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The Musical Work: Reality or Invention?Reality or Invention?$
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Michael Talbot

Print publication date: 2000

Print ISBN-13: 9780853238256

Published to Liverpool Scholarship Online: June 2013

DOI: 10.5949/UPO9781846313615

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 06 June 2020

Work-in(g)-Practice: Configurations of the Popular Music lntertext

Work-in(g)-Practice: Configurations of the Popular Music lntertext

Chapter:
(p.59) 3 Work-in(g)-Practice: Configurations of the Popular Music lntertext
Source:
The Musical Work: Reality or Invention?
Author(s):

Richard Middleton

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9780853238256.003.0004

This chapter argues that popular music culture is driven by practice rather than objects (that is, works). It emphasises the density and many-sidedness of the intertextual bonds between musical performances and analyses Bill Laswell's studio ‘re-compositions’ of popular recordings by Bob Marley and Miles Davis. It also examines ‘signifyin(g)’, a concept that refers to the deliberate use of familiar, shared elements as a basis for subsequent transformation. This approach is an essential element in the African-American musical tradition that has passed into the general practice of Western popular music. The chapter also considers remix culture, the ramifications of intertextuality for popular music compositional practices, the ‘dialogical’ theory of semiotics associated with Mikhail Bakhtin, the individuality of musical work, the question of authoriality, the West European Classical Tradition and the intertextuality of African-American music.

Keywords:   Bill Laswell, re-compositions, popular music, Bob Marley, Miles Davis, signifyin(g), intertextuality, African-American music, practice, musical work

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