https://law.duke.edu/sites/default/files/centers/cspd/musiccomic/Theft.pdf
This comic lays out 2000 years of musical history. A neglected part of musical history. Again and again there have been attempts to police music; to restrict borrowing and cultural cross-fertilization. But music builds on itself. To those who think that mash-ups and sampling started with YouTube or the DJ’s turntables, it might be shocking to find that musicians have been borrowing—extensively borrowing—from each other since music began. Then why try to stop that process? The reasons varied. Philosophy, religion, politics, race—again and again, race—and law. And because music affects us so deeply, those struggles were passionate ones. They still are.
The history in this book runs from Plato to Blurred Lines and beyond. You will read about the Holy Roman Empire’s attempts to standardize religious music with the first great musical technology (notation) and the inevitable backfire of that attempt. You will read about troubadours and church composers, swapping tunes (and remarkably profane lyrics), changing both religion and music in the process. You will see diatribes against jazz for corrupting musical culture, against rock and roll for breaching the color-line. You will learn about the lawsuits that, surprisingly, shaped rap. You will read the story of some of music’s iconoclasts—from Handel and Beethoven to Robert Johnson, Chuck Berry, Little Richard, Ray Charles, the British Invasion and Public Enemy.
To understand this history fully, one has to roam wider still—into musical technologies from notation to the sample deck, aesthetics, the incentive systems that got musicians paid, and law’s 250 year struggle to assimilate music, without destroying it in the process. Would jazz, soul or rock and roll be legal if they were reinvented today? We are not sure. Which as you will read, is profoundly worrying because today, more than ever, we need the arts.
All of this makes up our story. It is assuredly not the only history of music. But it is definitely a part—a fascinating part—of that history. We hope you like it.
This guide favors authenticity over accuracy, and it aims to entertain before it informs. It is only as accurate as it feels it needs to be. It is constantly changing and it is infinitely mutable, so the map, the music, and my self-righteous opinions are all subject to change as I discover, investigate, and incorporate new knowledge and more music. Nothing is definitive.
This is an educational resource, not a music sharing service. There are no complete songs here. All tracks are low quality sub-2 minute samples. If you want the music, do the artists a solid and buy it from them through legitimate channels.
An Archive of 10,000 Cylinder Recordings Readied for the Spotify Era. The UCSB Library invites you to discover and listen to its online archive of cylinder recordings.
AccuJazz is an all-Jazz radio station designed to showcase the exciting potential of Internet radio. It contains over fifty jazz channels based on categories of style, instrument, composer, region, decade and more. Each channel is further customizable by the option to "deselect" artists the listener would rather not hear. New subchannels are added frequently. The variety of channels and their customizable nature makes AccuJazz a radio experience unlike any other.
Each square represents an album, with sampled artists on the lower half and sampling artists on the upper half. Albums are placed horizontally according to release date, while vertical placement reflects the number of samples on that album. The middle resprents the area of most sampling, so commonly sampled albums are closer to the side with the sampling albums, and vice versa.
The rectangles that appear to the right of a selected album represent the individual songs. Songs with taller rectangles have a higher sample count.
The sampling data is from the-breaks.com, although album information for the sampling songs was collected through other means.
jesse kriss / may 2005
The Library of Congress presents the National Jukebox, which makes historical sound recordings available to the public free of charge.
The "Alabama Song" (also known as "Whisky Bar" or "Moon over Alabama" or "Moon of Alabama") was originally published in Bertolt Brecht's Hauspostille (1927). It was set to music by Kurt Weill for the 1927 "Songspiel" Mahagonny.
Words & Music Expansion (starring Paul Morley and a cast of thousands) http://www.ubu.com/sound/dj_food.html
Madlib & quasimoto http://www.rappcats.com/
Coldcut, patrick carpenter, kevin foakes