Práticas de significância da música sampleada

Abstract

The structure of this paper is set around three main purposes. The first is to reclaim the notion of significance as proposed by artistic and language studies, with a double focus on the intertextuality and semiotic productivity of the objects analyzed, aiming beyond significance in its traditional terms. The second is to present the notion of sampling, going through definitions and describing a brief pre-history towards the contemporary practices of sample. Finally, it presents some of the current practices associated with sampling (crate digging, sample hunting, and sample sampling) which point out to three kinds of productivity (transcreative, associative and intersemiotic) which we understand as aspects of the significance of samples. As a result, we present a contribution to contemporary thought: to consider music as an artistic language that conjugates intertextualities in a process of production that is irreducible to content transmission.