This article embarks on a two-fold investigation, examining the aesthetic implications of sample-based record production using re-imagined phonographic sources, and exploring applied research design for contemporary forms of music-making. Challenging traditional models of musicological analysis, the author demonstrates how multi-methods research leverages the study of ‘meta’ genres of creative practice.
Keywords: practice, Hip-hop, sample-based, musicology, record production
How to Cite:
Exarchos M., (2018) “Hip Hop time machine”, New Vistas 4(2). p.22-27. doi: https://doi.org//uwl.67