Sonic Necessity and Compositional Invention in #Blues-Hop: Composing the Blues for Sample-Based Hip-Hop

Rap, the musical element of Hip-Hop culture, has depended upon the ‘recorded’ past to shape its birth, present and, potentially, its future. Founded upon a sample-based methodology, the style’s perceived authenticity and sonic impact are largely attributed to the use of phonographic records, and the unique conditions offered by ‘composition’ within a sampling context. Yet, while the dependence on pre-existing recordings challenges traditional notions of authorship, it also results in unavoidable legal and financial implications for sampling composers who, increasingly, seek alternative ways to infuse the sample-based method with authentic content. But what are the challenges inherent in attempting to compose new content - inspired by traditional forms - while adhering to Rap’s unique sonic rationale, aesthetics and methodology? How does composing within a stylistic frame rooted in the past (i.e. the Blues) differ under the pursuit of contemporary sonics and methodological preferences (i.e. Hip-Hop’s sample-based process)? And what are the dynamics of the inter-stylistic synthesis? The emerging hypothesis of this paper is that the sonic objectives of sampling production create unique conditions for the composition, appropriation and, in turn, divergence of traditional musical forms, giving birth to era-defying genres, leveraging on the dynamics of this interaction. The musicological inquiry utilises (auto)ethnography reflecting on professional creative practice, in order to investigate compositional problematics specific to the applied Blues-Hop context, theorise on the nature of inter-stylistic composition, and consider the effects of electronic mediation on genre transformation and stylistic morphing

Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap

The use of synthesisers in Hip-Hop has ranged from sonic emulation, to sample augmentation, to original creation (arguably, of timbres and sub-genres alike). From the referential use of analogue synth leads in ‘G-funk’, to the EDM-inspired layers of ‘Crunk', to the subtle use of sub-synthesis in ‘Boom-Bap’, a reciprocal dynamic can be observed between the types of synthesisers deployed and the aesthetic context expressed by Rap sub-genres. In an age of exponential stylistic morphing - particularly noticeable within electronic music forms - the relationship between synthesised sonic signatures and genre transformation necessitates closer investigation. Furthermore, the use of synthesis in sample-based Hip-Hop challenges the purist focus on phonographic sampling as the sole route towards stylistic legitimacy. What are the sonic factors that render synthetic timbres acceptable, appropriate or authentic? The paper aims to examine how synthesisers contribute to the stylisation of Hip-Hop sub-genres, and investigate how the relationship between synthesis and the sample-based process has evolved throughout the style’s trajectory. The methodology fuses (auto)ethnography, aural and intertextual analysis, to theorise on synthesiser usage against a Rap typology, before putting the findings to the test within a creative practice context

Bass | the wider frontier: low-end stereo placement for headphone listening

The placement of low-end spectra in popular mixes has ranged from dogmatic centrality to extreme staging, but current developments in production workflows, stylistic evolution and increasingly personalised modes of consumption have resulted in alternative—if less polarised—approaches to low- end production. The authors question how contemporary practitioners ‘sculpt’ bass in their mixes, the strategies that are deployed to secure translation, and the relationship between innovation in the bass spectrum and sensible mix architecture. The aim is to investigate the aesthetic and pragmatic causality behind the phenomenon, but also to examine and theorise on the creative possibilities for future bass staging

Rating of Patient Satisfaction Factors in a Clinical Hyperbaric Centre of a Greek Navy Hospital

Background: Modern medical technology has promoted the creation and improved the organization of Diving and Hyperbaric Medical Units (DHMU).Objective: This study evaluates patient satisfaction regarding services provided by the DHMU’s in Attica, Greece.Material and Method: This is a descriptive study, its sample constitutes of 91 patients admitted at the DHMU of Navy for Hyperbaric Oxygen (HBO) therapy. For the collection of data an anonymous selfadministered, 2-part questionnaire was utilized. The first part consisted of questions recording sociodemographicdata, while the second constituted of questions investigating the satisfaction of patients from the DHMU with a five-point Likert scale. The data was analyzed using SPSS (ver 17).Results: A total of 91 patients (53 male, 38 female) with a mean age of 35.5 years, sd=+/-7.245 participated in the study. Most of them 44% were university graduates. Patients’ satisfaction from theservices provided at DHMU was up to 85.7%, while 87.6% of them highly appreciated the prompt initiating and availability of sessions and rated telephone communication with the DHMU as exceptional. Personnel were described by patients as polite (94.4%), respectful (95.6%) and discrete (94.5%). The 92% of patients understood the importance of abiding by the rules of safety from nurses. Gender, age and the number or treatments were the characteristics that correlated statistically withpatients’ satisfaction from the services provided at a Greek Diving and Hyperbaric Medical Unit.Conclusion: The patients rated care and access to the particular D.H.M.U. as most excellent. Greek patients experience great satisfaction from the Naval Diving and Hyperbaric Medical Unit

Multiple superconducting ring ratchets for ultrasensitive detection of non-equilibrium noises

Magnetic quantum periodicity in the dc voltage is observed when asymmetric rings are switched between superconducting and normal state by a noise or ac current. This quantum effect is used for detection of a non-equilibrium noise with the help of a system of 667 asymmetric aluminum rings of $1 \ \mu m$ in diameter connected in series. Any noise down to the equilibrium one can be detected with the help of such system with enough great number of asymmetric rings.Comment: 6 pages, 6 figure

Sample magic: (Conjuring) phonographic ghosts and meta-illusions in contemporary hip-hop production

Sampling has been criticised as “a mixture of time-travel and seance”, “the musical art of ghost co-ordination and ghost arrangement”, and a process that “doubles (recording’s) inherent supernaturalism” (Reynolds 2012, pp. 313-314). Yet out of all the sample-based music forms, hip-hop receives the lion’s share of attention in popular music literature; critics are puzzled by its appeal, scholars identify a plethora of problems in its function, and practitioners and audiences alike are mesmerised by its effect. Rap producers attribute an inherent ‘magic’ to working with past phonographic samples and fans appear spellbound by the resulting ‘supernatural’ collage. The author examines the music’s unique recipe of phonographic juxtaposition, exploring the conditions of this ascribed ‘magic’, investigating gaps in perception (Lehrer 2009) between emotional and intellectual effect, and deciphering parallels in the practice and vocabulary mobilised against a range of genres in performance magic

"The ESG investment boom and its effect on green innovation"

The ESG investment boom brought scrutiny and stirred a raging debate on the true value of sustainable companies. While the majority of research focuses on past share performance and expected future returns, my paper aims to contribute to this debate, by shedding light on a less discussed aspect of ESG firm value: their output in terms of green innovation. Using detailed data on green patenting, my fixed effect regression analysis shows that despite the significant capital flows to the sector, reflected in higher stock returns, companies have taken lackluster steps towards combating the effects of climate change innovatively. My results cast doubt on the relevance of the ESG scoring system for real environmental outcomes and support calls for regulatory action