{"id":3940,"date":"2021-12-16T03:29:09","date_gmt":"2021-12-16T03:29:09","guid":{"rendered":"https:\/\/www.arpjournal.com\/asarpwp\/?p=3940"},"modified":"2021-12-16T17:46:11","modified_gmt":"2021-12-16T17:46:11","slug":"the-sampling-aesthetic-of-bon-ivers-33-god","status":"publish","type":"post","link":"https:\/\/www.arpjournal.com\/asarpwp\/the-sampling-aesthetic-of-bon-ivers-33-god\/","title":{"rendered":"The sampling aesthetic of Bon Iver\u2019s \u201c33 \u2018God\u2019\u201d"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Abstract<\/h1>\n\n\n\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>This paper explores the various types of sampling and digital manipulation used within \u201c33 \u2018God,\u2019\u201d the fourth track on 22, A Million. Within this track, Vernon utilizes unique modes of musical and vocal expression, featuring samples as symbols of otherness \u2014 other times, other places, other emotions \u2014 presented through the timbre of others\u2019 voices in order to convey his own memories and mental states. Vernon\u2019s authorial voice within the track is both complicated and strengthened by this presence of other \u201ccharacters\u201d in his narrative. The samples will be examined through my term \u201csonic totem,\u201d which is offered to capture the relationship of sound objects and memory within a narrative song. The fact that Justin Vernon\u2019s is not the only voice heard on the track will be analyzed as signifyin\u2019, as described in the theory of Henry Louis Gates, Jr. (1988), and related to theories by Simon Frith (1996) and Lori Burns (2010).<\/p>\n<p>Peer Reviewed FULL TEXT (available as a <a href=\"https:\/\/www.arpjournal.com\/asarpwp\/wp-content\/uploads\/2021\/12\/Elizabeth-Navarra-Varnado_ARP2019.pdf\" target=\"_blank\" rel=\"noopener\">PDF download)<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Abstract This paper explores the various types of sampling and digital manipulation used within \u201c33 \u2018God,\u2019\u201d the fourth track on 22, A Million. Within this track, Vernon utilizes unique modes of musical and vocal expression, featuring samples as symbols of otherness \u2014 other times, other places, other emotions \u2014 presented through the timbre of others\u2019 [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":["post-3940","post","type-post","status-publish","format-standard","hentry","category-articles-editorials-provocations","author-elizabeth-navarra-varnado"],"_links":{"self":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3940","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/comments?post=3940"}],"version-history":[{"count":5,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3940\/revisions"}],"predecessor-version":[{"id":4053,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/posts\/3940\/revisions\/4053"}],"wp:attachment":[{"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/media?parent=3940"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/categories?post=3940"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.arpjournal.com\/asarpwp\/wp-json\/wp\/v2\/tags?post=3940"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}