Relevant bibliographies by topics / Rap (Music) Reggae music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rap (Music) Reggae music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Rap (Music) Reggae music"

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Shuker, Roy. "New Zealand popular music, government policy, and cultural identity." Popular Music 27, no. 2 (May 2008): 271–87. http://dx.doi.org/10.1017/s0261143008004066.

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AbstractThe New Zealand popular music industry has recently undergone impressive growth, and is poised to make a significant international impact. Two aspects of this newly privileged position are examined. First, broadly sketching twenty years of developments, I argue that Government willingness to get behind the local industry, especially the role of the post-2000 Labour Government, is a crucial determinant of the present success story. Secondly, I consider the debated relationship between local music and New Zealand cultural identity, with particular reference to two prominent musical styles: Kiwi ‘garage’ rock, and Polynesian-dominated local rap, reggae and hip-hop-inflected music. I argue that the local must not be overly valorised, and that it is necessary to distinguish between ‘local music’ as a cultural signifier and locally made music, with both worthy of support.
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Béhague, Gerard. "Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95)." Latin American Music Review 27, no. 1 (2006): 79–90. http://dx.doi.org/10.1353/lat.2006.0021.

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Condit-Schultz, Nathaniel, and David Huron. "Catching the Lyrics." Music Perception 32, no. 5 (June 1, 2015): 470–83. http://dx.doi.org/10.1525/mp.2015.32.5.470.

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Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical study is reported whose goal is to measure the intelligibility of lyrics in commercial recordings of music from a variety of genres. Thirty participants were exposed to 120 brief musical excerpts from twelve song genres: Avante-garde, Blues, Classical, Country, Folk, Jazz, Musical Theater, Pop/Rock, Rhythm and Blues, Rap, Reggae, and Religious. Participants were instructed to transcribe the lyrics after hearing each excerpt once. The transcribed lyrics were then compared to the actual lyrics and intelligibility scores calculated. The different genres were found to exhibit significantly different levels of lyric intelligibility, from as low as 48% for Classical music, to as high as 96% for Jazz, with an overall average of 72%. Intelligibility scores were positively correlated with listener judgments of the general importance of lyrics. In a second experiment, participants were allowed to hear excerpts five times. Improvements to intelligibility were modest but significant after the second and third hearings, but not on further hearings.
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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (October 1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.

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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.
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Roy, Anjali Gera. "Black beats with a Punjabi twist." Popular Music 32, no. 2 (May 2013): 241–57. http://dx.doi.org/10.1017/s0261143013000111.

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AbstractThe bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by British Asian music producers through tracing the history of Bhangra's ‘douglarisation’, beginning in the 1990s with Apache Indian's experiments with reggae. It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space. The essay explores the possibilities of a ‘douglas poetics’ for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.
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Purcell, John, and Kathryn Graham. "A Typology of Toronto Nightclubs at the Turn of the Millennium." Contemporary Drug Problems 32, no. 1 (March 2005): 131–67. http://dx.doi.org/10.1177/009145090503200109.

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The international trend for large, corporately owned nightclubs that are similar around the globe is changing and homogenizing the public drinking cultures in many large cities. To better understand this phenomenon, we examined the different types of clubs in Toronto, Canada. The typology is drawn from qualitative and quantitative data compiled by trained observers who conducted 1,056 nights of unobtrusive observations in 75 high-capacity nightclubs. Ten club “types” were constructed using the genre of music as the primary distinction: Dance, Superclub, Rave, Lounge, Upscale, Pop, Salsa, Reggae-Rap, Alternative, and Live Music. These types roughly approximate different subcultures, and provided a means to explore differences related to age, gender, ethnicity patterns, and alcohol and drug usage, as well as the apparent functions for which patrons frequented the different types of clubs. The predominant pattern of the current club scene in Toronto is one of large, corporately owned clubs frequented by a youthful multiethnic clientele, with most club environments characterized by slick décor and heightened sexuality.
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Anderson, Beverley J., and Winston E. Langley. "Research Note: Popular Music and Gender in Jamaica." American Review of Politics 13 (July 1, 1992): 267–82. http://dx.doi.org/10.15763/issn.2374-7781.1992.13.0.267-282.

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Recent discussions about Jamaica’s popular music — reggae — have focused on the kinds of images of women that have been created by reggae artists, especially those who focus on “dance hall” reggae. Content analysis is used here to examine the lyrics of thirty five songs created and performed between the mid-1960s and the end of the 1980s in an attempt to determine whether the images of women in reggae lyrics are largely negative and may contribute to norms that foster discrimination against women.
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Minard, Michael, and Lenore Pogonowski. "Rap: Music in Words, Words in Music." Soundings (Reston, VA) 2, no. 3 (April 1989): 30–32. http://dx.doi.org/10.1177/104837138900200311.

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Neely, Daniel, Sw Anand Prahlad, Marylin Rouse, Olive Lewin, and Norman C. Stolzoff. "Reggae Wisdom: Proverbs in Jamaican Music." Yearbook for Traditional Music 33 (2001): 181. http://dx.doi.org/10.2307/1519651.

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Mills, Susan W. "Reggae for Standards-Based Music Learning." General Music Today 17, no. 1 (October 2003): 11–17. http://dx.doi.org/10.1177/10483713030170010104.

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Dissertations / Theses on the topic "Rap (Music) Reggae music"

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White, Annika Yvette. "A content analysis of popular themes and sexuality in rap and reggae music." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Summer2010/A_White_051810.pdf.

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Thesis (M.A. in sociology)--Washington State University, August 2010.
Title from PDF title page (viewed on July 29, 2010). "Department of Sociology." Includes bibliographical references (p. 78-80).
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Morgan, Andrea Scott. "Deconstructing myths about rap music /." View online, 1996. http://repository.eiu.edu/theses/docs/32211998826162.pdf.

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Wood, Ashley Elizabeth. "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/mcl_theses/6.

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This paper examines the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics of this music are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon as well as two linguistic studies that focus on reggaeton as well as giving general background information on the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins.
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Zavortink, Matthew. "Analysis of Rhythm in Rap Music." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20418.

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Although the analysis of popular music has become widely accepted by theorists, rap and related genres are still relatively unexplored. The small body of existing literature suggests several promising analytic methods, such as the discernment and comparison of rhythmic layers within a song. This thesis reviews the current state of rap research and synthesizes a comprehensive theoretical model out of previously published sources and the author’s original ideas. This model is then used to investigate several case studies of varying complexity, revealing a number of previously undocumented musical devices and promising avenues for further research.
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Lüdtke, Solveig. "Globalisierung und Lokalisierung von Rapmusik am Beispiel amerikanischer und deutscher Raptexte." Berlin ; Münster : Lit, 2007. http://books.google.com/books?id=4J-fAAAAMAAJ.

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Skopal, Edward William Jr. ""Hear Dem Cryin:" Rastafari and Framing Processes in Reggae Music." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33570.

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In social science, reality is too frequently conceived of from the point of view of European or American white men. I intend to examine the perceived realities and world-view of a marginalized oppressed group, the Rastafarians. The contemporary social movement literature focuses heavily on framing processes, how movement members portray their grievances to potential sympathizers. Reggae music is the most popular vehicle for the Rastafarians to disperse their world-view. This study explores how reggae music serves certain social movement functions for the Rastafarian movement. I seek to show that reggae music is indeed political and draws heavily from Rastafarian ideology. I will perform a content analysis of the lyrics of reggae music and identify the diagnostic, prognostic, and motivational framing used by the reggae artists.
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Mohammed-Akinyela, Ife J. "Conscious Rap Music: Movement Music Revisited A Qualitative Study of Conscious Rappers and Activism." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/14.

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The purpose of this study is to explore how conscious rap is used as a form of activism. Interviews of conscious rappers based in Atlanta, GA were used to understand this relationship. In order to complete this investigation, ten unsigned conscious rappers were given a series of questions to explore their involvement as activist; some of these artist were also recruited based on affiliations with political organizations based in Atlanta, GA. By gathering interviews from conscious rappers who consider their music as a form of activism, scholars of African American Studies may further understand the role of music and political activism when mobilizing the African American and minority communities.
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Henry, William Anthony. "Reggae/dancehall music : the 'hidden voice' of Black British urban expression." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269690.

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Morrison, Karen Y. "Anne Bradstreet's rap : the music in her poetry /." View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1658.

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Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Gilbert L. Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.
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Love, Bettina L. "Don't judge a book by Its cover an ethnography about achievement, rap music, sexuality & race /." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/eps_diss/28/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from title page (Digital Archive@GSU, viewed June 10, 2010) Jennifer Esposito, committee chair; Jonathan Gayles, Richard Lakes, Carlos R. McCray, committee members. Includes bibliographical references (p. 201-228).
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Books on the topic "Rap (Music) Reggae music"

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Le ragga: [reggae, rap, DJ]. Paris: Hors collection, 2005.

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Gentile, Enzo. Rock around the clock: Almanacco del rock, blues, soul, jazz, pop, punk, reggae, rap--. Milano: Zelig, 1995.

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Seebode, Jochen. Malipenga, Samba, Rap und Reggae: Anmerkungen zu Jugendkulturen in Nordmalawi. Berlin: Das Arabische Buch, 1999.

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Ben regai le-rap: Etgar ha-hishtaikhut shel noʻar yotse Etyopyah be-Yiśraʼel. Tel-Aviv: Ts'eriḳover, 2001.

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Contemporary musicians: Profiles of the people in music. Detroit, Mich: Gale, 2011.

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Contemporary musicians: Profiles of the people in music. Detroit, Mich: Gale, 2013.

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Contemporary musicians: Profiles of the people in music. Detroit, Mich: Gale, 2010.

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All time top 1000 albums. Enfield, Middlesex: Guinness Publishing, 1994.

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Thompson, Dave. Reggae & Caribbean music. San Francisco: Backbeat Books, 2002.

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Berlatsky, Noah. Rap music. Detroit: Greenhaven Press, 2012.

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Book chapters on the topic "Rap (Music) Reggae music"

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Chanh, Nguyen Quoc. "Rap Music." In Of Vietnam, 19. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780230107410_3.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Reggae." In Anthology to Accompany Gateways to Understanding Music, 480–86. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-59.

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Gamble, Steven. "Individual empowerment in rap and metal music listening." In How Music Empowers, 41–65. [1.] | New York : Taylor & Francis, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429323034-3.

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Diallo, David. "Call-and-Response in Rap Music." In Collective Participation and Audience Engagement in Rap Music, 5–24. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25377-6_2.

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Turner, Elizabeth. "Message music and meaning." In The Discourse of Protest, Resistance and Social Commentary in Reggae Music, 16–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367823559-2.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Rap and Hip-Hop." In Anthology to Accompany Gateways to Understanding Music, 428–29. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-56.

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Smith, Gareth Dylan. "Rap, Racism, and Punk Pedagogy." In Difference and Division in Music Education, 108–27. New York : Routledge, 2020. | Series: ISME global perspectives in music education: Routledge, 2020. http://dx.doi.org/10.4324/9780429278525-10.

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Burkhart, Benjamin. "Popular Music Analysis and Social Semiotics: The Case of the Reggae Voice." In Popular Music Studies Today, 43–52. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_4.

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Jagodzinski, Jan. "The Perversions of Gangsta Rap: Death Drive and Violence." In Music in Youth Culture, 61–75. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9780230601390_5.

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Diallo, David. "Intertextuality in Rap Lyrics." In Collective Participation and Audience Engagement in Rap Music, 85–102. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25377-6_6.

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Conference papers on the topic "Rap (Music) Reggae music"

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Baussard, A., and T. Boutin. "Time-Reversal RAP-MUSIC Approach." In 2007 International Conference on Electromagnetics in Advanced Applications. IEEE, 2007. http://dx.doi.org/10.1109/iceaa.2007.4387257.

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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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Wu, Ming-Ju, Chun-Hung Lu, and Jyh-Shing Roger Jang. "Automatic conversion from speech to rap music." In 2014 International Conference on Electrical Engineering and Computer Science (ICEECS). IEEE, 2014. http://dx.doi.org/10.1109/iceecs.2014.7045255.

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Hayashi, Masaki, Steven Bachelder, Masayuki Nakajima, and Yoshiaki Shishikui. "Rap music video generator: Write a script to make your rap music video with synthesized voice and CG animation." In 2017 IEEE 6th Global Conference on Consumer Electronics (GCCE). IEEE, 2017. http://dx.doi.org/10.1109/gcce.2017.8229189.

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Araújo, Carlos V. S., Rayol M. Neto, Fabiola G. Nakamura, and Eduardo F. Nakamura. "Using Complex Networks to Assess Collaboration in Rap Music." In Webmedia '17: Brazilian Symposium on Multimedia and the Web. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3126858.3131605.

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Lestari, Sri. "Student’s Perception of English Learning by Using Rap Music Media." In 1st Borobudur International Symposium on Humanities, Economics and Social Sciences (BIS-HESS 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200529.132.

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Migliore, Olivier, and Nicolas Obin. "At the Interface of Speech and Music: A Study of Prosody and Musical Prosody in Rap Music." In 9th International Conference on Speech Prosody 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/speechprosody.2018-113.

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Arnus, S., Mansur Mansur, A. Utomo, and Fadlullah Fadlullah. "Halal Remix in Rap Deen Squad Music Genre: Expression of Islamic Identity of Millennial Muslims." In Proceedings of the 19th Annual International Conference on Islamic Studies, AICIS 2019, 1-4 October 2019, Jakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.1-10-2019.2291722.

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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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Nedyalkov, Ivaylo. "The Fluids Rap: It’s All About Flow." In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20303.

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Abstract Most of the currently-enrolled undergraduate engineering students grew up with exposure to social media websites like Facebook and Youtube. Making sure that students are not distracted by their mobile devices in class has become more challenging, and one way to address the issue is to present engineering in a more entertaining and engaging way. A rap song about fluid mechanics was created by the author for entrainment, outreach, and education purposes. The song covers the fundamentals of fluid mechanics and mentions some theoretical basics, as well as some of the most widely used computational fluid dynamics and experimental fluid dynamics techniques. The song was written with the intention to be entertaining and educational — the goal was that someone with no prior fluid mechanics background will be able to understand it after spending 10–20 minutes reading through the lyrics explanations. A music video was produced for the song. The video production was sponsored by the American Society of Mechanical Engineers and includes visuals of experimental facilities and equipment. The paper provides the background of the project, marketing plans, some of the lessons learned, the lyrics, and the explanations of the lyrics.
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