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14 - Analysing the identifiable: cultural borrowing in Diana Salazar’sLa voz del fuelle

from Part IV - Analyses of key works

Published online by Cambridge University Press:  05 April 2016

By
Manuella Blackburn
Edited by
Simon Emmerson  and
Leigh Landy
Simon Emmerson
Affiliation:
De Montfort University, Leicester
Leigh Landy
Affiliation:
De Montfort University, Leicester
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Information
Expanding the Horizon of Electroacoustic Music Analysis , pp. 288 - 309
Publisher: Cambridge University Press
Print publication year: 2016

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References

References

Ballantine, Christopher. 1984. Music and its Social Meanings. New York: Gordon and Breach.Google Scholar
Blackburn, Manuella. 2011. Importing the sonic souvenir: Issues of cross-cultural composition. Proceedings of the Electroacoustic Music Studies Network Conference, New York. www.ems-network.org/IMG/pdf_EMS11_Blackburn.pdf.Google Scholar
Burkholder, Peter J. 1994. The uses of existing music. Music Library Association Notes, 50(3), 851–70.Google Scholar
Burkholder, Peter J. 1995. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press.Google Scholar
Cutler, Chris. 2000. Plunderphonics. In Emmerson, Simon (ed.), Music, Electronic Media and Culture. Aldershot: Ashgate, 87–115.Google Scholar
d’Escriván, Julio and Jackson, Paul. 2008. Applied Plunderphonia: tagging electronic music with electronic music. Proceedings of the Electroacoustic Music Studies Network Conference, Paris. www.ems-network.org/ems08/papers/escrivan.pdf.Google Scholar
Emmerson, Simon. 2007. Living Electronic Music. Aldershot: Ashgate.Google Scholar
Holm-Hudson, Kevin. 1997. Quotation and context: Sampling and John Oswald’s plunderphonics. Leonardo Music Journal, 7, 17–25.CrossRefGoogle Scholar
Igma, Norman. n.d. Plunderphonics: an interview with transproducer John Oswald. www.plunderphonics.com/xhtml/xinterviews.html (accessed 11 July 2012).Google Scholar
Smalley, Denis. 1997. Explaining sound shapes. Organised Sound, 2(2), 107–26.CrossRefGoogle Scholar
Alvarez, Javier. 1996. Mambo à la Braque, empreintes DIGITALes, IMED 9604.Google Scholar
Chion, Michel. 1992. Credo Mambo, Metamkine MKCD004.Google Scholar
Matos, Gerardo. 1916. Rodríguez’s La Cumparsita.Google Scholar
Salazar, Diana. 2011. La voz del fuelle, Elektramusic CD Volume III.Google Scholar
Salazar, Diana. 2014. Papyrus (2008–9), CMMAS CD020.Google Scholar
Alvarez, Javier. 1996. Mambo à la Braque, empreintes DIGITALes, IMED 9604.Google Scholar
Chion, Michel. 1992. Credo Mambo, Metamkine MKCD004.Google Scholar
Matos, Gerardo. 1916. Rodríguez’s La Cumparsita.Google Scholar
Salazar, Diana. 2011. La voz del fuelle, Elektramusic CD Volume III.Google Scholar
Salazar, Diana. 2014. Papyrus (2008–9), CMMAS CD020.Google Scholar

Recordings

Alvarez, Javier. 1996. Mambo à la Braque, empreintes DIGITALes, IMED 9604.Google Scholar
Chion, Michel. 1992. Credo Mambo, Metamkine MKCD004.Google Scholar
Matos, Gerardo. 1916. Rodríguez’s La Cumparsita.Google Scholar
Salazar, Diana. 2011. La voz del fuelle, Elektramusic CD Volume III.Google Scholar
Salazar, Diana. 2014. Papyrus (2008–9), CMMAS CD020.Google Scholar

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