![]() Material Sampled (Six Common Categories) 4Īmerican pop singer Bruno Mars (b. All samples are described with one entry from each column. Table 1: Sentence diagram for describing types of samples on. Appendices A and B provide definitions of the common categories of samples, along with two didactically clear, accurately identified examples of each that appear on the website. Table 1 shows that all samples are described with a single sentence that includes one segment of each column. To answer the latter, a wide range of categories are provided, six of which appear regularly. To answer the former question, a distinction is made between two types of samples: " Direct," true samples, in which sound from another recording is digitally copied into a new context or " Interpolated (Re-Recorded)" samples, which most typically feature a new performance of borrowed material. All samples are classified by manner in which material from another source is used, and the elements borrowed (which instruments and or voice parts are adapted). 3Īll entries on include recordings of two musical works-the piece from which the reported sample is taken, and the piece that incorporates the reported sample-enabling a user of the site to compare the two excerpts with ease. ![]() The article concludes with summative thoughts about the accuracy of this website and its usability as a resource. The fourth offers a brief discussion of what can be learned from a comprehensive study of the reported samples in Classical music that appears on - a website primarily designed to discuss forms of borrowing in popular music. The first three sections examine every reported sample in the music of three contemporary artists known for producing nostalgic, stylistically familiar hits: Bruno Mars, Janelle Monáe, and Dua Lipa (respectively) each corpus makes for an informative case study. After providing a brief overview of how the information on is organized, the article is organized into four primary sections. ![]() This article shares some of the most instructive findings gleaned from combing the information found on the site. My fortuitous stumble upon left me with several questions: How reliable is the user-generated data on this website? Which types of entries are most likely to be accurate, and why? And lastly, are entries that are not, strictly speaking, "correct," nevertheless informative? That is, do most examples that fail to identify clear cases of musical borrowing-like the Jaws ➔ Rite of Spring example above-highlight meaningful similarity between different works? To answer these questions, I studied hundreds of examples housed on, and listened to each carefully to evaluate their accuracy. Though Williams does not quote Stravinsky's music directly, through digital or analog means, a contributor to this website does identify a case of stylistic allusion moments of the Jaws score are at least evocative of Stravinsky's Rite, and it is likely that Williams found inspiration in the music of the modernist ballet, even if the two pieces do not feature precisely the same combination of notes and rhythms. Nevertheless, this assertion should not simply be dismissed. If interpreted literally, of course, this assertion is clearly false Williams did not sample-that is, extract and manipulate sound from a recording of The Rite-in the soundtrack for Spielberg's iconic film. I first happened upon this website a few years ago, while completing research for another project 2 and was intrigued to find a peculiar claim: That John Williams had "sampled" the music of Igor Stravinsky's The Rite of Spring in the score for Jaws (1975). is a website that hosts user-compiled lists of samples, covers, and remixes of pre-existing music.
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