Mashing-Reference-Cited by-同舟云学术

Mashing

Published:2013-10 Issue:3 Volume:19 Page:
ISSN:1067-3040
Container-title:Music Theory Online
language:en
Short-container-title:MTO

Author:

Boone Christine¹

Affiliation:

1. Indiana State University

Abstract

This article locates and defines the mashup as its own genre of music, separate from collage music, hip-hop sampling, and other similar genres. A typology of works made from previously existing music helps to isolate typical characteristics present exclusively in mashups. The mashup genre is then refined into four subcategories: the basic mashup, the cover mashup, the paint palette mashup, and the megamix mashup.

Publisher

Society for Music Theory

Subject

Music

Reference23 articles.

1. Boone, Christine Emily. 2011. “Mashups: History, Legality, and Aesthetics”. PhD Dissertation, University of Texas at Austin.

2. Brøvig-Hanssen, Ragnhild, and Paul Harkins. 2012. “Contextual Incongruity and Musical Congruity: The Aesthetics and Humour of Mash-Ups.” Popular Music 31, no. 1: 87–104.

3. Burkholder, J. Peter. 2001. “Borrowing. ” Grove Music Online. Oxford University Press. Accessed March 10, 2013.

4. Burkholder, J. Peter. 2005. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press.

5. Butler, Mark J. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Bloomington: Indiana University Press.

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