Plunderphonics

Plunderphonics is a term coined by Canadian composer and musician John Oswald to describe a form of music that is created by manipulating and recontextualizing existing audio recordings. This technique involves the use of sampling, editing, and processing of pre-existing sounds, often without the permission of the original copyright holders. The term itself is a play on words, combining "plunder" and "phonics," reflecting the process of raiding and repurposing sound sources.

Oswald introduced the concept in the late 1980s with his album "Plunderphonic," which featured compositions made entirely from samples of popular music. The album sparked significant controversy due to its unlicensed use of copyrighted material, leading to legal challenges and debates about copyright law and fair use in the context of musical composition.

Plunderphonics is closely related to other forms of musical appropriation and collage, such as mashups, remixes, and sound collage. However, it is distinct in its approach to deconstructing and reconstructing audio samples to create entirely new compositions. This process often involves techniques like time-stretching, pitch-shifting, and reverse playback to transform the original sounds beyond recognition.

The practice of plunderphonics has influenced various genres of music, including electronic, experimental, and hip-hop. It has also raised important questions about intellectual property, artistic creativity, and the ethical implications of using existing works without permission. Despite the legal and ethical controversies, plunderphonics remains a significant and innovative approach to music creation, pushing the boundaries of what is considered original composition.