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.
Creates an infinite remix of an audio file by finding musically similar beats and computing a randomized play path through them. The default choices should be suitable for a variety of musical styles. This work is inspired by the Infinite Jukebox (http://www.infinitejuke.com) project creaeted by Paul Lamere
It groups musically similar beats of a song into clusters and then plays a random path through the song that makes musical sense, but not does not repeat. It will do this infinitely.
What is Unmixer?
Unmixer does two things: first, it lets you extract loops from any song; second, it lets you remix these loops in a simple interface.
How do I use it?
Upload a song: drag and drop an audio file (MP3, MP4) into the box with the dotted line
Wait for results: processing a new song can take several minutes.
Remix the loops: turn each sound on and off by clicking the box.
Upload more songs: you can mash-up sounds from as many songs as you like.
Extra features:
The BPM indicator in the top right lets you choose the global tempo.
The download button allows you to save a zipfile of all the loops, along with a map of where they occur in the piece.
Tausende Gangnam-Style- und Harlem-Shake-Videos auf Youtube sind der Beleg: Remix ist heute ein Massenphänomen. War das 20. Jahrhundert noch geprägt von zentralisierter Kulturproduktion, laden heute Computer, Videohandys und Internet zu kreativer und öffentlicher Interaktion mit Kulturgütern ein.
Viele der erfolgreichsten Videos auf Youtube und Facebook profitieren davon, dass andere NutzerInnen eigene Versionen von ihnen erstellen und so zur Bekanntheit des Originals beitragen. Die Bandbreite reicht dabei von verwackelten Handy-Videos bis hin zu aufwendigen Remixversionen. Sich für die Erstellung von Werken bei Vorhandenem zu bedienen, ist kein neues Phänomen. Der Blogger Malte Welding illustrierte diesen Umstand einmal unter Verweis auf Wolfgang Amadeus Mozart, der Bach-Fugen bearbeitete und die den Fugen voranstehenden Präludien mit Eigenkompositionen ersetzte, die für Streicher geeignet waren: „Er remixte Bach. Er mashte ihn, er fledderte die toten Noten und schuf etwas Neues.“
Happy Safari - Pie Brown
cedric Bernadotte : musique et montage,
Fred : Strentz
http://soundcloud.com/pie-brown/sets/lanpebre/
Solid Steel is a weekly 2 hour radio mix show, now running for over 2 decades. Every week one of the regular contributors pairs up with a guest to mix and match 'the broadest beats'.