Abstract
“The Disco Re-edit Movement” rolls in at the turn of the millennium, hitting us hard with its funky, chunky renditions and interpolations of – the sometimes iconic but also previously overlooked and resonant – sounds of the past. I argue that, by tracing the techniques, priorities and more iterative aesthetic furthered by such flagrant uses of sampling to the Caribbean musical influence over 1970s New York (specifically showing itself in disco and hip hop’s intervening scenes), we can explain their misalignment with copyright’s musical work. In doing so, I approach copyright through a postcolonial lens, drawing out the racialized contours of its foundational tenets. I propose that by expanding the definition of derivative work (in copyright), so that this is assessed differentially and on the basis of genre, we might open up a space for epistemological diversity.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
ETHNOMUSICOLOGY, EPISTEMOLOGICAL DIVERSITY, ROMANTICIST DISCOURSE, CRITICAL LEGAL STUDIES, COPYRIGHT
