That includes centering the remix as an important and underexplored music education practice. Beyond just writing about remixing, I am making some remixes as part of my research product. The value of the remix method is so self-evident to me that I made little effort to justify or explain it in the first draft of my dissertation proposal. He suggestied that I pick a specific example and walk through it. In my teenage years, I succumbed to peer pressure from my fellow white rockists and became convinced of it myself.
I used iZotope Nectar for an Auto-Tune effect on Shapiro, along with some tasteful tempo-synced delay. My original motivation for putting those samples in was expediency. But after some reflection and repeated listening back, I realized why I intuitively chose those samples in particular. See, for example, Sargent, and Maita, At this point everyone agrees that jazz is music, but it still has this strange second-class citizen status in the music academy.
I only became conscious of the connection weeks later. But in retrospect, it was in my head the entire time. This is the point of making musicological and cultural arguments through remixing: it enables me to access thoughts and ideas that are not as easily accessible through traditional scholarly activity. I did my reflective listening to the track as background music while doing other things: giving my kids their bath, grading assignments, washing dishes. My data research data will consist of my own notes, audio recordings of interviews, and musical examples.
For examination and presentation of the audio data, I plan to use the analytical remixing method, for example by combining interview recordings with the music under discussion.
The blending of speech fragments and music into a seamless collage format aligns well with the formal content of hip-hop. I will present these remixes alongside the written dissertation document as a mixtape. They often include unsanctioned copyrighted material. Authentic freestyles… sharing of love. My dissertation mixtape will aspire to this spirit of newness and authenticity. For example, one might study remixes and mashups by creating remixes and mashups.
Marshall draws a parallel between using digital audio technologies to study digitally produced musics and using music notation to study notated musics. The process of remixing a track requires close attention to its existing sound and structure, while also imagining possible ways to alter it and combine it with other sounds. This adumbration is the goal of my remixes. Weidenbaum observes that recording never sounds like what he heard—listening is a process of focusing and filtering, of selective attention and interpretation, not direct transcription.
While Kapchan wants her sound writing to have the full sensual richness of sound itself, Weidenbaum prefers writing exactly because it does not have the rich texture of recorded sound. Recording playback is a new sensory experience unto itself, one that might be far removed from the one the recordist meant to capture or convey.
The idea of blending recorded interviews with the music under discussion has long been a practice of electronic music producers. These artists use music to speak for itself. Because there is such a smooth continuum because speech and singing in rap, the spoken words of hip-hop practitioners can inform their music particularly closely. However, all presentation of audio evidence requires editing.
The hip-hop aesthetic offers the audio ethnographer an advantage: choppy, conspicuous and fragmented edits are desirable aesthetic traits. This creates the opportunity for me to foreground the technological medium of my work, and to proudly show its seams, rather than trying to present an illusion of a unitary whole. Ball, J. I mix what I like! Barone, T. Arts-based research. Fusch, P. Journal of Social Change , 10 1 , 19— Gershon, W.
Vibrational Affect. Goldman-Segall, R. Configurational validity: A proposal for analyzing ethnographic multimedia narratives. Journal of Educational Multimedia and Hypermedia , 4 2 , — Kapchan, D. Theorizing sound writing. Middletown: Wesleyan University Press. Maita, J. Marshall, W.
Mashup poetics as pedagogical practice. Biamonte Ed. Lanham, MD: Scarecrow Press. Sargent, W. Is jazz music? The American Mercury. Weidenbaum, M. References Ball, J. Sorry, your blog cannot share posts by email.