Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation
Journal Article
Harkins, P. (2010)
Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation. Journal of the International Association for the Study of Popular Music, 1(1), 1-19. https://doi.org/10.5429/2079-3871%282010%29v1i2.3en
Brian Eno describes the recording studio as a compositional tool that has enabled composers to enjoy a more direct relationship with sound. This article will explore the use o...
Transmission Loss and Found: The Sampler as Compositional Tool
Journal Article
Harkins, P. (2009)
Transmission Loss and Found: The Sampler as Compositional Tool. Journal on the Art of Record Production, 4,
This article explores the use of the digital sampler as one of the studio tools that forms part of this creative process and focuses on interviews with a group of Edinburgh mu...
La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement
Journal Article
Harkins, P. (2012)
La Transmission Perdue et Retrouvee : Le Sampler Comme Outil de Composition et de Decontextualisation de L’Enrigistrement. Réseaux, 172, 92. https://doi.org/10.3917/res.172.0092
According to Brian Eno, the recording studio is a composition tool that enables musicians to enjoy a more direct relationship with sound. This article examines the role of the...
Was the Sampler a Revolution? Continuity and Change in the Design and Use of Synthesizer/Sampling Technologies
Presentation / Conference
Harkins, P. (2018, September)
Was the Sampler a Revolution? Continuity and Change in the Design and Use of Synthesizer/Sampling Technologies. Paper presented at The Sound of the Anthropocene: Materialities Seminar
No abstract available.
Appropriation, Additive & Accident: A Case Study of Digital Sampling and Recording Dislocation
Presentation / Conference
Harkins, P. (2010, June)
Appropriation, Additive & Accident: A Case Study of Digital Sampling and Recording Dislocation. Paper presented at ANR Research Workshop, Universite Paris 1
No abstract available.
Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds
Presentation / Conference
Harkins, P. (2017, June)
Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh
This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designe...
Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies
Presentation / Conference
Harkins, P. (2016, December)
Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg
This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain import...
'The Rest is History': Writing a History of Music Technologies and their Users
Presentation / Conference
Harkins, P. (2017, March)
'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon
The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, base...
Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies
Presentation / Conference
Harkins, P. (2017, June)
Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music, Kassel, Germany
The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the...
The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III
Presentation / Conference
Harkins, P. (2015, June)
The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium
The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropri...