{"id":174,"date":"2005-11-24T18:11:22","date_gmt":"2005-11-24T08:11:22","guid":{"rendered":"http:\/\/turntablism.com.au\/wordpress\/?p=8"},"modified":"2011-10-02T18:17:02","modified_gmt":"2011-10-02T08:17:02","slug":"turntablism-2","status":"publish","type":"post","link":"http:\/\/turntablism.com.au\/turntablism-2\/174","title":{"rendered":"Turntablism"},"content":{"rendered":"
Turntablism<\/strong> is a subgenre of hip hop<\/a>. One who engages in turntablism is a turntablist<\/em>: a term perhaps created in 1994 by DJ Supreme<\/a>, from New Rochelle, NY, to describe the difference between a DJ<\/a> who just lets records play, and one who actually manipulates the sounds of a record.<\/p>\n Turntablists are DJs<\/a> who use vinyl<\/a> disc records<\/a>, and turntable techniques like scratching<\/a> or beat juggling<\/a> in the composition of original musical<\/a> works. Turntablism is generally focused more on turntable technique and less on mixing, rapping<\/a> or vocal delivery. Some turntablists seek to have themselves recognized as a legitimate musician<\/a> capable of interacting and improvising<\/a> with other performers.<\/p>\n Turntables were actually first used as musical instruments in the 1940<\/a>\u00e2\u20ac\u2122s and 1950<\/a>\u00e2\u20ac\u2122s by musique concrete<\/a> and other experimental composers, such as John Cage<\/a> and Pierre Schaeffer<\/a>, who used them in a manner similar to digital sampling<\/a>. (Even earlier, Edgard Varese<\/a> experimented with turntables in 1930, though he never produced any works using them) Modern experimental turntablists include Christian Marclay<\/a>, Otomo Yoshihide<\/a>, Philip Jeck<\/a> and Janek Schaefer<\/a>.<\/p>\n Hip hop DJs developed independently of the earlier techniques, and the sounds produced by these experimental composers are quite different from later hip-hop turntablism.<\/p>\n