TAILIEUCHUNG - On the process and aesthetics of sampling in electronic music production*

Mulford et al conclude that attractive people ‘have more opportunities for social exchange, but those opportunities are with others who are relatively inclined to cooperate.’ (1998, 1585). Significantly, the same researchers also identify subjects’ perceptions of their own attractiveness as important determinants of behaviour. It is important to recognise the emotional aspect of beauty. Kirwan considers ‘not the objective qualities of the beautiful, but rather the dynamics of the event of beauty, the perception of beauty that is the mental state which issues in the feeling that a thing is beautiful’. (Kirwan 1999, 4). In a. | On the process and aesthetics of sampling in electronic music production TARA RODGERS 3900 Altamont Ave Oakland CA 94605 USA E-mail trodgers@ Most scholars writing on the use of samplers express anxiety over the dissolution of boundaries between human-generated and automated musical expression and focus on the copyright infringement issues surrounding sampling practices without adequately exploring samplists musical and political goals. Drawing on musical examples from various underground electronic music genres and on interviews with electronic musicians this essay addresses such questions as What is a sampler and how does the sampling process resonate with or diverge from other traditions of instrument-playing How do electronic musicians use the automated mechanisms of digital instruments to achieve nuanced musical expression and cultural commentary What are some political implications of presenting sampled and processed sounds in a reconfigured compositional environment By exploring these issues I hope to counter the over-simplified uninformed critical claims that sampling is a process of theft and automation and instead offer insight into the myriad and complex musical and political dimensions of sampling in electronic music production. This essay will examine the process and aesthetics of sampling in electronic music production in detail and aim to shift the focus from well-worn debates over copyright infringement issues by pointing toward greater understanding of the musical attributes of samplers and other digital instruments - which might be considered a new family of instruments like woodwinds or strings with a particular set of musical possibilities to be learned and explored. I will provide an overview of sampling practices and break down the prevalent discourse on sampling - the main thread in this discourse being how sampling functions as a postmodern process of musical appropriation and pastiche often filtered through modernist conceptions of

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