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Journal articles on the topic 'Hip hop music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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1

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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2

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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3

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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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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Pyrova, Tatiana Leonidovna. "Philosophical-aesthetic foundations of African-American hip-hop music." Философия и культура, no. 12 (December 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.

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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of &ldquo;Black Arts&rdquo; movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impac

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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.2020.32.3.73.

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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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Kruse, Adam J. "“He didn’t know what he was doin’”: Student perspectives of a White teacher’s Hip-Hop class." International Journal of Music Education 38, no. 4 (2020): 495–512. http://dx.doi.org/10.1177/0255761420924316.

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In this article, I share findings from a research study about a high school Hip-Hop course in the United States and offer considerations toward informing culturally responsive teaching and decentering Whiteness in music education. I explored the experiences and perceptions of majority students of color in a Hip-Hop course taught by a White music educator who was largely inexperienced with Hip-Hop. I was curious to understand how the students saw their teacher, what they experienced as strengths and weaknesses of the course, and what they felt they took away from the experience. I designed the

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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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Vasil, Martina. "Hip-Hop and Haring: Pop Culture and Interdisciplinary Learning for the General Music Classroom." General Music Today 34, no. 1 (2020): 6–13. http://dx.doi.org/10.1177/1048371320901541.

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Teachers are searching for accessible, relevant, and engaging lessons for students as elementary classrooms grow more diverse and high-stakes testing constrict curricula and recess time. General music teachers may consider implementing lessons that blend popular culture with collaborative, interdisciplinary projects. Artist Keith Haring was inspired by 1980s hip-hop music and drew break dancing figures in much of his artwork. Both Haring’s artwork and hip-hop culture have broad appeal and are accessible to students. The purpose of this article is to share an exploratory series of lessons that

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Söderman, Johan. "The formation of ‘Hip-Hop Academicus’ – how American scholars talk about the academisation of hip-hop." British Journal of Music Education 30, no. 3 (2013): 369–81. http://dx.doi.org/10.1017/s0265051713000089.

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Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The res

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Otto, Elizabeth A., Shaina A. Kumar, and David DiLillo. "Music’s Impact on the Sexualization of Black Bodies: Examining Links Between Hip-Hop and Sexualization of Black Women." Psi Chi Journal of Psychological Research 27, no. 2 (2022): 145–53. http://dx.doi.org/10.24839/2325-7342.jn27.2.145.

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The pervasiveness of sexualization in Western societies is harmful to women, regardless of racial or ethnic identity. However, predictors of sexualization among Black women are understudied. To address this gap, we examined whether listening to and liking hip-hop music would each independently relate to the sexualization of Black women in everyday life, and if this relation unfolded through greater exposure to objectification of Black women in music. A sample of 215 college students completed self-report questionnaires that assessed preferences for liking and listening to hip-hop music, exposu

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Kruse, Adam J. "‘Take a back seat’: White music teachers engaging Hip-Hop in the classroom." Research Studies in Music Education 42, no. 2 (2020): 143–59. http://dx.doi.org/10.1177/1321103x19899174.

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With the purpose of exploring how engaging with Hip-Hop might contribute toward decentering Whiteness in US music education, this research aims to understand the perceptions of three White music educators in the United States teaching Hip-Hop in their classrooms comprising majority students of color. The study explores participants’ past experiences with Hip-Hop, their current teaching practices, and the influence that teaching Hip-Hop has had on their role in the classroom. I also engage in critical self-reflection in order to name and disrupt my own White fragility that emerged during the pr

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Evans, Jabari. "Connecting Black youth to critical media literacy through hip hop making in the music classroom." Journal of Popular Music Education 4, no. 3 (2020): 277–93. http://dx.doi.org/10.1386/jpme_00020_1.

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This article is an ethnographic study of a hip hop-based music education programme for students within elementary school classrooms. Drawing on two years of fieldwork in two urban schools, this case study describes how hip hop song composition encouraged participants to make essential and critical reflections about media’s place in their personal lives, peer groups, families and communities. The findings of this study suggest that the social and cultural capital of making hip hop music can contribute to bolstering academic learning for Black youth. Implications from this study also suggest inf

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Liadi, Olusegun Fariudeen. "Multilingualism and Hip Hop Consumption in Nigeria: Accounting for the Local Acceptance of a Global Phenomenon." Africa Spectrum 47, no. 1 (2012): 3–19. http://dx.doi.org/10.1177/000203971204700101.

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Hip hop music has enjoyed global popularity and patronage on a level that has transcended that of most other music genres. It is perhaps due to the genre's worldwide popularity that many forms of hip hop have sprung up across the globe. The Nigerian version of the music has been overwhelmingly accepted by a good number of youths in the country irrespective of class, religion and social status. However, there is some speculation as to what factors are responsible for the recent sudden boom in the popular consumption of this genre among the youth, since hip hop has been a feature of the Nigerian

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Mitchell, Tony. "The Diy Habitus of Australian Hip Hop." Media International Australia 123, no. 1 (2007): 109–22. http://dx.doi.org/10.1177/1329878x0712300111.

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Since its origins in the late 1980s, Australian hip hop continues to be fundamentally a do-it-yourself (DIY) subcultural field which has little or no music industry input or support. This paper profiles some of the small labels and producers in Australian hip hop (Obese, Elefant Traks, Nuff Said, Crookneck, Invada, etc.) and examines how they have formed from the ground up, using community radio stations such as 2SER, PBS and 3ZZZ, and websites such as Ozhiphop.com , to promote their music, as well as organising their own gigs and tours. It also examines Aboriginal practitioners of hip hop, wh

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Villegas, Mark R. "“Gangsta Chi”." Journal of Popular Music Studies 34, no. 4 (2022): 109–31. http://dx.doi.org/10.1525/jpms.2022.34.4.109.

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This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mir

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Eglash, Ron. "Hip Hop as Computational Neuroscience." International Journal of Information, Diversity, & Inclusion (IJIDI) 6, no. 1/2 (2022): 11–30. http://dx.doi.org/10.33137/ijidi.v6i1.37127.

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Long before the internet provided us with a networked digital system, music exchanges had created a global networked analog system, built of recordings, radio broadcasts, and live performance. The features that allowed some audio formations to go viral, while others failed, fall at the intersection of three domains: access, culture, and cognition. We know how the explosive growth of the hip hop recording industry addressed the access problem, and how hip hop lyrics addressed cultural needs. But why does hip hop make your ass shake? This essay proposes that hip hop artists were creating an inno

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de Roest, Aafje. "Holland’s hip hop hitting the books: The state and status of Dutch hip hop studies." Global Hip Hop Studies 2, no. 1 (2021): 75–92. http://dx.doi.org/10.1386/ghhs_00034_1.

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With peak numbers on Spotify and doing well on the charts, Dutch rap/hip hop music has captured the attention of Dutch audiences in recent years. Its current commercial success and immense popularity have sparked academic interest, resulting in studies that analyse Dutch Neerlandophone rap/hip hop music in the local context of the Netherlands – paying attention to its specific political and cultural characteristics. In this review article, the author outlines the current state of Dutch hip hop studies, identifying its prominent research themes. By uniting the research field on paper, the autho

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Demers, Joanna. "Sampling the 1970s in hip-hop." Popular Music 22, no. 1 (2003): 41–56. http://dx.doi.org/10.1017/s0261143003003039.

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Musical borrowings, or samples, have long been a means of creating lineage between hip-hop and older genres of African-American music such as funk, soul, and rhythm and blues. DJs who sample from this so-called ‘Old School’ attempt to link hip-hop to older, venerable traditions of black popular music. This article investigates the importance of 1970s pop and culture to hip-hop music. This era is depicted as a time in which African-American identity coalesced, and a new political consciousness was born. The primary source for images of the 1970s was and continues to be blaxploitation film, a ge

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McNally, James G. "Inside the Hip-Hop Moment." Journal of Popular Music Studies 34, no. 4 (2022): 61–84. http://dx.doi.org/10.1525/jpms.2022.34.4.61.

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Given the relative paucity of scholarship on hip-hop as live experience, how can extraordinary hip-hop liveness be thought of as a zone of collective experience and feeling? How might such thought draw on existing scholarship on the ecstatic in Black performance, and on related metaphysical freedom concepts from Black cultural studies? And how can the fleeting freedoms won in these live experiences be envisaged as historically contingent? Exploring a rare archival recording featuring rappers Tricky, Krissy Kriss, and Willie Wee—made in a party in Bristol, England, in 1987—this essay proposes t

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Rao, Aditya, Sanjana Rao, Connie Nugent, and Kenneth Nugent. "The effects of different genres of music on passersby." Journal of Digital Art & Humanities 2, no. 2 (2021): 51–60. http://dx.doi.org/10.33847/2712-8148.2.2_4.

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Music preferences reflect both experience and societal or cultural influences. The characteristics of the music genre include both structural style and societal connotations. This study investigated reactions to different types of music. The behavior of passersby was observed as music from two stereotypically “opposite” genres, hip-hop and classical, was played by the researcher while jogging past them. It was hypothesized that due to societal stereotypes and reputations of these genres’ participants would react negatively toward hip-hop and favorably toward classical. As the study was conduct

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Anas, Muhammad, Simon Abdi K. Frank, and Usman Idris. "Anana Bicara-Bicara: Selera Musik, Gaya Hidup, dan Strategi Rapper di Kota Jayapura." CENDERAWASIH: Jurnal Antropologi Papua 1, no. 1 (2020): 51–64. http://dx.doi.org/10.31957/jap.v1i1.1381.

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Hip Hop music entered Papua, through digital media platforms from the current process of globalization and modernization. For example, through radio, television and the internet. The emergence of Hip Hop music is very loved by young Papuans, especially in Jayapura. The Rap community who works in the field of Hip Hop music is called Anana Bicara-bicara which is part of the urban community subculture in Jayapura. Therefore, this study aims to describe and analyze musical tastes, lifestyles and the artistic strategies of youth who love Hip Hop music in popularizing their existence, warding off st

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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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Kim, Pil Ho, and Wonseok Lee. "Industrial Hip Hop against the Hip Hop Industry: The Critical Noise of XXX." Journal of World Popular Music 7, no. 2 (2021): 190–208. http://dx.doi.org/10.1558/jwpm.42673.

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Appert, Catherine M. "LOCATING HIP HOP ORIGINS: POPULAR MUSIC AND TRADITION IN SENEGAL." Africa 86, no. 2 (2016): 237–62. http://dx.doi.org/10.1017/s0001972016000036.

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ABSTRACTThis article complicates internationally circulating origin myths that alternately link hip hop to West African griot traditions or highlight the global resonance of its roots in the US inner city. I argue that such generalizing narratives potentially obscure how complex understandings of traditional cultural production inform local engagements with hip hop in Africa, and advocate instead for ethnographically generated interpretive frameworks that enable alternative, locally grounded analyses of hip hop cultures. In doing so, I examine the particularity of Senegalese invocations of ori

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Oredein, Tyree, Kiameesha Evans, and M. Jane Lewis. "Violent Trends in Hip-Hop Entertainment Journalism." Journal of Black Studies 51, no. 3 (2020): 228–50. http://dx.doi.org/10.1177/0021934719897365.

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While the prevalence and adverse effects of violence in hip-hop music and music videos have been studied extensively, hip-hop entertainment journalism, which reports on hip-hop news and events, has been largely unexplored. The purpose of this study was to examine violent trends in hip-hop journalism. We conducted a content analysis on a random sample of 970 news articles, 218 interview articles and the accompanying photographs from three hip-hop themed websites, and 56 radio interviews from hip-hop themed FM radio stations. Content was coded for type of violence, reality status, narrative sequ

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SMITH, SOPHY. "Compositional strategies of the hip-hop turntablist." Organised Sound 5, no. 2 (2000): 75–79. http://dx.doi.org/10.1017/s135577180000203x.

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This article discusses the compositional strategies of turntablist DJs working within the hip-hop genre, focusing on processes developed by these musicians such as mixing, scratching and beat juggling, all of which are carried out on turntables. Since the development of the gramophone at the turn of the century, the turntable has become an instrument of creation as well as reproduction, resulting in the ground-breaking compositional strategies of hip-hop music. Hip-hop DJs create original music from a range of existing musical texts and in doing so, raise questions concerning originality and a

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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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Gbogi, Michael Tosin. "Contesting Meanings in the Postmodern Age." Matatu 48, no. 2 (2016): 335–62. http://dx.doi.org/10.1163/18757421-04802007.

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Recent years have seen an explosion in the production and consumption of hip hop music in Nigeria. From the MTV Africa Music Awards to the BET Awards, Nigerian hip hop heads have continued to push the boundaries of their music on the international front, linking it, in the process, to a sort of global Hip Wide Web. Yet, despite these breakthroughs, the general perception of the discursive landscape of this music is not altogether positive in Nigeria itself. In particular, the message(s) of the music’s lyrics has been severally described as a venture that has no meaning beyond its noisy charact

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Song, Myoung-Sun. "(Re)Defining Korean Hip Hop." Journal of Popular Music Studies 31, no. 4 (2019): 16–31. http://dx.doi.org/10.1525/jpms.2019.31.4.16.

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Saucier, P. Khalil, and Tryon P. Woods. "Hip Hop Studies in Black." Journal of Popular Music Studies 26, no. 2-3 (2014): 268–94. http://dx.doi.org/10.1111/jpms.12077.

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Geidel, Molly. "Supermaxes, Stripmines, and Hip-Hop." Journal of Popular Music Studies 17, no. 1 (2005): 67–76. http://dx.doi.org/10.1111/j.1524-2226.2005.00034.x.

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McNally, James, and Kriss ‘Krissy Kriss’ Johnson. "‘Doing that music which moves me’: A conversation with Bristol hip hop pioneer, Krissy Kriss." Global Hip Hop Studies 2, no. 1 (2021): 115–29. http://dx.doi.org/10.1386/ghhs_00036_7.

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From the early-1980s, the arrival of hip hop in the UK city of Bristol created a wave of new possibilities for multiracial Bristolians. In the medium-term, this would help yield the music popularly termed ‘the Bristol Sound’, exemplified by post-hip hop performers like Tricky and Massive Attack – all of whom were part of the city’s early hip hop scene. More immediately, however, Bristol would become home to a vital hip hop party culture, centred on makeshift – and frequently illegal – parties thrown in warehouses, shebeens and small independent clubs in and around the city’s storied Black dist

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Adedeji, Wale. "Documenting Nigeria’s Hip Hop Music Evolution in Nollywood: an Examination of Tunde Kelani’s Campus Queen." American Journal of Interdisciplinary Research and Innovation 1, no. 2 (2022): 28–33. http://dx.doi.org/10.54536/ajiri.v1i2.494.

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It has been established that the Nigerian music industry has grown tremendously in recent times through the popularity and dynamism of the Hip hop genre, which has positioned itself as the mainstream music presently. Likewise the Nigerian film industry now referred to as Nollywood is credited as the fastest growing film industry and rated the third largest film industry in the world after Hollywood and India’s Bollywood and currently accounts for an estimated N 853.9 billion ($7.2 billion) or 1.42 percent of Nigeria's GDP. This paper establishes the interface between popular music culture (hip

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Aprahamian, Serouj. "Hip-Hop, Gangs, and the Criminalization of African American Culture: A Critical Appraisal of Yes Yes Y’all." Journal of Black Studies 50, no. 3 (2019): 298–315. http://dx.doi.org/10.1177/0021934719833396.

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It is commonly assumed that hip-hop was born when street gangs in the Bronx, New York, channeled their energy from violence and crime to music and artistic expression. I critically interrogate this dominant narrative through an examination of the influential book Yes Yes Y’all: The Experience Music Project Oral History of Hip-Hop’s First Decade (hereafter “YYY”). Drawing from the original interview transcripts used for YYY, I compare the gang-origin narrative espoused in the book with the primary accounts of early hip-hop practitioners featured within it. Special attention is given to the dive

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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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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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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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Adeduntan, Ayo. "Rhyme, Reason, Rogue." Journal of Popular Music Studies 34, no. 1 (2022): 44–67. http://dx.doi.org/10.1525/jpms.2022.34.1.44.

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Popular culture is often othered in conservative theses as inferior and [or because it is] foreign. Scholarship and views on popular music in Nigeria have been sometimes inattentive to the extent that the popular musical forms have gone to entrench themselves as recognizable local forms. This article compares older popular forms that are now canonized—such as jùjú and highlife—with Nigerian Yoruba hip hop to show the peculiar historical factors that justify the latter’s cultural heterodoxy. The dominant hip hop morality that emerged is defiantly divergent from the earlier stress on formal educ

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Kruse, Adam J., and Stuart Chapman Hill. "Exploring hip hop music education through online instructional beat production videos." Journal of Music, Technology and Education 12, no. 3 (2019): 247–60. http://dx.doi.org/10.1386/jmte_00009_1.

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This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction betwe

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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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Leigh Kelly, Lauren. "“I am not Jasmine; I am Aladdin”: How Youth Challenge Structural Inequity through Critical Hip Hop Literacies." International Journal of Critical Media Literacy 2, no. 1 (2020): 9–30. http://dx.doi.org/10.1163/25900110-00201002.

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Abstract Previous research on Hip Hop Education has advocated for the inclusion of critical media literacy in schools and for the recognition of Hip Hop music and culture as a central component of young people’s literate and social identities (e.g. Hall, 2017; Kelly, 2020; McArthur, 2016). This article places critical Hip Hop literacy at the intersections of media education, social justice education, and culturally sustaining pedagogies by discussing the role of Hip Hop literature and culture as a form of text that can foster young people’s critical consciousness development in the secondary c

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