In African American musica cut "overtly insists on the repetitive nature of the musicby abruptly skipping it back to another beginning which we have already heard.
Moreover, the greater the insistence on the pure beauty and value of repetitionthe greater the awareness must also be that repetition takes place not on the level of musical development or progression, but on the purest tonal and timbric level" Sneadp.
David Brackettp. In a cut repetition is not considered accumulation. Brackett ibid finds the cut in all African American folk and popular music "from ring to rap" and lists the The Music Tapes - A Lightnings Cheeks (Lathe Cut) AAB"Rhythm" changes in Try To Remember - Altaria - Divinitythe AABA form of bebopthe ostinato vamps at the end of gospel songs allowing improvisation and a rise in energy, short ostinatos of funk which spread that intensity throughout the song, samples in rapthe last of which cuts on two levels, the repetition of the sample itself The Music Tapes - A Lightnings Cheeks (Lathe Cut) its intertexual repetition.
From Wikipedia, the free encyclopedia. Interpreting Popular Music. Snead Henry Louis Gates, Jr. London: Routledge. Chernoff, John DJing and Turntablism. Controllerism Hip hop production Rave Record collecting Record producer. Categories : DJing. Namespaces Article Talk. Views Read Edit View history. Languages Deutsch Chapter 10 - Brock Berrigan - Chapter 10 (File, Album) links.
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