ABSTRACT
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book begins with one of the newer forms of methodology: research-creation. It provides an analysis of the Inuit singer Tanya Tagaq’s use of overdubbing techniques in the recording studio. The book looks at Lennie Tristano’s innovative studio recordings of the 1950s and 1960s, and examines the original “texts” and additional primary sources. It is concerned with esthesis and conducts a study of the intersection between musical ontology and authenticity. The book focuses on post-colonial theory by exploring Tagaq’s practice through the lens of de-territorialization and re-territorialization in relation to her Inuit background. It shows examples from sound studies, communication studies, creativity studies and artistic research/practice-as-research. The book explores the subjective value judgments inherent in criticism of mashups; that the skills of technological mediation are ascribed more value than the musical skills of A+B mashups.
