tailieunhanh - The riddim method: aesthetics, practice, and ownership in Jamaican dancehall

The use of artificially simple material overcomes this drawback but may be open to the criticism that it is a long way from anything that could be regarded as art and may thus prevent us from identifying essential components of real-life aesthetic behavior” (Berlyne, 1971, p. 12). We believe that the introduction of adequate control procedures reduces many of the disadvantages of using artistic and decorative materials, and that the use of simple visual patterns might engage different cognitive operations to those that enable aesthetic appreciation in natural conditions. Furthermore, given that symmetry is a very salient feature of the materials used by Jacobsen et al. (2006), their results. | Popular Music 2006 Volume 25 3. Copyright 2006 Cambridge University Press pp. 447-470 doi S0261143006000997 Printed in the United Kingdom The riddim method aesthetics practice and ownership in Jamaican dancehall1 PETER MANUEL and WAYNE MARSHALL 127 Park Ave Leonia NJ 07605 USA J88 Holworthy Street Cambridge MA 02138 USA Abstract The Jamaican system of recording and performance from the 1950s to the present constitutes a distinctive approach to notions of composition originality and ownership. Emerging from a tradition of live performance practice mediated by and informing sound recordings the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions as enshrined in decades of practice of musical materials as public domain. With the spread of the riddim method to the sites of Jamaican mass migration as evidenced by similar approaches in hip hop reggaeton drum n bass and bhangra reggae s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out through historical description ethnographic data and musical analysis the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial mass-mediated popular music genres in the twentieth century has contributed to the spread in many music cultures worldwide of a certain conventional mainstream form of song comprising an original autonomous and reproducible entity with a relatively unique integration of lyrics melody and chordal accompaniment. In mainstream Western music culture the thirty-two-bar AABA structure perhaps repeated twice or thrice with some sort of variation constituted a quintessential type of this conventional song form. In the latter half of the century especially in connection with new technologies and African-American ostinato-based practices .