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The sampling aesthetic of Bon Iver’s “33 ‘God
University of Kentucky. (ARP2017)
Number of Authors: 12019 (English)In: Proceedings of the 12th Art of Record Production Conference: Mono: Stereo: Multi / [ed] Jan-Olof Gullö, Stockholm: Royal College of Music (KMH) & Art of Record Production , 2019, p. 303-318Chapter in book (Refereed)
Abstract [en]

This paper explores the various types of sampling and digital manipulationused within “33 ‘God,’” the fourth track on 22, A Million. Within this track,Vernon utilizes unique modes of musical and vocal expression, featuringsamples as symbols of otherness—other times, other places, other emotions—presented through the timbre of others’ voices in order to convey hisown memories and mental states. Vernon’s authorial voice within the track isboth complicated and strengthened by this presence of other “characters” inhis narrative. The samples will be examined through my term “sonic totem,”which is offered to capture the relationship of sound objects and memorywithin a narrative song. The fact that Justin Vernon’s is not the only voiceheard on the track will be analyzed as signifyin’, as described in the theory ofHenry Louis Gates, Jr. (1988), and related to theories by Simon Frith (1996)and Lori Burns (2010).

Place, publisher, year, edition, pages
Stockholm: Royal College of Music (KMH) & Art of Record Production , 2019. p. 303-318
National Category
Music
Identifiers
URN: urn:nbn:se:kmh:diva-3139ISBN: 978-91-983869-9-8 (print)OAI: oai:DiVA.org:kmh-3139DiVA, id: diva2:1320472
Available from: 2019-06-04 Created: 2019-06-04 Last updated: 2019-06-04

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CiteExportLink to record
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Citation style
  • apa
  • ieee
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  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
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More languages
Output format
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  • asciidoc
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