Planck's definition of style

Plunderphonics is one of the recording projects originally invested by John Oswald, because it can be applied to any music by taking one or more existing audio-visual recordings and modifying them, making them new in some ways. Without trying to pretend that sound is "borrowed", sound may sometimes need to come from a very familiar source. Predatory pronunciation can be considered as a form of sound collage.

Although the concept of predatory pronunciation is broad on the surface, in fact, many of the same themes are used in music which is usually called predatory pronunciation. This includes the fifties, news reports, radio programs, or anything that focuses on sampling and training voice announcers.

The process of sampling other sources can be found in various styles (notably accompanied by rhythmic beats and singing music), but usually the predatory timbre with the sampled material as the only sound is used. These samples are usually not cleared, and sometimes the results will be brought to court for copyright infringement (some predatory artists use their works to protest what they think is the end of restrictive copyright law). Many predatory artists require them to use other artists' materials in autumn under the principle of legal scope of use.

This name was first used by John Oswald as the title of EP issue. The original usage of the word Oswald will show that the fragments were created by an artist and samples with no other materials. Influenced by William S. Burroughs's split technique, he began to make timbre records in 1970s. 1988, he distributed copies of plunder phonics》EP to news and radio stations. It suppressed four records: No is an edited version of Elvis Presley; Pockets based on counting basic trajectories; "The Pretender" sang "The Great Pretender" with Patton as the protagonist, but gradually slowed down, making her sound lonely; "Spring" is an edited version of igor stravinsky's "The Ritual of Spring", which has been dragged around and played different roles.

1989, a greatly expanded version of Plunderphonics with 20 tracks was released. In EP, each track was made by an artist, including materials arranged by two common musicians (such as the Beatles) and classical works, such as Ludwig van Beethoven's Seventh Symphony. Like EP, it never went on sale. A central idea after recording is that the fact that all sounds are "stolen" should be quite bold. Packaging limits the source of all samples, but allows them to be used in records that are not found or have no basis. All the unreleased voices of plunder were destroyed. After the lawsuit, they threatened to claim for copyright abuse from several representatives of the Canadian Recording Industry Association (the famous Michael Jackson, "bad" was cut into tiny pieces and rearranged as "pat"). All Plunderphonics tracks can be downloaded for free from Oswald's website.

The latest work is next to Oswald, such as Plexure, which lasted for 20 minutes, but claimed to prevent about 1000 very short pop music samples from being stitched together. Strictly speaking, "plunderphonic" is not based on Oswald's original idea (he himself used megaPlunder Incorporation as Plexure's regulation). Only the term "plunderphonic" is used in a looser sense today, indicating any music-or almost completely-completely compensated sample. Rob Voice 96 is Oswald's job, including the editing of CD tracks from the original rob voice.

Other important early food organizers may be described as predatory pronunciation is negative. However, Oswald's identifiable and familiar sources are easy to use, while the sources of negative places are sometimes more gloomy. 1983 is a big place with 10-8. For example, the compensated person recorded a conversation on the radio. Their next page, fleeing from the noise, like most of their latest records, makes extensive use of speech samples and often puts forward special political views. Their most famous album "Letter U and Number 2" is characterized by the long-term exaggeration of radio DJ Casey Kasem, and widely sampled U2' s "I still haven't found anything I'm looking for", which led to U2' s lawsuit.

Both Oswald and Negativland made collages by cutting tapes (or later using digital technology), but a certain number of DJs also led plunderphonic to work with turntables (in fact, most samples in DJ culture were "excavated"). In the late 1970s, Christian Ma Erkai used people's records as a single source to make his music. He often treats records in unusual ways-for example, he completely cuts a certain number of records and works with them to make a visual and auditory collage. Sometimes, Maria will buy a certain number of speeches or leisure music records from thrift stores and knead them into an album, but more of his encore albums will be deleted from the album. Callas likes to work with Oswald, just as louis armstrong did in "Natural Pronunciation". Marclay's experimental method was adopted by Otomo and liked by Philip Jeck and Martin T3etreault (although the records are sometimes seriously forged and illegible, which means that the results cannot be properly called plunderphonics). Other DJ's management style is more mainstream: DJ food (such as Kaleidoscope) and DJ shadow (such as Entroducing) have two albums produced by other records, including the whole material being looted.

Bran skin and people like us have two records created by thrifty storage (or charity shop). Vicki Bennett expanded plunderphonic's ideal of video just like us, and created a movie with her music by plundering the online part of Prelinger's file, that is, the collection of Rick Prelinger, a film management archivist.

Other methods will take two very different recordings and play them simultaneously. An early example of this is the fresh cream mixture (1994) of the Evolutionary Control Council, in which the voice of herb Alpert's "Bitter and Sweet Samba" was placed. This promotes the so-called "bootlegging" phenomenon, that is, an unaccompanied version of a song is mixed on top of another version. Soulwax and Richard X have two leading records in this field.

There are and a certain number of predatory pronunciation projects based on the Internet. The drop lift project created an editing CD, and then "Droplift" it to the record store plunderphonic (the replica shelf involved in this slip record knew nothing about the store-a bit contrary to stealing). Dictionaraoke took audio-visual clips from the online dictionary and sewed them together, so they recited various words of popular songs, but the help version of music (often in MIDI rendering) played a role.

Although the term "predatory pronunciation" tends to apply only to music created in the 1980s and Oswald, there are several examples of early music. As we all know, Dickie Goodman and Bill Buchanan's 1956 only "flying saucer" featured Goodman. He was a radio reporter who reported the invasion of foreigners and scattered samples from a certain number of contemporary records. The residents' "living outside the valley during the day" is composed of excerpts from The Beatles's records. A certain number of club DJs have re-edited the records they played in the 1970s. Although this is not only an expansion, it often includes no records by adding one or two chorus, which can also be considered as a form of predatory pronunciation.

Some classical composers practiced a plucking method instead of recording music. Perhaps the most famous example is the third movement of Luciano Berio's symphony, which has been completely compensated by other composers and writers. Mauricio Kagel also completed the works of an early composer, which are widely used. Early composers who often plundered other people's music included charles ives (he often quoted folk songs and hymns in his works) and ferruccio busoni (the movement in his piano suite "Jugend of 1909" included the prelude and fugue played by johann sebastian bach at the same time).

John Oswald released a new record. This time, he completely gave up his iconic collage "Plunderphonic" (Oswald's own words) and replaced it with typical college electroacoustic music. It was published by Empreintes DIGITALes, a Canadian brand specializing in this kind of music. The record is called Aparanthesi.