Academic literature on the topic 'Plunderphonics'

Abstract This article explores the transitional and liminal nature of the author’s work and examines the diverse theoretical foundations that inform his creative practice. The particular work discussed here, Wow&Flutter, explores the intermedial relationships between “quotation,” “remediation” and “plunderphonics” within turntable art using acetate vinyl. This work was presented in the Irish Museum of Modern Art (IMMA) and the National Concert Hall, Ireland (NCH), between 2014 and 2018.

AbstractThis article presents the concept of virtual liveness and demonstrates its relevance in an analysis of ‘Vane’, one of John Oswald's plunderphonic pieces. It argues that even when encountering a piece of music that lacks a physically co-present audience, lacks largely unmediated acoustic sound and lacks a live performer, the term ‘performance’ may still be usefully applied. In these cases, however, the sense of liveness that invokes this idea of performance is often more virtual than actual. ‘Vane’ sounds not just like a combination of Oswald's two source recordings (Carly Simon's and Faster Pussycat's versions of ‘You're So Vain’), but like a new technological entity: Oswald's manipulations of his source material result in sounds that are decidedly ‘of the machine’, even as they invite us to sing along with Carly Simon's and Faster Pussycat's performances. We enter into a complex network of references between the performances represented in the original recordings and this new, virtual performance – the performance, ultimately, of a sounding cyborg.

A presente dissertação visa repertoriar e fazer uma reflexão sobre obras e performances de música eletrônica experimental que utilizam músicas e gravações de músicas como material musical. Investiga a colagem musical enquanto prática, em suas diversas possibilidades de emprego. Contextualiza o tema, mostrando antecedentes na tradição da música europeia de concerto e nas artes visuais. Traça uma pequena cronologia a partir do repertório e realiza um histórico quanto às tecnologias empregadas. Introduz categorias importantes, como o sampleamento, o plunderphonics, a citação, o plágio e a intermusicalidade. Aborda o conceito de referencialidade e o coloca como importante fator composicional, relacionando-o a noções como reconhecimento, fontes sonoras e musicais, familiaridade, pastiche. Discorre sobre dois subtemas: o trio bricolagem, assemblagem e descolagem e o período pós-moderno. Conclui pensando a relação entre colagem musical e o caráter de incompletude dos artefatos musicais.
This research aims to make a repertoire of and a reflection upon works and performances of electronic experimental music that use music and musical recordings as compositional material. It investigates the practice of musical collage in its several possibilities of use. It starts by contextualizing the theme: showing some antecedents in the european concert music tradition and in the visual arts; making a small chronology from the repertoire and a historical account of the technologies employed. Introduces important categories such as sampling, plunderphonics, quotation, plagiarism and intermusicality. Addresses the concept of referentiality, treating it as an important compositional aspect and relating it with the notions of recognition, sound and musical sources, familiarity, pastiche. Explores two subthemes: the trio bricolage, assemblage, décollage and the postmodern period. In conclusion, thinks about the relation of musical collage and the incompleteness character of musical artefacts.

Master of Music
The use of error by composers as a means of adding colour to a musical text has a long history, but the device is ultimately ineffective. Material whose significance is its incongruity is incorporated by recontextualization, and in time, becomes familiar and unremarkable. ‘Glitch’ is a stylistic mannerism within electroacoustic composition that emerged in the late 1990s. Glitch, or ‘microsound’, as it is known in an academic context, observes the conventions of music concrète, drawing on material sampled from the real world, and fashioning this into sonic narratives. Its signature is the ‘sound of failure’, sonorities characteristic of electronic devices malfunctioning or mis-used: clicks, crackles, distortions, fractured digital files. Glitch/microsound has already diminished from a movement to a mannerism, but its legacy is a refreshment of our palette of sonorities, and an interrogation of the very act of listening. This essay is short examination of the use (and nature) of noise a musical ingredient and the significance of glitch/microsound for electroacoustic composers. It concludes that this ‘style’ is little more than a nuance, and that its advent and advocacy were less to do with a new musical movement, than with a new generation of electronic composers attempting to distinguish itself.