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Relevant bibliographies by topics / Hip-hop Hip-hop. Rap (Music) / Journal articles

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Journal articles on the topic 'Hip-hop Hip-hop. Rap (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.32.3.73.

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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop

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Grewal, Sara Hakeem. "Hip Hop and the University." Journal of Popular Music Studies 32, no. 3 (2020): 73–97. http://dx.doi.org/10.1525/jpms.2020.323007.

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While hip hop and the university appear to operate within radically different social (and socioeconomic) spheres, we nevertheless see increasing overlap between the two that demonstrates a mutual interest and perhaps desire between the two. With the rise of hip hop studies on the one hand and a remarkable array of hip hop songs and films that address the university space and/or university education on the other, these two discursive spheres produce knowledges that are both complementary and contradictory. By analyzing several texts—major academic works of hip hop scholarship; films on hip hop

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Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (2008): 15–23. http://dx.doi.org/10.1027/1864-1105.20.1.15.

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Abstract. In spite of great public concern about offensive messages in hip-hop/rap and rock, actual quantitative prevalence is rarely examined. This investigation analyzed 260 rap/hip-hop and rock songs from the top-charts of 1993 and 2003 for rebellious messages about impulsive and hostile behaviors. Results show that the majority of top songs contain rebellious messages. Songs with messages about impulsiveness are more common than those about hostility in the rap/hip-hop genre and have increased.

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SOLOMON, THOMAS. "‘Living underground is tough’: authenticity and locality in the hip-hop community in Istanbul, Turkey." Popular Music 24, no. 1 (2005): 1–20. http://dx.doi.org/10.1017/s0261143004000273.

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Hip-hoppers in Istanbul, Turkey, spend much discursive energy talking and rapping about how the Turkish hip-hop movement is underground, putting a particularly local spin on their uses of a global cultural form. This spatial metaphor has thus become central to local constructions of hip-hop in Istanbul. This paper explores the different meanings the underground concept has for Turkish hip-hoppers through a combination of ethnographic research and readings of locally produced hip-hop texts. Through discourses on and around the underground metaphor, Turkish hip-hoppers use the globally circulati

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Pennycook, Alastair. "Global Noise and Global Englishes." Cultural Studies Review 9, no. 2 (2013): 192–200. http://dx.doi.org/10.5130/csr.v9i2.3572.

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Global Noise: Rap and Hip-Hop Outside the USA, alluding to Tricia Rose’s US rap-music book, Black Noise, aims to do much more than merely extend the reach of the study of rap and hip-hop beyond the USA, as its subtitle might suggest. While acknowledging the importance of the work of both Rose and Potter, this collection’s editor, Tony Mitchell, contests their respective views that rap and hip-hop are essentially expressions of African-American culture, and that all forms of rap and hip-hop derive from these origins. He argues that these forms have become ‘a vehicle for global youth affiliation

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Berkson, Sam. "Hip Hop World News: reporting back." Race & Class 59, no. 2 (2017): 102–14. http://dx.doi.org/10.1177/0306396817716053.

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Responding to the BBC 4 documentary, The Hip Hop World News, the author examines a number of debates that the programme, narrated by Rodney P, a pioneer of British rap music, and a believer in the revolutionary potential of hip hop culture, throws up. For hip hop also has many reactionary elements and has become big business for the corporations and rap ‘stars’ involved in its production. Beyond just pointing to individual rappers who have been ‘conscious’ political voices, such as Public Enemy’s Chuck D, we are shown structures embedded in the origins and ‘elements’ of hip hop that continue t

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Templeton, Inez H. "Where in the world is the hip hop nation?" Popular Music 22, no. 2 (2003): 241–45. http://dx.doi.org/10.1017/s0261143003003155.

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The ‘Hood Comes First: Race, Space and Place in Rap and Hip-Hop. By Murray Forman. Middletown: Wesleyan University Press, 2002. 400 pp.Global Noise: Rap and Hip-Hop Outside the USA. Edited by Tony Mitchell. Middletown: Wesleyan University Press, 2001. 352 pp.

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Bennett, Andy. "Hip hop am Main: the localization of rap music and hip hop culture." Media, Culture & Society 21, no. 1 (1999): 77–91. http://dx.doi.org/10.1177/016344399021001004.

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Yanchenko, Ya M. "HIP-HOP AS A DISCURSIVE SPACE OF THE SUBCULTURE." Bulletin of Udmurt University. Series History and Philology 30, no. 3 (2020): 403–7. http://dx.doi.org/10.35634/2412-9534-2020-30-3-403-407.

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The goal of the article is detection and description of the main linguistic peculiarities of the discourse of hip-hop subculture. The lack of research devoted to hip-hop language and high popularity of rap music give grounds to consider this problem relevant to solve. The article examines the factors of the formation of the subculture and their impact on the linguistic representation of the mental world of the hip-hop culture representatives. It is concluded that there is a direct connection between conditions and lifestyle (economic instability, high crime rates, racial decimations) of hip-ho

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Nzinga, Kalonji L. K., and Douglas L. Medin. "The Moral Priorities of Rap Listeners." Journal of Cognition and Culture 18, no. 3-4 (2018): 312–42. http://dx.doi.org/10.1163/15685373-12340033.

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AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concern

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Golpushnezhad, Elham. "Untold Stories of DIY/Underground Iranian Rap Culture: The Legitimization of Iranian Hip-Hop and the Loss of Radical Potential." Cultural Sociology 12, no. 2 (2018): 260–75. http://dx.doi.org/10.1177/1749975518769001.

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In this article, I aim to explore how legitimization and de-radicalization of the underground hip-hop subculture have restrained the DIY creation of social norms and cultural behaviours that mobilized Iranian hip-hop in the early 2000s. The article offers a critical discussion of the literature around legitimization of DIY/underground subcultures, specifically youth musical subcultures such as punk and hip-hop, before turning to an analysis of Iranian hip-hop culture in three phases: (1) hip-hop and the creation of a community, 2000–2003; (2) the golden age of Iranian hip-hop, 2003–2009; (3) c

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Becker, Sarah, and Castel Sweet. "“What Would I Look Like?”: How Exposure to Concentrated Disadvantage Shapes Hip-Hop Artists’ Connections to Community." Sociology of Race and Ethnicity 6, no. 1 (2018): 61–75. http://dx.doi.org/10.1177/2332649218784964.

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Hip-hop has deep historical ties to disadvantaged communities. Resounding success in mainstream and global music markets potentially disrupts those connections. The authors use in-depth interviews with 25 self-defined rap/hip-hop artists to explore the significance of place in modern hip-hop. Bringing together historical studies of hip-hop and sociological neighborhood studies, the authors examine hip-hop artists’ community connections. Findings reveal that exposure to concentrated racial and economic disadvantage shapes how artists interpret community, artistic impact, and social responsibili

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de Paor-Evans, Adam. "The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture." Arts 7, no. 4 (2018): 80. http://dx.doi.org/10.3390/arts7040080.

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Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-

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Harrison, Anthony Kwame. "Racial Authenticity in Rap Music and Hip Hop." Sociology Compass 2, no. 6 (2008): 1783–800. http://dx.doi.org/10.1111/j.1751-9020.2008.00171.x.

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KAMIŃSKA, MARTA. "Chrześcijański hip-hop w służbie nowej ewangelizacji." Annales Missiologici Posnanienses, no. 17 (December 15, 2010): 121–36. http://dx.doi.org/10.14746/amp.2010.17.09.

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This article presents an attempt to show the “Christian” version of hip-hop or rap music. Even though at the beginning this kind of music was anti-Christian and this might be still in the mainstream, there are however some attempts of creating such a kind of music with an attitude of searching for deeper meaning in life and finding it sometimes in Christian life. Very important in this process was an audience, which John Paul II gave to the artists of this kind of music, somehow confirming that such music also might be used for evangelization.

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Gilbers, Steven, Nienke Hoeksema, Kees de Bot, and Wander Lowie. "Regional Variation in West and East Coast African-American English Prosody and Rap Flows." Language and Speech 63, no. 4 (2019): 713–45. http://dx.doi.org/10.1177/0023830919881479.

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Regional variation in African-American English (AAE) is especially salient to its speakers involved with hip-hop culture, as hip-hop assigns great importance to regional identity and regional accents are a key means of expressing regional identity. However, little is known about AAE regional variation regarding prosodic rhythm and melody. In hip-hop music, regional variation can also be observed, with different regions’ rap performances being characterized by distinct “flows” (i.e., rhythmic and melodic delivery), an observation which has not been quantitatively investigated yet. This study co

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Fikentscher, Kai, David Toop, and Jon Michael Spencer. "Rap Attack 2: African Rap to Global Hip Hop." Ethnomusicology 38, no. 2 (1994): 349. http://dx.doi.org/10.2307/851745.

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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.

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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage na

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Inkster, Becky, and Akeem Sule. "Drug term trends in American hip-hop lyrics." Journal of Public Mental Health 14, no. 3 (2015): 169–73. http://dx.doi.org/10.1108/jpmh-05-2015-0019.

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Purpose – Many young people around the world embrace hip-hop music and culture. Since the genre’s conception in the 1970s, hip-hop music and lyrics have made regular references to drugs. Understanding the relevance of these documented trends is important, especially as adolescence is a period of high risk for substance misuse. The purpose of this paper is to explore how and possibly why different lyrical trends in hip-hop music have emerged, risen and fallen out of popularity by examining word usage frequency of drug terminology in hip-hop lyrics spanning several decades of this genre. Design/

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Washington, Ahmad R. "Addressing Social Injustice with Urban African American Young Men Through Hip-hop: Suggestions for School Counselors." Journal for Social Action in Counseling & Psychology 7, no. 1 (2015): 101–21. http://dx.doi.org/10.33043/jsacp.7.1.101-121.

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In this manuscript, the author discusses how hip-hop and rap music can be used to as a tool for social justice advocacy to stimulate urban African American young men’s sociopolitical empowerment to combat educational barriers. The manuscript includes a historical examination of the environment in which hip-hop culture was conceived. The focus then shifts to how particular hip-hop artists’ lyrical content is germane to the social justice advocacy orientation mandate of 21st century professional school counselors working in urban settings. Finally, practical suggestions are be provided for how s

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Vito, Christopher. "Shop talk: The influence of hip hop on Filipino‐American barbers in San Diego." Global Hip Hop Studies 1, no. 1 (2020): 13–23. http://dx.doi.org/10.1386/ghhs_00002_1.

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Barber culture frequently intersects with hip hop. Barbershops often incorporate rap music, street wear apparel and popular culture into their daily environment. In tandem, an important part of hip hop culture is the haircuts and designs that people choose to get. Many Filipino-Americans across the United States utilize barber and hip hop culture to help create their own unique sense of identity ‐ a sense of identity forged in the fires of diaspora and postcolonial oppression. In this first instalment of the GHHS ‘Show and Prove’ section ‐ short essays on hip hop visual culture, arts and image

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de Paor-Evans, Adam. "The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap." Open Cultural Studies 2, no. 1 (2018): 122–35. http://dx.doi.org/10.1515/culture-2018-0012.

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Abstract In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and sociopolitical presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future o

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Regmi, Aarati. "Redefining the Society in Hip-Hop Music: A Nepali Perspective." SCHOLARS: Journal of Arts & Humanities 3, no. 1 (2021): 18–25. http://dx.doi.org/10.3126/sjah.v3i1.35355.

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Nepali Rapper Utsaha Joshi, aka Uniq poet's title song “Mero Desh Birami” and Chirag Khadka's album 5:55 title song “Samadhi and Aaago ko Jhilko” display intimate relationships between the socio-political and cultural context and the youngsters' powerful voice through music. This paper analyzes rap music as a medium and power to convey socio-cultural values, truth of conspiracy, and interests among youngsters. Both singers have portrayed the mainstream culture, faith, and patriotism, which have shaped people’s minds and behaviours. Rap songs have become so popular among young people who have a

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Brzobohaty, Avery. "Agency, Authenticity, and Parody in Palestinian Hip Hop." Journal of Popular Music Studies 32, no. 1 (2020): 44–56. http://dx.doi.org/10.1525/jpms.2020.32.1.44.

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Throughout the discourse surrounding the Israel-Palestine conflict many methods have emerged to examine the ways in which artists engage with the issues through popular culture. As hip hop spread globally, its universal themes and ability to constitute community led to the use of rap as a vehicle for political commentary. This paper explores how the Palestinian hip hop group DAM provides a commentary on the experiences of Palestinian-Israelis through carnivalesque methods to create shocking juxtapositions. Using an inter-textual method, we can see that humor allows DAM to freely speak “their t

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Souza, Angela Maria de, and Deise Lucy Oliveira Montardo. "Music and musicalities in the hip hop movement: gospel rap." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (2011): 7–38. http://dx.doi.org/10.1590/s1809-43412011000100001.

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This article reflects on issues first raised in the doctoral thesis in Social Anthropology entitled “The Road is Long and the Ground is Slippery!: the hip hop movement in Florianópolis and Lisbon” (Souza 2009) and which provides ethnographic support for the reflections raised here about this vibrant v.8 n.1 angela m. de souza, deise l. montardo musical production. Rap is music that was born in ghettos and peripheries. It has become a strong reference for youth and is inserted in a variety of social, cultural and religious contexts. Reflecting on this musical production is a complex task, mainl

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Bramwell, Richard, and James Butterworth. "Beyond the street: the institutional life of rap." Popular Music 39, no. 2 (2020): 169–86. http://dx.doi.org/10.1017/s0261143020000355.

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AbstractThis article draws on ethnographic fieldwork conducted over the course of one year in London and Bristol to examine the performance of rap in English youth centres. Youth centres play a significant role in supporting and shaping rap culture. However, historically dominant narratives within hip-hop studies and hip-hop culture depict rap as a vernacular cultural form that emerges from ‘the street’, and which derives its authenticity through its relation to ‘the street’. We seek to move beyond such discourses and towards a recognition of the institutional processes, structures and network

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Solomon, Thomas. "Berlin–Frankfurt–Istanbul." European Journal of Cultural Studies 12, no. 3 (2009): 305–27. http://dx.doi.org/10.1177/1367549409105366.

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This article explores how a focus on the movement of people, especially between countries, might provide new perspectives on music scenes. After a brief case study of a rap song and summary of the origins of Turkish hip-hop, the article presents a series of vignettes from ethnographic fieldwork with Turkish hip-hoppers and their contacts in Istanbul and Stockholm, in which the theme of movement, and the enduring transnational connections it creates, are highlighted. The article then turns to a discussion of recent theorizing on music scenes, addressing the ways in which the local, translocal a

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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers

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Williams, Justin A. "The Construction of Jazz Rap as High Art in Hip-Hop Music." Journal of Musicology 27, no. 4 (2010): 435–59. http://dx.doi.org/10.1525/jm.2010.27.4.435.

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Multiple factors contributed to the elevation of jazz as "high art" in mainstream media reception by the 1980s. The stage was thus set for hip-hop groups in the late-1980s and early 90s (such as Gang Starr, A Tribe Called Quest, and Digable Planets) to engage in a relationship with jazz as art and heritage. "Jazz codes" in the music, said to signify sophistication, helped create a rap-music subgenre commonly branded "jazz rap." Connections may be identified between the status of jazz, as linked to a high art ideology in the 1980s, and the media reception of jazz rap as an elite rap subgenre (i

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Forman, Murray. "‘Represent’: race, space and place in rap music." Popular Music 19, no. 1 (2000): 65–90. http://dx.doi.org/10.1017/s0261143000000015.

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Say somethin' positive, well positive ain't where I liveI live around the corner from West HellTwo blocks from South Shit and once in a jail cellThe sun never shined on my side of the street, see?(Naughty By Nature, ‘Ghetto Bastard (Everything's Gonna Be Alright)’, 1991, Isba/Tommy Boy Records)If you're from Compton you know it's the 'hood where it's good(Compton's Most Wanted, ‘Raised in Compton’, 1991, Epic/Sony)IntroductionHip hop's capacity to circumvent the constraints and limiting social conditions of young Afro-American and Latino youths has been examined and celebrated by cultural crit

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de Boise, Sam. "Music and misogyny: a content analysis of misogynistic, antifeminist forums." Popular Music 39, no. 3-4 (2020): 459–81. http://dx.doi.org/10.1017/s0261143020000410.

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AbstractResearch exploring the relationship between misogyny and music has been divided between those who argue that certain music causes, confirms or is a manifestation of misogyny. Yet this often takes for granted the link between certain genres (predominantly hip hop, rap and metal) and misogynistic 'messages'. Instead of asking what types of music might be misogynistic, this article instead asks how music is discussed amongst those who actively espouse misogynistic views. Through content analysis of 1173 posts, from 6 ‘misogynistic antifeminist movement’ (MAM) forums, it shows that whilst

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Hook, Dave. "‘Scottish people can't rap’: the local and global in Scottish hip-hop." Popular Music 40, no. 1 (2021): 75–90. http://dx.doi.org/10.1017/s0261143021000040.

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AbstractHip-hop is a global culture, where local representation is a core tenet of its ideology. It therefore provides opportunities to observe how a global cultural structure is interpreted, realigned and expressed in local cultural forms. This article combines autoethnography and rap lyric analysis to consider the complex relationship between the local and global in relation to cultural articulation and authenticity. Through a study of the poetics of Scottish hip-hop, a series of patterns and connections appear relating to interpretation, negotiation and hybridisation of local and global cul

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Sorett, Josef. "“It’s Not the Beat, but It’s the Word that Sets the People Free”: Race, Technology, and Theology in the Emergence of Christian Rap Music." Pneuma 33, no. 2 (2011): 200–217. http://dx.doi.org/10.1163/027209611x575014.

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AbstractIn an effort to address lacunae in the literature on hip hop, as well as to explore the role of new music and media in Pentecostal traditions, this essay examines rap music within the narratives of American religious history. Specifically, through an engagement with the life, ministry, and music of Stephen Wiley — who recorded the first commercially-released Christian rap song in 1985 — this essay offers an account of hip hop as a window into the intersections of religion, race, and media near the end of the twentieth century. It shows that the cultural and theological traditions of Pe

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COHEN, JUDAH. "Hip-hop Judaica: the politics of representin’ Heebster heritage." Popular Music 28, no. 1 (2009): 1–18. http://dx.doi.org/10.1017/s0261143008001591.

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AbstractIn this essay, I explore the use of rap and hip-hop conventions as they have developed within the self-consciously contemporary American Jewish ‘hipster’ scene between c. 1986 and 2006, framed particularly around the way these genres have addressed the discourses of masculinity within Jewish culture. By exploring the works and actions of such artists as Matisyahu and the Hip Hop Hoodíos within the context of both American Jewish masculinity discussions and the historical relationship of Jews with commercial hip-hop performance, I attempt to explore how a population’s attempts at musica

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Stofken, Ingo, and Tony Mitchell. "Global noise - Rap and Hip-Hop outside the USA." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 309. http://dx.doi.org/10.2307/4147844.

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Reilly, Thomas James. "Hip-hop and psychiatry: A fair rap? – psychiatry in music." British Journal of Psychiatry 203, no. 6 (2013): 408. http://dx.doi.org/10.1192/bjp.bp.113.127027.

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Craig, Todd. ""'Jackin’ for Beats'": DJing for Citation Critique." Radical Teacher 97 (October 28, 2013): 20–29. http://dx.doi.org/10.5195/rt.2013.40.

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A challenge in teaching English composition is helping students envision plagiarism as “borrowing” – showing love to author(s) and/or text(s) that further their argument(s), versus “stealing” – biting someone’s style and words. Alastair Pennycook (1996) and Sarah Wakefield (2006) have contributed pieces to the elaborate plagiarism/citation puzzle, while Houston Baker situated the hip-hop DJ in seminal text Black Studies, Rap and the Academy (1993). Merging these moments introduces critical questions: Did Diddy invent “the remix” or become the illest beat-biter ever? How did DJ/Producers Pete R

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Ovshieva, Ilyana. "Stomping for Tunisia: Liberation, Identity and Dignity in Tunisian Rap Music." Middle East Journal of Culture and Communication 6, no. 1 (2013): 36–54. http://dx.doi.org/10.1163/18739865-00503003.

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This analysis ventures into an examination of the role of hip hop as a medium for youthful resistance, mobilization and empowerment during the Tunisian revolution. As a subculture of resistance that never speaks down to people, hip hop serves as the ultimate tool for young revolutionary artists to reassert their dignity, hidden talent and self-understanding. The lyrics of El Général, Armada Bizerta, Ferid El Extranjero and Mos Anif epitomize the feelings of hopelessness and neglect that were endemic in Tunisian society and that propelled a nationwide rebellion. Bereft of voice in their politic

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Waugh, Michael. "‘Every time I dress myself, it go motherfuckin’ viral’: Post-verbal flows and memetic hype in Young Thug's mumble rap." Popular Music 39, no. 2 (2020): 208–32. http://dx.doi.org/10.1017/s026114302000015x.

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AbstractHip-hop studies have historically centred on issues of the ‘street’ or virtuosic lyricism and flow, foregrounded as evidence of the ‘seriousness’ of the genre. While these have undoubtedly been valuable theoretical approaches, the prominence of social networking in the 2010s (with its vast implications for communication and identity politics) has sculpted a generation of rappers whose vocal style and self-representation disintegrate prior assumptions about hip-hop identity. These artists, who have flourished in tandem with the rise of streaming services, have been disparagingly dubbed

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SWINEHART, KARL. "The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop." Journal of the Society for American Music 13, no. 4 (2019): 461–81. http://dx.doi.org/10.1017/s1752196319000373.

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AbstractThis essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity.

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Ammirante, Paolo, and Fran Copelli. "Vowel Formant Structure Predicts Metric Position in Hip-hop Lyrics." Music Perception 36, no. 5 (2019): 480–87. http://dx.doi.org/10.1525/mp.2019.36.5.480.

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In order to be heard over the low-frequency energy of a loud orchestra, opera singers adjust their vocal tracts to increase high-frequency energy around 3,000 Hz (known as a “singer's formant”). In rap music, rhymes often coincide with the beat and thus may be masked by loud, low-frequency percussion events. How do emcees (i.e., rappers) avoid masking of on-beat rhymes? If emcees exploit formant structure, this may be reflected in the distribution of on- and off-beat vowels. To test this prediction, we used a sample of words from the MCFlow rap lyric corpus (Condit-Schultz, 2016). Frequency of

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Blum, Joseph, and David Toop. "The Rap Attack: African Jive to New York Hip Hop." Ethnomusicology 30, no. 2 (1986): 340. http://dx.doi.org/10.2307/852015.

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Brown, Huntly P. "Black Masculinity and Hip-Hop Music: Black Gay Men Who Rap." Journal of Black Sexuality and Relationships 6, no. 4 (2019): 115–19. http://dx.doi.org/10.1353/bsr.2019.0029.

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Tyson, Edgar H., Tiffany L. Brown, and Antoine Lovell. "The Intersection of Race, Gender, and Rap Music Perceptions: A Content Validation Study of the Rap-Music Attitude and Perception Scale." Urban Social Work 3, no. 1 (2019): 25–50. http://dx.doi.org/10.1891/2474-8684.3.1.25.

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ObjectivesThis study examines the content validity of a newly developed measure, the Rap-Music Attitude and Perception (RAP) scale.MethodsUtilizing data from a racially diverse sample of undergraduate college students (N= 871), this investigation highlights an underutilized mixed method, qualitative–quantitative scale development approach, while investigating relationships between race, gender, and rap music views.FindingsResults indicate overlap between themes identified in participants' qualitative responses and RAP scale items. Furthermore, there were several within and between (race and ge

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Gage, Nathan, Bronwen Low, and Francisco Luis Reyes. "Listen to the tastemakers: Building an urban arts high school music curriculum." Research Studies in Music Education 42, no. 1 (2019): 19–36. http://dx.doi.org/10.1177/1321103x19837758.

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills throu

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Singh, Kris, and Dale Tracy. "Assuming niceness: private and public relationships in Drake'sNothing Was the Same." Popular Music 34, no. 1 (2014): 94–112. http://dx.doi.org/10.1017/s0261143014000671.

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AbstractAs an artist understood to be foregrounding in hip hop topics such as the emotional experience of private relationships, Drake has the opportunity to shape the conceptions of masculinity that are especially hardened in the context of male rappers. Recognised for his niceness in terms of rap skill and personal decentness, Drake has established himself as a genuine person making intimate connections with his fans. However, this image depends on his disregard, in his interviews and his albums, for the effects of the commercialised hip hop genre on his music and his message. Although he pr

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Williams, Quentin E., and Christopher Stroud. "Performing rap ciphas in late-modern Cape Town: extreme locality and multilingual citizenship." Afrika Focus 23, no. 2 (2010): 39–59. http://dx.doi.org/10.1163/2031356x-02302006.

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The study of hip-hop in Cape Town, and indeed South Africa, has traditionally focused on the narratives and poetics of resistance, race and counter-hegemonic agency in the context of apartheid and the early days of post-apartheid. Despite this attention, hip-hop cipha performances remain relatively under-researched. The aim of this paper is to suggest that cipha performances display linguistic and discursive features that not only are of particular interest to rap music and hip-hop on the Cape Flats of Cape Town specifically, but that also engage core issues around multilingualism, agency and

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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary o

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Reyna, Christine, Mark Brandt, and G. Tendayi Viki. "Blame It on Hip-Hop: Anti-Rap Attitudes as a Proxy for Prejudice." Group Processes & Intergroup Relations 12, no. 3 (2009): 361–80. http://dx.doi.org/10.1177/1368430209102848.

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This research investigated the stereotypes associated with rap music and hip-hop culture, and how those stereotypes may influence anti-Black attitudes and justifications for discrimination. In three studies—using a representative sample from America, as well as samples from two different countries—we found that negative stereotypes about rap are pervasive and have powerful consequences. In all three samples, negative attitudes toward rap were associated with various measures of negative stereotypes of Blacks that blamed Blacks for their economic plights (via stereotypes of laziness). Anti-rap

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Onita, Adriana. "Translating Chicana Rap: Snow Tha Product." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (2017): 132. http://dx.doi.org/10.21992/t9zd03.

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This project examines rap lyrics, interviews, and music videos by Chicana artist Snow Tha Product to show how rap has been culturally translated, performed, and appropriated by females in order to “flip the script,” or subvert the dichotomous model of female sexuality that has been imposed upon them. Weaving insights from three academic fields (cultural translation, Chican@ studies, and hip-hop feminism), this paper also aims to creatively expand the definition of translation by positioning rap music as a performative language in its own right, capable of encoding and translating complex cultu

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