000			04918cam a2200457 i 4500
001			ocn958780103
003			OCoLC
005			20251028093426.0
008			170127t20172017nyu b 001 0 eng
010			_a 2017003346
035			_a(Sirsi) i9781501318917
040			_aDLC _beng _erda _cDLC _dYDX _dBDX _dOCLCO _dOCLCQ _dOCLCF _dYDX _dOCLCO _dTFW _dMNU _dIUL _dIPL _dRES _dYUS _dOCLCQ _dZCU _dNDD _dCOA _dCHVBK _dOCLCQ _dU3G _dUIU _dOCLCO _dZWZ _dTYC _dWTU _dDLC _dCSAIL _dKZS _dTEU _dBCD _dOCLCQ _dTCJ _dCOO _dGZM _dW2U _dHCO _dGILDS _dNJB _dZLM _dOCLCQ _dZGM _dTKN _dVWB _dIJW _dOCLCQ _dSNN _dVF$
019			_a958781274 _a958863327
020			_a9781501318917 _q(hardcover)
020			_a1501318918 _q(hardcover)
020			_a9781501318924 _q(paperback ; _qalkaline paper)
020			_a1501318926 _q(paperback ; _qalkaline paper)
024	8		_a95273454095
035			_a(OCoLC)958780103 _z(OCoLC)958781274 _z(OCoLC)958863327
037			_a13168904
042			_apcc
050	0	0	_aML 3918 .P67 _bB69 2017
049			_aVF$A
100	1		_aBorschke, Margie, _eauthor.
245	1	0	_aThis is not a remix : _bpiracy, authenticity and popular music / _cMargie Borschke.
264		1	_aNew York, NY : _bBloomsbury Academic, an imprint of Bloomsbury Publishing Inc, _c2017.
264		4	_c2017
300			_avi, 186 pages ; _c24 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0	0	_g1. _tThis is not a remix -- _g1.1. _tIntroduction -- _g1.2. _tCritical approach -- _g2. _tCopy, a brief history -- _g2.1. _tThe ghost in the digital machine -- _g2.2. _tThe trouble with media history -- _g2.3. _t"Again, back": Repetition and music's materiality -- _g3. _tThe rhetoric of remix -- _g3.1. _tRemix as trope -- _g3.2. _tThe extended remix: In the press -- _g3.3. _tThe extended remix: Scholarly use -- _g3.4. _tLawrence Lessig's "Remix Culture" -- _g3.5. _tRemix as resistance -- _g3.6. _tWhy the history of remix matters -- _g4. _tDisco edits: Analog antecedents and network bias -- _g4.1. _tWhat a difference a record makes -- _g4.2. _tInterrupting the rhetoric of remix -- _g4.3. _tDisco edits, a technical distinction -- _g4.4. _tHang the DJ -- _g4.5. _tWalter Gibbons, the break, and the edits that made disco -- _g4.6. _tLet your body talk -- _g4.7. _tAre samples copies? -- _g4.8. _tParasites, pirates, and permission -- _g4.9. _tDigital revival and an analog persistence -- _g4.10. _tCredit to the edit -- _g5. _tThe new romantics -- _g5.1. _tPiracy's long history -- _g5.2. _tMP3 blogs as social media -- _g5.3. _tMaterial media: MP3 blogs as artifacts and practices -- _g5.4. _tProvenance as metadata -- _g5.5. _tRethinking participation and the folk aesthetic -- _g5.6. _tCountercultures and anticommercialism -- _g5.7. _tNetworking authenticity -- _g5.8. _tAnalog antecedents: Harry Smith's mystical collection -- _g5.9. _tCopies, networks, and a poetics of encounter -- _g6. _tCopies and the aesthetics of circulation.
520			_a"Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility."--Publisher's description.
650		0	_aRemixes _xHistory and criticism.
650		0	_aSound recordings _xSocial aspects.
650		0	_aPopular music _xSocial aspects.
650		0	_aMusic and the Internet.
994			_aC0 _bVF$
999			_c137499 _d137499