in-depth overview on the History of Sampling

Jon Leidecker is producing an in-depth overview on the History of Sampling. His show, entitled VARIATIONS, is available online at: http://bit.ly/9aMeSJ

The first episode (http://bit.ly/bRLW2u) exposes that the idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings.

cheers, checking it out now!

thanks!

fuck yeah i've been waiting for this, for those who don't know Jon Leidecker = Wobbly, collaborator with Matmos & People like Us

This is a fascinating listen. Thank you for this.

needs more reverb as its very dry

  On 9/3/2010 at 5:00 AM, autopilot said:

This is a fascinating listen. Thank you for this.

^I second that, thanks for posting this.

thank you!

Thanks a lot lot lot! Great site! Love the MACBA.

i haven't had a chance to watch this yet, so i ask is there anything on the JAMs/KLF?! the JAMs 1987/shag times stuff was, IMHO, pivotal in ushering the modern age of oversampling by taking it to such an extreme they had to literally burn copies of 1987 and toss them off of boats.

  On 9/5/2010 at 7:38 PM, no carrier said:

i haven't had a chance to watch this yet, so i ask is there anything on the JAMs/KLF?! the JAMs 1987/shag times stuff was, IMHO, pivotal in ushering the modern age of oversampling by taking it to such an extreme they had to literally burn copies of 1987 and toss them off of boats.

this is part one ( of six) covering 1908 - 1960, not sure if he's going to talk about the KLF much i'd imagine in the 80s he's going to focus more on hiphop culture and Negativeland or John Oswald.

hmm i feel dumb i didn't realize that this was almost a year old, here are all the other parts - http://rwm.macba.cat/en/jon_leidecker-tag

  On 9/5/2010 at 9:45 PM, Awepittance said:

  On 9/5/2010 at 7:38 PM, no carrier said:

i haven't had a chance to watch this yet, so i ask is there anything on the JAMs/KLF?! the JAMs 1987/shag times stuff was, IMHO, pivotal in ushering the modern age of oversampling by taking it to such an extreme they had to literally burn copies of 1987 and toss them off of boats.

 

this is part one ( of six) covering 1908 - 1960, not sure if he's going to talk about the KLF much i'd imagine in the 80s he's going to focus more on hiphop culture and Negativeland or John Oswald.

He actually discusses the KLF in the last part as well as the British scene (Coldcut, M|A|R|R|S, etc) specifically 1987 (What the Fuck Is Going On?), I think he mentions Negativeland in more than one section because of their longer career and his personal experience listening to them. The whole series is quite comprehensive and very informative without being overly academic or pretentious.

i havent gotten that far into it yet. Did you already listen to the whole thing?

  On 9/17/2010 at 2:14 AM, Awepittance said:

i havent gotten that far into it yet. Did you already listen to the whole thing?

I did indeed. I digitize documents all day and the upside is I get to listen to a lot

Nice one for posting.

You might be also be interested in Jon Leidecker's conceptual mix on the relationship between avant-garde and pastoral landscape.

"Pastoral V.2" is a curated overview hoping to underline the history of those classic works of electronic and concrète music which sought to mimic and extend the voices and sounds of our pastoral landscape, which can be closer to the heart of the medium's inherent potential than the more common identifications with inhuman or alienated expressions of industrial culture.

The emerging medium of electronic music found its way to a wider public audience in the 1950's, accompanied by descriptions of the sounds as inherently unearthly, fantastic, or cold and inhuman. Partially this was in response to the medium's instant adoption as sound effects for science fiction films and television shows, as spearheaded by Louis and Bebe Barron in their score for the film "Forbidden Planet". But electronic musical instruments also possessed the ability to closely emulate and extend the voices of the animal world to a greater degree than any musical instrument in history. A gated tone oscillator or untempered synthesizer gives a player a better chance at creating melodies that sound like birdsong than any violin or flute – save perhaps for a recording of a flute that's been sped up several octaves, using the techniques of musique concrète.

You can find it here:

Link:

http://bit.ly/dlkapp

Mp3:

The related documentation it is also worth reading:

http://bit.ly/d2JCdr

sounds awesome, everybody check out the new upcoming Wobbly (jon leidecker) /matmos / lesser album, its very good

  On 9/30/2010 at 12:30 PM, RWM said:

You might be also be interested in Jon Leidecker's conceptual mix on the relationship between avant-garde and pastoral landscape.

 

"Pastoral V.2" is a curated overview hoping to underline the history of those classic works of electronic and concrète music which sought to mimic and extend the voices and sounds of our pastoral landscape, which can be closer to the heart of the medium's inherent potential than the more common identifications with inhuman or alienated expressions of industrial culture.

 

The emerging medium of electronic music found its way to a wider public audience in the 1950's, accompanied by descriptions of the sounds as inherently unearthly, fantastic, or cold and inhuman. Partially this was in response to the medium's instant adoption as sound effects for science fiction films and television shows, as spearheaded by Louis and Bebe Barron in their score for the film "Forbidden Planet". But electronic musical instruments also possessed the ability to closely emulate and extend the voices of the animal world to a greater degree than any musical instrument in history. A gated tone oscillator or untempered synthesizer gives a player a better chance at creating melodies that sound like birdsong than any violin or flute – save perhaps for a recording of a flute that's been sped up several octaves, using the techniques of musique concrète.

 

You can find it here:

 

Link:

http://bit.ly/dlkapp

 

Mp3:

http://rwm.macba.cat/uploads/interruptions/01_Pastoral_v2.mp3

 

The related documentation it is also worth reading:

http://bit.ly/d2JCdr

  On 9/30/2010 at 10:56 PM, Awepittance said:

sounds awesome, everybody check out the new upcoming Wobbly (jon leidecker) /matmos / lesser album, its very good

Thanks guys!

Related to the sampling series:

Interview with Vicki Bennett, plunderphonic genius behind People Like Us.

http://bit.ly/dy83kd

http://bit.ly/8ZBbrg