Abstract
The sampler and the use of samples permeates modern music. Apparently, the modus operandi of the sampler directly relates to the tape manipulations of musique concrète and merely offers the contemporary composer convenience and efficiency. However, the use of samplers, and the emphasis on recorded material, engenders significant constraints and transforms working practices. These changes have profound implications for music as an art form. This paper will systematically investigate the factors which make sampling such a dynamic agent of change, affecting all aspects of musical activity and demanding a new aesthetic.
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