ABSTRACT
The Motormouth project suggests that a methodology which incorporates the findings of Zajonc and Smalley can be used to mediate the novelty factor in sonic recontextualization, increasing the likelihood of liking, arousal potential and attitudinal enhancement, and, hopefully therefore, musical enjoyment. Amongst the affordances of the 'tapeless studios' was the ability to extract grooves and breaks from existing recorded material for recontextualization into new compositions, the practice going on to form a cornerstone of hip hop, and feeding many other forms of pop production, once subsequent devices became more affordable. An explanation of how discordant noise can become musically acceptable lies in the research of Deutch et al. namely, that repetition affords musicality. The arrangements were such that they largely resembled more traditional pre-mix recordings. The organization of sequenced tracks into, e.g., 'kick,' 'snare,' 'hate,' 'bass,' 'synth,' facilitated a familiar approach to mixing.
