Performing Sound of the Past: Remix in Electronic Dance Music Culture
Keywords:
pre-existing material, remix, Gramophonedzie, performing audience, clubbing ambientAbstract
The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s), reader(s), listener(s) or, in the contemporary world of DJs and popular electronic dance music culture – in dancer(s). With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don’t You? remixed by Marko Milićević, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical) dialogue.References
Adorno, T. (1990) “The Curves of the Needle”, October 55: 48–55.
Adorno, T. V. (1979) Estetička teorija, Beograd: Nolit.
Auslander, P. (2006) Performing glam rock: gender and theatricality in popular music, Michigan: The University of Michigan Press.
Barthes, R. (1977) “The Grain of the Voice”, Image-Music-Text, London: Fontana Press, 179–189.
Benjamin, W. (1968) “The Work of Art in the Age of Mechanical Reproduction”, In H. Arendt (ed.) Walter Benjamin: Illuminations, New York, 217–252.
Bourriaud, N. (2007) Postproduction – Culture as Screenplay: How Art Reprograms the World, New York: Lukas & Sternberg.
Brewster, B., Broughton, F. (2006) Last Night a DJ Saved My Life, London: Headline Book Publishing.
Butler, M. (2006) Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Indiana University Press.
Chion, M. (2000) “Audio-Vision and Sound”, In P. Kruth, H. Stobart (ed.) Sound (The Darwin College Lectures), Cambridge: Cambridge University Press, 201–219.
Michaud, I. (2004) Umjetnost u plinovitu stanju: ogled o trijumfu estetike, Zagreb: Naklada Ljevak.
Milićević, M. (2011) Interview with a DJ conducted by Irina Cvijanović on May 11th, 2011.
Navas, E. (2012) Remix Theory: The Aesthetics of Sampling, Springer Vienna Architecture.
Портман, А. (2012) „‘Види, снагу нам даје да бисмо били умјетници кад хоћемо бити тек људиi’ Gamllet Слободана Шнаједа на југословенским сценама”, Teatron 160/161: 59–68.
Downloads
Published
Issue
Section
License
Copyright (c) 2014 MUZIKOLOGIJA-MUSICOLOGY

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License.
You are free to:
- Share — copy and redistribute the material in any medium or format.
The licensor cannot revoke these freedoms as long as you follow the license terms.
Under the following terms:
-
Ауторство — You must give appropriate credit, provide a link to the license, and indicate if changes were made.
You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. -
Некомерцијално — You may not use the material for commercial purposes.
-
NoDerivatives — If you remix, transform, or build upon the material, you may not distribute the modified material.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.