Modern music has found in the sampling one of his most powerful tools for reinventing himself. This technique, which consists of taking fragments of pre-existing songs to construct new works, allows the sounds of the past to tell stories of the future. More than a technical resource, the sampling acts as an art that connects generations, cultures and emotions.
From early experiments to the digital age
The sampling began its journey in analogue laboratories, where curious producers experimented with tapes and tape recorders to create new textures. The appearance of the first samplers transformed the musical landscape, which facilitated the capture and reuse of sound fragments in an accessible form.
With the advent of the digital age, this practice broadened its scope and democratised music production, opening up creative possibilities that broke down the traditional barriers of composition.
The art of merging times and cultures
The sampling not only recycles sounds; it reinterprets cultural contexts. Reusing forgotten fragments gives new meanings and allows artists to dialogue with aesthetics from other periods.
A traditional rhythm can be mixed with contemporary electronic bases, or a sixties melody can take on new life over a trap or afrobeat beat, revealing connections that would otherwise have remained invisible.
A notable example of this fusion is the increasing use of African music in international productions. Artists such as Manu Dibango, Miriam Makeba, Cheb Khaled or Mulatu Astatke have been recurrently sampled, connecting sonorities from the African continent with new global audiences.
Creativity in dispute: the controversies of sampling
The sampling has also generated controversy over the limits of authorship. In some cases, such as Quevedo's modification of a theme after accusations of plagiarism and the debate on musical appropriation became highly visible.
Other examples include criticism of Karol G because of the similarities of their single With you with a previous success, or the comparisons between Miley Cyrus and Paulina Rubio following the launch of End of the World. Even ... the simple The Babys of Aitana opened a debate on the fine line between homage and copying.
At the international level, one of the most emblematic cases was that of the classic "Soul Makossa from Manu Dibangoused without authorisation first by Michael Jackson at Wanna Be Startin' Somethin' and decades later by Rihanna at Don't Stop the Music. Both episodes gave rise to legal disputes that put the spotlight on cultural rights and the need for fair recognition.
These episodes show how the sampling can oscillate between creative tribute and legal controversy.
Africa in the samples: Angola's wealth
As an example of how the sampling can also be a tool for cultural rescue, it is worth highlighting some gems of Angolan music that have been widely reused. Among the most popular artists sampled Highlights Ngola Rhythms, Teta Lando, Bonga y David Zé.
The theme "Undenge Uami from David Zé was sampled by Nas & Damian Marley in the song Friendswhich made him one of the best-known cases of sampling Angola at the international level.
Likewise, classics such as "Muxima of Ngola Ritmos and "Mona Ki Ngi Xiça". of Bonga - the latter known to be one of the favourites of Will Smith- represent not only the richness of Angolan traditional music, but also its capacity to continue its dialogue with new generations of artists and listeners.
A tool for imagining sound futures
Despite the controversies, the sampling continues to offer an avenue for exploring new forms of creation. Rescuing sounds and transforming them allows artists to bridge different eras and offer fresh perspectives on contemporary music.
Each recovered fragment becomes a seed that can blossom into new sound identities. Thus, the sampling not only preserves musical memory, but also projects new possibilities for the future.