{"id":275,"date":"2017-09-27T13:52:30","date_gmt":"2017-09-27T13:52:30","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/?p=275"},"modified":"2017-09-27T13:52:30","modified_gmt":"2017-09-27T13:52:30","slug":"the-history-of-the-sample","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/uncategorized\/the-history-of-the-sample\/","title":{"rendered":"The History of the Sample"},"content":{"rendered":"

With the vast quantity of recorded music, now in an ever more accelerated pace of expansion with the music sharing sites such as Bandcamp and Soundcloud, and technology (logic, ableton, pro tools) in place to quickly download, move, and tamper with audio files, the question arises, is there any point to creating new sounds or composing new pieces, of utilizing analog sources to create familiar sounds and songs of all too familiar character? The catalog of recorded material is already so great that it would take thousands of lifetimes to listen to it in its entirety, but perhaps even more exciting or intimidating are the countless ways in which to alter and create entirely new purely from this great catalog.<\/span><\/p>\n

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While the radical idea of all modern music being entirely created from past records hasn\u2019t taken hold, sampling in fact entered into the mainstream years ago and has remained there today. For example the music of artists like Kendrick Lamar includes samples,<\/a> and his new album is on the billboard top 200. I wouldn\u2019t be surprised if most of the music on the billboard 200 includes samples, as samples are ingrained into the way a lot of pop music (primarily black music) is produced. While the <\/span>process<\/span><\/i> and <\/span>utilization<\/span><\/i> of sampling has changed, its popularity has remained constant in changing populations for roughly 40 years. <\/span><\/p>\n

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This idea to create music purely or partially from previously recorded material began in the late 1940s with a man named Pierre Schaeffer. He spliced together and looped different tapes together to create music. Schaeffer\u2019s believed that <\/span>classical music began as an abstraction that was later produced as audible music. He strove to start with “concrete” sounds and late abstract them into music. This began the term \u201cmusique concrete\u201d. <\/span><\/p>\n