We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)
References
References
Borgdorff, H.2012. The Conflict of the Faculties: Perspectives on Artistic Research and Academia (Leiden, University Press)CrossRefGoogle Scholar
Chang, V.2009. Records that play: the present past in sampling practice. Popular Music, 28(2), 143–59. doi:10.1017/S0261143009001755CrossRefGoogle Scholar
McIntyre, P., and Morey, J.2014. The creative studio practice of contemporary dance music sampling composers. Dancecult: Journal of Electronic Dance Music Culture, 6/1, 41–60. doi:10.12801/1947-5403.2014.06.01.03Google Scholar
Ratcliffe, R.2014. A proposed typology of sampled material within electronic dance music. Dancecult: Journal of Electronic Dance Music Culture, 6/1, 97–122. doi:10.12801/1947-5403.2014.06.01.06CrossRefGoogle Scholar
Bacharach, B. and David, H., ‘What the world needs now’. [Recorded by 18th Century Corporation]. Bacharach Baroque [Vinyl]. Australia: Universal Summit. 1968, 1973Google Scholar
Bacharach, B. and David, H., ‘What the world needs now’. [Recorded by 18th Century Corporation]. Bacharach Baroque [Vinyl]. Australia: Universal Summit. 1968, 1973Google Scholar