The riddim method: aesthetics, practice, and ownership in Jamaican dancehall

@article{Manuel2006TheRM,
  title={The riddim method: aesthetics, practice, and ownership in Jamaican dancehall},
  author={Peter Lamarche Manuel and Wayne Marshall},
  journal={Popular Music},
  year={2006},
  volume={25},
  pages={447 - 470}
}
The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in… 
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Funk influence may also account for the tendency for these early 1980s re-licks to shift to a kick-on-one/three, snare-on-two/four drum pattern
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