something else I did

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Searchable Keywords

Plunderphonics, audio editing, resampling, music production, Chinese music, sound collage, cultural representation, interactive experience.

Abstract

This paper discusses the first plunderphonics album created by a Chinese producer. Given that this genre fundamentally relies on the re-creation of existing audios, its development has been hindered by the unique evolution of China's music industry, resulting in a lack of exploration in this area. The producer seeks to address this gap, aiming to enhance the recognition of this distinctive genre within China while contributing a Chinese perspective to the global plunderphonics landscape. By using the audio editing, collage, resampling, and stereo mixing techniques, the producer translates these practices into a musical language that reflects his understanding of a specific geographical and temporal context. The album incorporates sampled audio spanning from the 1960s to the present, from every continent in the earth, with over two hundred samples combined into an innovative auditory experience. Listeners are not only treated to captivating music but also encouraged to delve into the sampling sources behind the album, gaining insight into the producer's cultural background and entering a uniquely constructed worldview.

The Concept of Plunderphonics

The concept of Plunderphonics, as articulated by John Oswald in his influential essay, highlights the transformative potential of sampling within music composition. Oswald argues that "audio piracy" is not merely theft but a legitimate compositional prerogative that allows artists to create new narratives from existing sound sources. This foundational idea resonates deeply with my project, which seeks to explore and expand this practice through innovative soundscapes.

The Context of Plunderphonics in China

Historically, the Chinese music industry has struggled to effectively integrate with mainstream global music due to political issues, resulting in a lack of distinctive works that resonate internationally. This has led to the phenomenon where, despite over thirty years of sampling music gaining popularity worldwide, Chinese music has rarely been mentioned and significant barriers to the adoption of sampling practices common in Western music.. However, in recent years, influenced by cultural globalization, Chinese music has begun to emerge with powerful and intricate original works. As a result, the exploration of plunderphonics has been limited. However, the rise of digital technology and the increasing availability of sound resources have created new opportunities for innovation. This producer seeks to leverage these advancements to introduce plunderphonics to a broader audience in China, thereby enriching Chinese musical diversity.

Methodology

The album employs various audio editing, collage, and mixing techniques, which are essential to the plunderphonics style. By selecting the samples and translating these practices into a musical language, the producer reflects his understanding of specific geographical and temporal contexts. This approach allows for a nuanced interpretation of sounds from diverse cultures, fostering a dialogue between them.

Sample Selection

The album features more than two hundred samples, curated from audio recordings spanning from the 1960s to the present and sourced from every continent on the earth. This selection not only showcases the richness of global musical traditions but also highlights the producer's intent to create a vibe of sound that resonates with a wide range of listeners. Each sample is selected not just for its sonic particularity but also for its cultural significance, thereby infusing the work with deeper meaning.

Cultural Impact and Global Perspective

The Avalanches’ album ’Since I Left You’ serves as a pivotal reference point in my work. The seamless blending of diverse samples into a cohesive musical narrative exemplifies the creative possibilities within plunderphonics. Their approach to layering distinct sonic elements inspires my project’s aim to craft intricate sound collages that evoke nostalgia while pushing the boundaries of genre.

By incorporating samples that reflect various cultural backgrounds, the producer invites listeners to engage with the music on multiple levels. The album serves as a platform for exploring the narratives behind each sample, encouraging audiences to delve into the sampling sources and gain insight into the producer's cultural heritage. Cornelius's ’Fantasma’ showcases a playful manipulation of sound and genre, effectively challenging traditional musical forms. My project will draw from this ethos, aiming to incorporate unexpected sound juxtapositions that invite listeners to engage with music in a novel way.

Also, DJ Shadow’s seminal work, ‘Endtroducing’, is frequently cited as a landmark in sample-based music. Shadow’s ability to weave samples into a hauntingly cohesive narrative demonstrates the power of plunderphonics in storytelling. In my own compositions, I intend to harness this narrative potential by using samples to create atmospheric soundscapes that evoke specific emotions and memories. My project aims to integrate various influences not only to pay homage to my predecessors but also to carve out new territory within the plunderphonics genre. By juxtaposing influences from The Avalanches, Cornelius, and DJ Shadow, I plan to create a sound that is both familiar and innovative, challenging listeners’ perceptions of sampling and originality.

There remains a significant gap in academic discourse regarding the emotional impact of plunderphonics. While much has been written about its technical aspects, less attention has been paid to how these sample-based compositions affect listener emotions. My research will explore this area, investigating how recontextualized samples can evoke nostalgia, joy, or even melancholy in audiences.

Legality of Sampling in Plunderphonics

1.Copyright Law and Sampling:

- Sampling involves using portions of existing audio recordings, which raises legal questions about copyright. The legality often hinges on the concept of "fair use," which allows limited use of copyrighted material without permission under specific circumstances. This work discusses the tension between copyright law and creative practices, including sampling, emphasizing the need for a more open approach to cultural production.

2. Artistic Legitimacy:

- John Oswald, a key figure in plunderphonics, argues that sampling is a legitimate compositional technique that allows artists to create new narratives from existing sounds. This essay articulates the idea that using existing audio is not merely theft but a valid form of artistic expression.

Anti-Establishment Ethos

1. Subverting Mainstream Culture:

- Plunderphonics challenges traditional notions of authorship and originality, often presenting itself as a form of resistance against commercialized music culture. This paper explores how sampling can be seen as a political act that critiques mainstream cultural production.

2. Recontextualization and Critique:

- By recontextualizing samples, plunderphonics artists often comment on the cultural artifacts they use, creating a dialogue about consumerism, media saturation, and artistic integrity. Huber discusses how sampling practices serve as a form of cultural commentary, reflecting societal issues and challenging dominant narratives.

As those essay description. The ethics of sampling as a complex issue, raising questions about ownership and creativity. This album will address these ethical considerations by consciously selecting public domain samples and collaborating with living artists. This approach not only respects original creators but also fosters a sense of community within the sampling culture.

Conclusion

The interplay between technology and creativity in plunderphonics is another area ripe for exploration. Yilin Liu’s project will leverage these resources and skills to create intricate sound designs that reflect a modern interpretation of Chinese Plunderphonics, pushing the boundaries of what is possible in sample-based music.

Finally, this album aims to contribute to the ongoing evolution of plunderphonics by experimenting with hybrid forms that blend sampling with live instrumentation. This innovative approach will differentiate Yilin Liu from existing albums by creating a unique sonic landscape that honors the past while looking toward the future of music composition.