autonomedia; 1995.
   Google Scholar
• Sanjek, David, 1994. "“‘Don't Have to DJ No More’: Sampling and the ‘Autonomous’ Creator.”". In: Woodmansee, Martha, and Jaszi, Peter, eds. The Construction of Authorship: Textual Appropriation in Law and Literature. Durham, NC: Duke University Press; 1994. pp. 343–60.
   Google Scholar
• Sanjek, David, 2003. "“Fairly Used: Negativland's U2 and the Precarious Practice of Acoustic Appropriation.”". In: Lysloff, René, and Gay, Jr, Leslie, eds. Music and Technoculture. Middletown, CT: Wesleyan University Press; 2003. pp. 358–78.
   Google Scholar
• Schloss, Joseph, 2004. Making Beats: The Art of Sample‐Based Hip‐Hop. Middletown, CT: Wesleyan University Press; 2004.
   Google Scholar
• Schumacher, Thomas G., April 1995. “‘This is a Sampling Sport’: Digital Sampling, Rap Music and the Law in Cultural Production.”, Media, Culture & Society 17 (2) (April 1995), pp. 253–73.
   Web of Science ®Google Scholar
• Schütze, Bernard, April/May 2003. “Samples from the Heap: Notes on Recycling the Detritus of a Remixed Culture.”, Horizon Zero 8 (April/May 2003), http://www.horizonzero.ca/textsite/remix.php?tlang=0&is=8&file=5 (accessed January 30, 2008).
   Google Scholar
• Schwarz, Diemo, March 2006. “Concatenative Sound Synthesis: The Early Years.”, Journal of New Music Research 35 (1) (March 2006), pp. 3–22.
   Web of Science ®Google Scholar
• Serazio, Michael, February 2008. “The Apolitical Irony of Generation Mash‐up: A Cultural Case Study in Popular Music.”, Popular Music and Society 31 (1) (February 2008), pp. 79–94.
   Web of Science ®Google Scholar
• Sherwin, Adam, April 26, 2004. “Just Steal My Greatest Hits, Says Bowie: Singer is Collaborating with ‘Bedroom DJs’ Who Create Illegal Bootlegs of Popular Songs.”, The Times (London) (April 26, 2004), p. 3.
   Google Scholar
• Sinnreich, Aram, and Gluck, Marissa, “Music and Fashion: The Balancing Act Between Creativity and Control.”, Paper presented at the Norman Lear Center Conference, Annenberg School for Communication (University of Southern California), January 29, 2005. http://learcenter.org/pdf/RTSSinnreichGluck.pdf (accessed February 15, 2008).
   Google Scholar
• Sloop, John, and Herman, Andrew, 1998. "“Negativland, Out‐law Judgments, and the Politics of Cyberspace.”". In: Swiss, Thomas, Sloop, John, and Herman, Andrew, eds. Mapping the Beat: Popular Music and Contemporary Theory. Malden, MA: Blackwell Publishers; 1998. pp. 291–311.
   Google Scholar
• Sternstein, Aliya, July 21, 2003. “Mashups.”, Forbes (July 21, 2003), p. 145.
   Web of Science ®Google Scholar
• Stewart, Dave, August 1986. “Factory Samples are a Disease: Originality is the Cure,” Private Lesson—Rock Keyboards., Keyboard Magazine 12 (8) (August 1986), p. 97.
   Google Scholar
• Stewart, Dave, September 1986. “Sampling, Splitting and Layering in the Real World,” Private Lesson—Rock Keyboards., Keyboard Magazine 12 (9) (September 1986), p. 104.
   Google Scholar
• Strauss, Neil, May 9, 2002. “Spreading by the Web: Pop's Bootleg Remix.”, New York Times (May 9, 2002), pp. A1–C14.
   Google Scholar
• Striphas, Ted, and McLeod, Kembrew, March‐May 2006. “Strategic Improprieties: Cultural Studies, the Everyday, and the Politics of Intellectual Properties.”, Cultural Studies 20 (2–3) (March‐May 2006), pp. 119–44.
   Web of Science ®Google Scholar
• Sturm, Bob, Winter 2006. “Adaptive Concatenative Sound Synthesis and Its Application to Micromontage Composition.”, Computer Music Journal 30 (4) (Winter 2006), pp. 46–66.
   Web of Science ®Google Scholar
• Sturm, Bob, March 2006. “Concatenative Sound Synthesis and Intellectual Property: An Analysis of the Legal Issues Surrounding the Synthesis of Novel Sounds from Copyright‐Protected Work.”, Journal of New Music Research 35 (1) (March 2006), pp. 23–33.
   Web of Science ®Google Scholar
• Sylvester, Nick, March 1, 2005. “Mixed Mulatto: Melting ZZ and Jay‐Z and All Kinds of Purple Haze into the Pot.”, Village Voice (March 1, 2005), http://www.villagevoice.com/2005‐03‐01/music/mixed‐mulatto/ (accessed April 14, 2008).
   Google Scholar
• Tankel, Jonathan, September 1990. “The Practice of Recording Music: Remixing as Recoding.”, Journal of Communication 40 (3) (September 1990), pp. 34–46.
   Web of Science ®Google Scholar
• Tate, Greg, November 22, 1988. “Diary of a Bug,” Music., Village Voice (November 22, 1988), p. 73.
   Google Scholar
• Taylor, Charles, August 9, 2003. “A Love Song to Bastard Pop.”, Salon (August 9, 2003), http://dir.salon.com/story/ent/music/feature/2003/08/09/mashups_taylor/index.html (accessed April 14, 2008).
   Google Scholar
• Taylor, Chris, March 24, 2003. “Mix and Mash‐Up.”, Time (March 24, 2003), p. 78.
   PubMedGoogle Scholar
• Taylor, Timothy, 2001. Strange Sounds: Music, Technology & Culture. New York: Routledge; 2001.
   Google Scholar
• Terdiman, Daniel, May 4, 2004. “Mashup Artists Face the Music.”, Wired (May 4, 2004), http://www.wired.com/entertainment/music/news/2004/05/63314 (accessed February 15, 2008).
   Google Scholar
• Tharps, Lori, July 1998. “Who You Jackin': The High Cost of Today's Sampling.”, The Source 106 (July 1998), p. 34.
   Google Scholar
• Théberge, Paul, 2003. "“‘Ethnic Sounds’”: The Economy and Discourse of World Music Sampling.”". In: Lysloff, René, and Gay, Leslie, eds. Music and Technoculture. Middletown, CT: Wesleyan University Press; 2003. pp. 93–108, edited by.
   Google Scholar
• Théberge, Paul, 1993. "“Random Access: Music, Technology, Postmodernism.”". In: Miller, Simon, ed. The Last Post: Music After Modernism. Manchester, UK: Manchester University Press; 1993. pp. 150–82.
   Google Scholar
• Thom, Juan Carlos, 1988. “Digital Sampling: Old‐Fashioned Piracy Dressed Up in Sleek New Technology.”, Loyola of Los Angeles Entertainment Law Journal 8 (2) (1988), pp. 297–336.
   Google Scholar
• Toop, David, 2004. "“Sampling the World.”". In: Haunted Weather: Music, Silence, and Memory. London: Serpent's Tail; 2004, Chapter 4.
   Google Scholar
• Toynbee, Jason, March 2006. “Copyright, the Work and Phonographic Orality in Music.”, Social & Legal Studies 15 (1) (March 2006), pp. 77–99.
   Web of Science ®Google Scholar
• Veal, Michael E., 2007. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. Middletown, CT: Wesleyan University Press; 2007.
   Google Scholar
• Vrabel, Jeff, February 25, 2004. “Another ‘Grey’ Area of Sampling: Danger Mouse Steals Beats from Right Traps.”, Chicago Sun‐Times (February 25, 2004), p. 67.
   Google Scholar
• Warner, Timothy, 2003. "“Who's Afraid of the Art of Noise?”". In: Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution. Aldershot, Hants: Ashgate; 2003, Chap. 7.
   Google Scholar
• Watercutter, Angela, April 24, 2007. “The 2007 Rave Awards. Music: The Synthesizer. A Review of Gregg Gillis/Girl Talk's Night Ripper.”, Wired (April 24, 2007), http://www.wired.com/culture/lifestyle/multimedia/2007/04/ss_raves?slide=10 (accessed February 15, 2008).
   Google Scholar
• Waters, Simon, 2000. "“Beyond the Acousmatic: Hybrid Tendencies in Electroacoustic Music.”". In: Emmerson, Simon, ed. Music, Electronic Media, and Culture. Aldershot, Hants: Ashgate; 2000. pp. 56–83.
   Google Scholar
• Watkins, Glenn, 1994. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the Postmodernists. Cambridge, MA: Belknap Press; 1994.
   Google Scholar
• Wick, Robert, 1997. Electronic and Computer Music: An Annotated Bibliography. Westport, CT: Greenwood Press; 1997.
   Google Scholar
• Wilson, Carl, December 11, 2004. “Who Says Irony is Dead? Apple, Apparently.”, The Globe and Mail (Toronto) (December 11, 2004), p. R4.
   Google Scholar