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- W2907241465 abstract "Abstract Sampling has been criticised as ‘a mixture of time-travel and seance’, ‘the musical art of ghost co-ordination and ghost arrangement’, and a process that ‘doubles (recording's) inherent supernaturalism’ (Reynolds, S., 2012, Retromania: Pop Culture's Addiction to its Own Past , London, Faber and Faber, pp. 313–14). Yet out of all the sample-based music forms, hip-hop receives the lion's share of attention in popular music literature; critics are puzzled by its appeal, scholars identify a plethora of problems in its function, and practitioners and audiences alike are mesmerised by its effect. Rap producers attribute an inherent ‘magic’ to working with past phonographic samples and fans appear spellbound by the resulting ‘supernatural’ collage. The author examines the music's unique recipe of phonographic juxtaposition, exploring the conditions of this ascribed ‘magic’, investigating gaps in perception between emotional and intellectual effect and deciphering parallels in the practice and vocabulary mobilised against a range of genres in performance magic." @default.
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- W2907241465 date "2019-01-01" @default.
- W2907241465 modified "2023-09-25" @default.
- W2907241465 title "Sample magic: (conjuring) phonographic ghosts and meta-illusions in contemporary hip-hop production" @default.
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- W2907241465 doi "https://doi.org/10.1017/s0261143018000685" @default.
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