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Relevant bibliographies by topics / Hip hop music

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Academic literature on the topic 'Hip hop music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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Journal articles on the topic "Hip hop music"

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Djulianto, Hansen, and Gregorius Genep Sukendro. "Musik Rap Sebagai Budaya Hip-Hop di Mata Generasi Milenial (Studi Kasus Pelaku dan Penikmat Kolektif Dreamfilled)." Kiwari 1, no. 2 (2022): 288. http://dx.doi.org/10.24912/ki.v1i2.15573.

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Music is an art that organizes a collection of tones into a sound that has a very close meaning in life. Hip hop is a lifestyle commonly known as culture, Rap music is a genre of Hip hop music that has been circulating since the 70s. Hip hop is a dynamic mix consisting of MCing/Rapping, DJing, Graffiti, Breakdancing, still attached to the current era of the millennial generation. Dreamfilled is one of the rap music collectives dominated by millennials who have a real movement in Hip hop in making songs or following culture, this can be correlated with subculture and fashion theories, there are

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Kim, Pil Ho, and Wonseok Lee. "Industrial Hip Hop Against Hip Hop Industry." Journal of Popular Music Studies 33, no. 4 (2021): 39–42. http://dx.doi.org/10.1525/jpms.2021.33.4.39.

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Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music." Current Musicology 107 (January 27, 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.

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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these se

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Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.

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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of tex

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Wang, Yi. "Hip-Hop Music and Social Identity - An Analysis on the Construction of Jim Smith in the Movie ‘8 Mile’." Asian Journal of Social Science Studies 6, no. 4 (2021): 13. http://dx.doi.org/10.20849/ajsss.v6i4.952.

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When it comes to American hip-hop music and rap music, people always think of the African American singers in loose clothes, the flashing lights on the dirty stage, all kinds of alcohol and cigarettes, as well as many drunken scenes. However, such a familiar scene is indeed an authentic portrayal of the United States. If you have heard about hip hop music, it is not difficult to find that many hip-hop lyrics are often full of dirty abuse, cold ridicule and sharp criticism. In a sense, hip hop music and rap music can be considered a kind of 'voice resistance' from the lower class of American so

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Kruse, Adam J., and Donna J. Gallo. "Rethinking the Elementary “Canon”: Ideas, Inspirations, and Innovations from Hip-Hop." Music Educators Journal 107, no. 2 (2020): 58–65. http://dx.doi.org/10.1177/0027432120975089.

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This article offers perspectives on disrupting the typical elementary school “canon” through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to culturally responsive teaching, and establishing new pathways for musical creativity through hip-hop. Engaging with hip-hop both as a genre and the product of a culture offers music educators opportunities to meaningfully reconsider their practices.

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Adedeji, Wale. "Hip Hop Music and 'the Street’ Phenomenon in Nigeria." South Asian Research Journal of Arts, Language and Literature 4, no. 3 (2022): 92–102. http://dx.doi.org/10.36346/sarjall.2022.v04i03.001.

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In Africa, hip hop music is now undoubtedly the fastest growing form of expressive art in terms of availability, dissemination and acceptability. Nigeria not an exception, the genre in recent times has become the mainstream music representing the identity and socio-cultural aspirations of the teeming Nigerian urban youth population. Through incursion into the origin of hip hop, this paper examines the inter-connectivity and the inter-relationship between the street and hip hop music with a comparison of the Nigerian and the American street culture in hip hop music discourse. It is quite eviden

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Sidjabat, Yedija Remalya, Vissia Ita Yulianto, and Royke Bobby Koapaha. "POLITIK IDENTITAS DALAM PERSPEKTIF POSKOLONIAL STUDI KASUS HIP HOP DANGDUT GRUP NDX A.K.A." CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, no. 2 (2018): 77. http://dx.doi.org/10.30872/calls.v4i2.1693.

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Hip hop dangdut is music identity of NDX A.K.A group. Hip hop dangdut that became popular in society also bring the pros and cons for some groups. Political identity in this research investigates background in choosing music dangdut and hip hop that integrated in NDX’s songs. Political identity used to see the factor that played a role in formation of hip hop dangdut, but not fully realized by NDX group. Political identity in formation of hip hop dangdut then analyzed in textual and contextual to answer the contestation of hip hop dangdut in postcolonial perspective. The concept postcolonial i

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Lenz, Michael. "Hip-Hop Landscapes." Journal of Popular Music Studies 13, no. 2 (2001): 245–48. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00028.x.

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Susino, Marco, and Emery Schubert. "Negative Emotion Responses to Heavy-Metal and Hip-Hop Music with Positive Lyrics." Empirical Musicology Review 14, no. 1-2 (2019): 2. http://dx.doi.org/10.18061/emr.v14i1-2.6376.

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This research investigated whether negative emotional responses to heavy-metal and hip-hop music could be stereotypes of the music genres. It was hypothesized that heavy-metal and hip-hop music with positive lyrics would be perceived as expressing more negative (negative valence/high arousal) emotions, compared with pop music excerpts with identical lyrics. Participants listened to either two heavy-metal or two hip-hop test stimuli and two pop control stimuli. They then responded by stating what emotion they perceived that the music expressed. Results indicated that heavy-metal and hip-hop sti

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Dissertations / Theses on the topic "Hip hop music"

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Del, Hierro Marcos Julian. "It's Bigger and hip-hop Richard Wright, hip-hop, and masculinity /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Süß, Heidi. "Hip-Hop-Feminismus." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221253.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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Haery, Todd Cameron. "(Pro-) Socially conscious hip hop: Empathy and attitude, prosocial effects of hip hop." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587747399137313.

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Süß, Heidi. "Hip-Hop-Feminismus." Universität Hildesheim, 2016. https://ul.qucosa.de/id/qucosa%3A15447.

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Der Begriff HipHop-Feminismus wurde von der amerikanischen Kulturkritikerin Joan Morgan etabliert und beschreibt einen Feminismus, der den Lebenswelten HipHop-sozialisierter Frauen (of color) gerechter werden soll. Neben der selbstreflexiven Auseinandersetzung mit der eigenen Positionierung innerhalb einer als sexistisch geltenden Kultur, zählen auch kritische Diskurse um rassisierte Repräsentationen von women of color und die Aufarbeitung weiblicher HipHop-Geschichte zu den Themen des HipHop-Feminismus.

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Jordan, Augustus W. III. "Ideological and narrative structures of Hip-Hop music: A study of selected Hip-Hop artists." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/64.

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This study examined the discourse of selected Hip-Hop artists and the biographical aspects of the works. The study was based on the structuralist theory of Roland Barthes which claims that many times a performer’s life experiences with class struggle are directly reflected in his artistic works. Since rap music is a counter-culture invention which was started by minorities in the South Bronx borough of New York over dissatisfaction with their community, it is a cultural phenomenon that fits into the category of economic and political class struggle. The study recorded and interpreted the lyric

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Tinajero, Roberto Jose. "Hip hop rhetoric relandscaping the rhetorical tradition /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.

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Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.

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<p> This thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups

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Branch, William. "Theological implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Branch, William. "Thelogical implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Books on the topic "Hip hop music"

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Dorchin, Uri. Zeman emet: Hip-hop be-Yiśraʼel : hip-hop Yisʻreʼeli = Real time : hip-hop in Israel : Israeli hip-hop. Resling, 2012.

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George, Nelson. Hip Hop America. Penguin USA, Inc., 2009.

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Hip hop America. Viking, 1998.

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George, Nelson. Hip hop America. Viking, 1998.

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Hip-hop history. Raintree, 2011.

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Garofoli, Wendy. Hip-hop history. Capstone Press, 2010.

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The soul of hip hop: Rims, timbs & a cultural theology. IVP Books, 2010.

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Higgins, Dalton. Hip hop world. Groundwood Books, 2009.

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Higgins, Dalton. Hip hop world. Groundwood Books, 2009.

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Hip-hop. Celeste Ediciones, 1998.

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Book chapters on the topic "Hip hop music"

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Hip Hop." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-17.

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Przybylski, Liz. "Hip Hop Dialogues." In Popular Music and the Politics of Hope. Routledge, 2019. http://dx.doi.org/10.4324/9781315165677-13.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Rap and Hip-Hop." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-56.

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Li, Xinling. "Black Masculinity, Homosexuality and Hip-Hop Music." In Black Masculinity and Hip-Hop Music. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3513-6_2.

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Van Balen, Jan, Joan Serrà, and Martín Haro. "Sample Identification in Hip Hop Music." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_16.

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Li, Xinling. "The Commoditisation of Hip-Hop Music and Queerness." In Black Masculinity and Hip-Hop Music. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3513-6_3.

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Travis, Raphael, and Scott W. Bowman. "Hip-Hop Culture and Social Change." In Understanding Society through Popular Music. Routledge, 2017. http://dx.doi.org/10.4324/9781315751641-8.

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Lafrance, Marc, Lori Burns, and Alyssa Woods. "Doing Hip-Hop Masculinity Differently." In The Routledge Research Companion to Popular Music and Gender. Routledge, 2017. http://dx.doi.org/10.4324/9781315613437-25.

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Pardue, Derek. "Putting Mano to Music." In Ideologies of Marginality in Brazilian Hip Hop. Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613409_4.

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Li, Xinling. "Introduction." In Black Masculinity and Hip-Hop Music. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-3513-6_1.

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Conference papers on the topic "Hip hop music"

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Simatupang, Lono, Wisma Nugraha, Oki Sutopo, and Vanny Suitela. "“When the Girls getting into Hip-Hop Music” Indonesian Youth and Hip-Hop Music Consumption in the Internet Age." In Proceedings of the 1st International Conference on Gender, Culture and Society, ICGCS 2021, 30-31 August 2021, Padang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.30-8-2021.2316381.

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French, Kenneth. ""Topomusica" in rap music: Role of geography in hip-hop music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.18.

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Gallo, Donna. "Elementary Music Teachers Developing Knowledge Through Hip-Hop." In 2021 AERA Annual Meeting. AERA, 2021. http://dx.doi.org/10.3102/1682609.

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Fogarty, Mary. "Sharing hip hop dance: Rethinking taste in cross-cultural exchanges of music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.17.

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Watkins, Lee. "Blackness transmuted and sinified by way of rap music and hip hop in the new China." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.38.

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Ellis, Antonio. "African American Male K–12 Teachers: Exploring Historical Relationships Between Hip-Hop Music and Classroom Culture." In 2020 AERA Annual Meeting. AERA, 2020. http://dx.doi.org/10.3102/1579812.

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Platzer, L. K., N. Orthmann, P. Grozinger, et al. "Does music genre affect medical students’ performance in standardized laparoscopic exercises? Comparing exposure to rock, hip-hop, classic and mixed radio music at 70 decibels." In Kongressabstracts zur Tagung 2020 der Deutschen Gesellschaft für Gynäkologie und Geburtshilfe (DGGG). © 2020. Thieme. All rights reserved., 2020. http://dx.doi.org/10.1055/s-0040-1718043.

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Huang, Haoxing. "Social Media Platform and Subculture of Chinese Adolescent Hip-Hop Lovers: A Case Study on Social Interactions of Net Ease Cloud Music Users." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.042.

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the develop

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Barbosa, Gabriel R. G., Bruna C. Melo, Gabriel P. Oliveira, Mariana O. Silva, Danilo B. Seufitelli, and Mirella M. Moro. "Hot Streaks in the Brazilian Music Market: A Comparison Between Physical and Digital Eras." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19440.

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Consuming music through streams has made huge volumes of data available. We collect a part of such data and perform cross-era comparative analyses between physical and digital media for successful artists within the music market in Brazil. Given an artist’s career, we focus on hot streak periods defined as high-impact bursts occurring in sequence. Specifically, we construct artists’ success time series to detect and characterize hot streak periods for both physical and digital eras. Then, we assess their features, analyze them in the genre scale, and perform a cluster analysis to identify grou

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Reports on the topic "Hip hop music"

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There a

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is

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