The formal analysis of mashups is generally overlooked because their structures are assumed to be derived from one or more of their component tracks. This article explores the generation of original formal structures in one of the most well-known and complex mashup artists, DJ Earworm. We show that the form of his mashups can neither be derived from a singular work nor be analyzed by their thematic or harmonic construction. Instead, verse–chorus forms are revealed by correlating mashup sections to the formal origins of their borrowed material, which is based on the composer’s writings and interviews, a history of formal correlation in the mashup genre, and multiple analyses.

One of the leading theories of Scriabin's late music is that his collections are chords that are related through invariant transposition. Whereas this theory is effective in relating symmetrical collections such as the octatonic, it cannot relate asymmetrical collections such as Scriabin's mystic chord. In order to overcome this issue, I explore Scriabin's own understanding of his harmonic language and interpret it through his personal statements, philosophical beliefs and theoretical training. I reveal that Scriabin thought of his collections not as chords, but as closely related keys (tonalnosti). Although close key relationships are tonal in nature, this relationship can be transferred to post‐tonal music when defined as a maximally invariant transposition. Accordingly, this operation accounts for transpositional relationships between symmetrical and asymmetrical collections in Scriabin's late music, suggesting that his late harmonic language equates to a rapid succession of closely related keys. This theory is applied to excerpts spanning the late period, from Op. 58 to Op. 74, with extended applications to Op. 63 No. 2 and Op. 73 No. 2.

The discussion of narrative in mashups typically involves how a preexisting message is reinterpreted by the incorporation of new musical material. However, many scholars note how DJ Earworm's technique of creating new lyrics through the combination of samples from up to fifty different tracks conveys an original message that is distinct from its borrowed sources. In his various interviews, DJ Earworm elaborates that his mashups are original compositions that act as musical time capsules that capture the zeitgeist of the age. Nevertheless, DJ Earworm only provides brief commentary on the meaning of his mashups and there is no close examination of these narratives in the literature. This raises the question: To what degree do DJ Earworm's mashups reflect cultural issues in American society? By merging Zbikowski's concept of conceptual integration with Almén's theory of musical narrative, this paper will demonstrate how DJ Earworm's mashups show a consistent pattern of having complex narratives with cultural messages that resonate with contemporary issues in American society, including fossil fuel dependence, income inequality, and political and racial division.

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