This Track Contains Politics: The Culture of Sampling in Experimental Electronica

What does it mean to process field recordings from the Ukrainian war in an electronic music track? How can the sampling of an Armenian keyboard melody be read as a critique of traditional gender roles? And what does it say about voyeurism in our culture when a techno producer uses viral YouTube videos as the basic material of his compositions?

Tables 2.1 Audio-related definitions of "sampling" 40 2.2 A selection of (net)labels and collectives in experimental electronica 58 3.1 Approaches to the analysis of sample-based music 84 3.2 Matrix of origin and quality of sampling material 85 3.3 A typology of sampling in hip hop 94 3.4 Reasons for sampling discussed in the academic literature 97 3.5 Approaches in the analysis of sampling practices 98 4.1 Model of imitative practices by Richard Dyer 103 5.1 Categories of reasons for sampling 112 5.2 Five perspectives in contextual sampling intentions 123 6.1 Sample-clips processed in "STABILIZED, YES!" 155 8.1 Rhythmic patterns in "Libres" 207 8.2 With-clave and counter-clave in "Libres" 208 9.1 Impact and settings of the effects applied to the main sample in "Perversas" 231 10.1 Conversation transcript of the source video processed in "Methy Imbiß" 252 11.1 Effect chains applied to the Iranian-Armenian protest sample in "Thresholds" 279 12.1 Overview of the five case studies 298 -This book marks the provisional end of a long journey researching the phenomena of musical sampling.I would like to thank a range of people who supported me in diverse ways during this project.First of all, my family, especially Regina, Ferdinand and Filippa, who enabled the space for working on the book and who provided love, joy, energy, and inspiration.Second, my thanks go to my PhD supervisors Britta Sweers and Thomas Burkhalter, who gave valuable input and advice at every stage of the process.I would also like to thank Anja Brunner for her helpful

Tables 2.1 Audio-related definitions of "sampling" 40 2.2 A selection of (net)labels and collectives in experimental electronica 58 3.1 Approaches to the analysis of sample-based music 84 3.2 Matrix of origin and quality of sampling material 85 3.3 A typology of sampling in hip hop 94 3.4 Reasons for sampling discussed in the academic literature 97 3.5 Approaches in the analysis of sampling practices 98 4.1 Model of imitative practices by Richard Dyer 103 5.1 Categories of reasons for sampling 112 5.2 Five perspectives in contextual sampling intentions 123 6.1 Sample-clips processed in "STABILIZED, YES!" 155 8.1 Rhythmic patterns in "Libres" 207 8.2 With-clave and counter-clave in "Libres" 208 9.1 Impact and settings of the effects applied to the main sample in "Perversas" 231 10.1 Conversation transcript of the source video processed in "Methy Imbiß" 252 11.1 Effect chains applied to the Iranian-Armenian protest sample in "Thresholds" 279 12.1 Overview of the five case studies 298 -This book marks the provisional end of a long journey researching the phenomena of musical sampling.I would like to thank a range of people who supported me in diverse ways during this project.First of all, my family, especially Regina, Ferdinand and Filippa, who enabled the space for working on the book and who provided love, joy, energy, and inspiration.Second, my thanks go to my PhD supervisors Britta Sweers and Thomas Burkhalter, who gave valuable input and advice at every stage of the process.I would also like to thank Anja Brunner for her helpful

What does it mean to process field recordings from the Ukrainian war in an electronic music track? How can the sampling of an Armenian keyboard melody be read as a critique of traditional gender roles? And what does it say about voyeurism in our culture when a techno producer uses viral YouTube videos as the basic material of his compositions?

What does it mean to process field recordings from the Ukrainian war in an electronic music track? How can the sampling of an Armenian keyboard melody be read as a critique of traditional gender roles? And what does it say about voyeurism in our culture when a techno producer uses viral YouTube videos as the basic material of his compositions?

What does it mean to process field recordings from the Ukrainian war in an electronic music track? How can the sampling of an Armenian keyboard melody be read as a critique of traditional gender roles? And what does it say about voyeurism in our culture when a techno producer uses viral YouTube videos as the basic material of his compositions?

Not only has the functioning and outlook of the European Union undergone significant transformation amid a series of crises, the EU has also become increasingly politicized and geopoliticized over the past decade and beyond. Against a backdrop of global volatility – marked by the COVID-19 pandemic, the war in Ukraine, and systemic rivalry with Russia and China among others – the EU seems to be moving from its traditional role as a norm-based actor toward a more interest-driven geopolitical stance. While the supra – and international levels are characterized by important shifts, research on the relation between the accelerating process of geopoliticization and the European Union is still at an early stage. In this article, an actor-centered framework is developed to conceptualize and examine how EU actors respond to, and potentially drive, geopoliticization. The framework distinguishes three main outcomes of this agency-driven process of geopoliticization: paradigm-reinforcing, paradigm-neutral or paradigm-shifting effects. These effects can occur across three main dimensions: the politics (short-term discursive shifts), policy (medium-term changes in policy priorities), and polity (long-term institutional reconfigurations) of the EU. As such, the study offers a critical lens for understanding the evolving nature and relation between geopoliticization and European governance.

The ongoing Russia-Ukraine war is primarily examined through official narratives, propaganda, and victims’ testimonies. However, the deeper motivations driving Russian men to enlist and fight often remain underexplored. While Western and Ukrainian media frequently attribute this to Russian propaganda, animosity towards Ukrainians, naivety, or financial incentives, these factors only partially capture the issue’s complexity. An additional motive rooted in an enduring ‘behavioral schema’ also plays a significant role. This schema is based on traditional gender roles influencing men’s decisions to engage in combat and women’s decisions to support them. By analyzing Russian social media and combatants’ writings, this research reveals how war discussions are framed by entrenched ‘traditionalist’ behavioral patterns. Utilizing Astrid Erll’s concept of ‘implicit memory’ and James V. Wertsch’s concept of narrative templates, this study elucidates not only the official narratives of the war but also the ‘hidden’ narratives that shape collective feelings and memories.

In this article, we demonstrate how international social‐media discussions offer a platform for taking a stance on the war in Ukraine, redrawing national boundaries and legitimising their defence. We do so by analysing data that consist of comments triggered by a viral YouTube video depicting an encounter between an ageing civilian woman, labelled ‘Babushka Z’, and a Ukrainian soldier. Using a critical discursive psychological framework, we identify five interpretative repertoires: vulnerability, incapacity, national continuity, masculinised warriorship and righteousness. Our analysis illuminates how these repertoires draw on and reproduce intersecting categorisations based on gender, age and ethnic heritage. With the help of these categorisations, the repertoires build competing images of the actions of the figures in the video, which come to symbolise in various ways both patriotism and treason, heroism and cowardice. By aligning with competing historical‐national narratives, the commentors use these images to (de)legitimise the war and its actors.

The aim of this study was to examine the relationship between fathers’ involvement and maternal gatekeeping, gate-opening, and traditional paternal gender roles, as well as to evaluate fathers’ involvement as a mediating role in the relationship between maternal gate-opening, gatekeeping, traditional paternal gender roles, paternal competence, and marital satisfaction. Turkish fathers (N = 239) with a child aged 2–6 years were included in the study. They assessed maternal gatekeeping and gate-opening, their traditional gender roles, parenting competence, and marital satisfaction. Results indicated that fathers’ involvement is positively related to maternal gate-opening and negatively associated with traditional paternal gender roles; in addition, fathers’ involvement has a mediatory role between maternal gate-opening, traditional paternal gender roles and paternal competence and marital satisfaction. The results suggest that fathers who are involved in their children’s lives are more competent and have higher marital satisfaction.

The article is based on the example of the debut novel «Daughter» by the volunteer and translator Tamara Horikha Zernya, who won the Shevchenko Prize-2022 (the highest literary award in Ukraine). It analyzes the peculiarities of the formation of military discourse in modern Ukrainian prose through the perception of a female writer. The article describes the place of a woman in the hegemonic masculine space, characterized by militarism, aggression, and violence. The paper has been traced the process of internal transformation and, as a result, a woman's rebellion against the established gender models of behavior in war conditions by asserting an active civic position and participation in the country's social and political life (volunteering). The writer not only joined the isolated female voices to highlight the topic of the Russian- Ukrainian war in all its manifestations, but she also became almost the only author who brought to the public the irritating topic of gender role polarization in wartime. She raised her voice against the forced removal (taboo) of women from the military discourse. The writer touches on the problem of gender stereotypes in tragic wartime, when men and women, faced with the threat of losing the nation, the motherland, and their own lives, are induced to try on different gender roles, actualizing the manyfolded tragedy of a person at war. Women's voices in understanding war topics play an important role inasmuch they record local, mental, socio-political and other changes in society. Women, being involved in the state of war, analyze the reasons that led to the inevitability of armed conflict, but first of all, they raise the issue of gender polarization roles in the conditions of martial law, in particular the forced removal of women as the weaker sex from the military discourse. The novel «Daughter» by Tamara Horikha Zernya allows you to trace the path of the internal transformation of the heroine under the influence of external circumstances, genetic, mental and psychophysical characteristics. The spiritual and value-based transformation naturally leads to a woman's rebellion against the stereotyped gender models and results in active volunteer activities. The artistic text is the first-person narrative, the real name of the heroine is not mentioned in it, instead the generic designation «Dotsia» is used to highlight the fact that the fate of the protagonist is not unique in our society. The writer is involved in her volunteer experience as the documentary evidences. Thus, the protagonist strives to integrate into the masculine militarized world to realize the desire to be involved in the process of nation-building and restoration of state sovereignty. Keywords: war, masculine space, women, military prose, women's prose, military discourse.

Sitcom has been worldwide famous since the 1950s. Friends is one of the most well-known sitcoms, telling the story of friends who lived in New York City during their youth. I will analyze gender roles issues in Friends. In this study, I will analyze how the six main characters adopt traditional gender roles and how the six main characters eventually challenge them. I use several theories, such as traits of traditional gender roles, theory of gender roles orientation, and theory of egalitarianism. My analysis demonstrates that each of the six main characters adopted at least one trait of traditional gender roles at the beginning of the series. The traits they adopted will be categorized by their personal attitude, social behavior, value, self-concept, and career choice. By the end of the series, the six main characters had eventually challenged traditional gender roles and adopted more to the Egalitarianism theory.

While traditional gender roles have been examined in the context of online communication, less is known about the implications of encountering counter-traditional gender roles (e.g., depicting men as caring and women as independent) on social media. We investigated participants’ perceived gender identity threat upon exposure to traditional versus counter-traditional gender role jokes that targeted either men or women. An online experiment (N = 265) using a 2 (content: traditional versus counter-traditional gender roles) by 2 (joke’s target gender: men versus women) by 2 (participant’s gender: man versus woman) mixed design demonstrated that overall, jokes targeting women elicited greater identity threat and women perceived greater identity threat than men. Moreover, the three-way interactions showed that women, in particular, perceived greater identity threat from traditional gender role jokes targeting women. The current study highlights the damaging role of the spread of traditional gender roles through humor, particularly for women’s gender identities.

The article considers the problem of the representation of anti-military narratives in the Internet space, namely in the YouTube channel. The focus is on the anti-military blog of Yuri Shvets (USA). The world, and especially the European media space, has undergone significant changes in the last few years, which are primarily related to innovative technologies and the war raging in Eastern Europe. Such transformations attract research attention, determine the relevance of the presented work. Attention is focused on the anti-military and anti-russian content of the American blogger of Ukrainian origin Yuriy Shvets on the materials of his author’s YouTube channel. The methodological basis of the study. Quantitative and qualitative comparison of the thematic sections of the research object – Yuriy Shvets’ YouTube blogging for the purpose of implementing the research subject – journalistic, (geo)political, conceptual analysis and generalization of the blogger’s anti-imperial and anti-military narratives. The issue of Ukraine’s victory and russia’s defeat is the most pressing issue for Ukraine’s true allies and partners. The purpose of this article is to show the pro-Ukrainian position of the American blogger Y. Shvets in his long verbal struggle with the putin regime based on anti-russian blogging during russia’s full-scale war in Ukraine. The analysis of Yuriy Shvets’ YouTube channel shows the technological possibilities of the latest media platforms, the transformation and convergence of traditional mass media. Social networks, messengers and YouTube will continue to grow in audience and influence. Keywords: Ukraine, russian federation, russia’s aggression against Ukraine, anti-russian narratives, Yuryy Shvets’ YouTube channel, blogging, review of American media, US aid, geopolitics.

Exploring the associations between intimate partner violence victimization during pregnancy and delayed entry into prenatal care: Evidence from a population-based study in Bangladesh