Since the 1970s, the practice of deejaying has been integrated into music-making and musical performance in hip hop, dance music, and other cultures. Disc jockeys have also become recognized as producers and authors of sound recordings. I examine how changes in the technological, legal and commercial environment of disc jockeys in the 1990s are articulated in the styles and methods of deejaying. I argue that the conspicuous and covert styles of sampling articulate different forms of authorship, economic interests, and notions of originality. While the covert style has been crucial to the emergence of the DJ-as-author and deejaying as a legitimate art, the conspicuous style of copying on the edges of DJ culture troubles the tenuous links between the new DJ-stars and their works.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.29521 |
| Date | January 2002 |
| Creators | Shiga, John Patrick |
| Contributors | Hamilton, Sheryl (advisor) |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of Art History and Communication Studies.) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 001955886, proquestno: MQ85872, Theses scanned by UMI/ProQuest. |
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