ABSTRACT
In contrast, the term "composition" is rarely encountered in the context of deejaying, perhaps because deejaying does not appear to be about composition in the traditional sense of the word. If the authors think of composing as an act of musical creation that is primarily concerned with the creation of a final and fixed musical work, then deejaying seems to be almost the opposite thereof. Lacking the 50-year-plus hindsight advantage of a contemporary jazz or blues scholar, the author have decided to discuss the Disc Jockey (DJ) as a composer in autobiographical fashion. For the past thirty years or so, club deejaying has been an oral tradition, passed down from one generation of DJs to the next, with some DJs establishing themselves as more influential than others, becoming tine master DJs in the process. Of all New York DJs, arguably the most influential DJ was Larry Levan.
