Open Collections

Abstract

Sampling is quintessential to the genre of hip-hop. From its inception in the early 1970s to the bedroom producers of the present day, DJs and producers alike have used this musical technique to turn already existing music into something different. The source of sampled music is often rooted in inspiration, but what draws these inspirations varies. For some, it might be an album cover, catchy drum break, or a record that was played around the house. Using Christopher Small’s “musicking” framework, this thesis explores the lineages of sampling and the intergenerational bridges that form between hip-hop and the genres that preceded it. Chapter 2 analyzes technology and its contributions to music, sampling, and the way the hip-hop community engages with sampling through online spaces. Chapter 3 analyzes how sampling creates lineages and connects community through intergenerational relationships. Chapter 4 explores legality, racism, and the ways that it affects sampling and how we engage with it, while Chapter 5 serves as a conclusion. Throughout this thesis I explore personal connections with the music through an autoethnographic approach.