At 08:54 AM 8/6/03 -0400, Crystal Premo wrote: >A co-worker insists that a deejay is a musician. I say that is a load, that >at most he is perhaps an editer or producer. >Can a legitimate case be made in his defense?
Absolutely, assuming your co-worker is talking about a turntablist (or the digital version thereof, with MP3 turntable emulators) or sometimes scratch-artist, not a play-talk-play radio deejay. The creation of new compositions from samples is now a time-honored tradition. The earliest were John Cage's. Jim Tenney's remarkable "Blue Suede" dates to 1964. My own first sample piece dates to 1972 (and was premiered only this May in Amsterdam). Nic Collins and most importantly John Oswald brought sample pieces to a fine art with his plunderphonics in the 1980s. My radio show co-host does a sample piece from previous radio shows every four weeks (http://kalvos.org/bestses.html), and a reworked compilation is being presented at the Electric Rainbow EA Music Festival at Dartmouth College on August 23. The deejay version of sample came about 20 years ago. Turntable artists began doing this recomposition live, and it's by now as advanced as improvisational composers in other genres. It's not only amazing to hear, it's remarkable to watch, as a unique kind of choreography. Distinguished American composer Jon Appleton went to study turntabling in Japan for a year in the late 1990s. Composition through sampling has really grown up, live or recorded. I highly recommended it -- although if you listen to rap or hip-hop or trance, you've already some of it in the creation of the dance-beat backgrounds. Dennis _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
