Sampling and Commercialization in Danubian Trances and Boheme
Sampling and Commercialization in Danubian Trances and Boheme
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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