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Local FusionsFolk Music Experiments in Central Europe at the Millennium$
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Barbara Rose Lange

Print publication date: 2018

Print ISBN-13: 9780190245368

Published to Oxford Scholarship Online: July 2018

DOI: 10.1093/oso/9780190245368.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 January 2021

Sampling and Commercialization in Danubian Trances and Boheme

Sampling and Commercialization in Danubian Trances and Boheme

Chapter:
(p.171) 9 Sampling and Commercialization in Danubian Trances and Boheme
Source:
Local Fusions
Author(s):

Barbara Rose Lange

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190245368.003.0010

Chapter 9 discusses the reuse of old recordings as an aspect of neoliberalism, examining Hungarian reactions to the ways that local and West European musicians sampled and processed recordings of folk music. The chapter contrasts two projects: the French duo Deep Forest’s album Boheme and Károly Cserepes’s album Danubian Trances: Mikroworld-ambient. Both projects remixed recordings of Hungarian and Romani (Gypsy) vernacular music. The chapter details how Hungarians treated Danubian Trances and some other local remixes as prestigious art music compositions. It outlines how Hungarians gave Boheme less prestige, viewing that album’s success as an instance of broader commercial exploitation of Central Europe by West European and multinational companies.

Keywords:   Deep Forest, sampling, Hungary, Romani, Gypsy, appropriation, postcommunism, postsocialism, neoliberal capitalism

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