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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Witmer, Robert, Jeremy Marre, and Hannah Charlton. "Roots, Rock, Reggae [Film]." Latin American Music Review / Revista de Música Latinoamericana 11, no. 2 (1990): 310. http://dx.doi.org/10.2307/780130.

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12

Thannoo, Babita. "Rap Music in Mauritius." Wasafiri 27, no. 4 (December 2012): 35–41. http://dx.doi.org/10.1080/02690055.2012.716595.

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13

Weitzer, Ronald, and Charis E. Kubrin. "Misogyny in Rap Music." Men and Masculinities 12, no. 1 (February 19, 2009): 3–29. http://dx.doi.org/10.1177/1097184x08327696.

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14

Travis, Raphael. "Rap Music and the Empowerment of Today’s Youth: Evidence in Everyday Music Listening, Music Therapy, and Commercial Rap Music." Child and Adolescent Social Work Journal 30, no. 2 (November 16, 2012): 139–67. http://dx.doi.org/10.1007/s10560-012-0285-x.

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15

Syafa, Muhammad Fachmi, and Sri Murlianti. "Reggae Music Community Practice in The City of Bontang (Descriptive Study of Bontang Reggae Community)." Progress In Social Development 1, no. 2 (July 6, 2020): 23–31. http://dx.doi.org/10.30872/psd.v1i2.21.

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ABSTRACT: This study describes the practice of social life in the field of music in the city of Bontang, based on a sociological perspective using the generative formulation of the theory of Pierre Bourdieu (Habitus x Modal) + Ranah = Practice. This shows that the existence of the Bontang Reggae Community has produced several groups consisting of Reggae Grill, Slow Reggae, and Reggae Vibe groups as actors who practice in the realm of reggae music. This group was formed because of the different knowledge and understanding in the field of reggae music as a realm of space for social life, which then produced various habitus according to the realm of music in each group. Also, the existence of each group has been supported by the existence of a classification of capital which according to Bourdieu consists of four fundamental capitals including material capital, social capital, cultural capital, and symbolic capital. The three groups produce a practice resulting from dialectical relations through habitus-modal interactions in different and prominent domains of reggae music. The Reggae Grill group produces practices that come from symbolic capital, and circular habitus or the use of Cannabis, then the Slow Reggae group produces modern music practices that come from material capital and cultural capital, and the Reggae Vibe group produces solidarity practices that come from cultural capital and capital. symbolic, as well as group habitus. ABSTRAK: Penelitian ini menggambarkan praktik kehidupan sosial masyarakat pada bidang seni musik di kota Bontang, berdasarkan perspektif sosiologi dengan menggunakan rumusan generatif teori Pierre Bourdieu (Habitus x Modal) + Ranah = Praktik. Menunjukkan bahwa keberadaan Bontang Reggae Community telah melahirkan beberapa kelompok yang terdiri dari kelompok Reggae Grill, Slow Reggae, dan Reggae Vibe sebagai aktor yang melakukan praktik dalam ranah kehidupan seni musik reggae. Kelompok ini terbentuk karna adanya pengetahuan dan pemahaman yang berbeda-beda di bidang seni musik reggae sebagai ranah atau ruang kehidupan sosial, yang kemudian menghasilkan berbagai habitus sesuai dengan ranah musik pada masing-masing kelompok. Selain itu, keberadaan setiap kelompok telah didukung dengan adanya klasifikasi modal yang menurut Bourdieu terdiri dari keempat modal fundamental diantaranya adalah, modal material, modal sosial, modal kultural, dan modal simbolik. Ketiga kelompok tersebut menghasilkan sebuah praktik yang dihasilkan dari hubungan dialektis melalui interaksi habitus-modal dalam ranah musik reggae yang berbeda dan menonjol. Kelompok Reggae Grill menghasilkan praktik yang bersumber dari modal simbolik, dan habitus melingkar atau penggunaan Cannabis, kemudian kelompok Slow Reggae menghasilkan praktik musik modern yang bersumber dari modal material dan modal budaya, serta kelompok Reggae Vibe menghasilkan praktik solidaritas yang bersumber dari modal budaya, dan modal simbolik, serta habitus berkelompok.

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16

Manlove, Clifford T. "Reggae Wisdom: Proverbs in Jamaican Music (review)." College Literature 32, no. 1 (2005): 201–5. http://dx.doi.org/10.1353/lit.2005.0012.

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17

Neely, Daniel T., Kevin O'Brien Chang, and Wayne Chang. "Reggae Routes: The Story of Jamaican Music." Yearbook for Traditional Music 31 (1999): 158. http://dx.doi.org/10.2307/767999.

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18

Anderson, Rick. "Reggae Music: A History and Selective Discography." Notes 61, no. 1 (2004): 206–14. http://dx.doi.org/10.1353/not.2004.0085.

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19

Winick, Stephen D. "Reggae Wisdom: Proverbs in Jamaican Music (review)." Journal of American Folklore 117, no. 463 (2004): 106–7. http://dx.doi.org/10.1353/jaf.2004.0025.

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20

Sands-O’Connor, Karen. "Punk primers and reggae readers: Music and politics in British children’s literature." Global Studies of Childhood 8, no. 3 (August 6, 2018): 201–12. http://dx.doi.org/10.1177/2043610618792320.

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In the late 1970s and early 1980s, British punk and reggae artists united to fight racism throughout society. Young people embraced the ideology of these musical forms, and many wrote about and published their experiences with racism and the police, and their desire to change society. Children’s and young adults’ highly politicized writing contrasted with that of adults who wrote about punk and reggae during the 1970s and 1980s. Adult authors divorced the music from its political meaning by focusing solely on punk and reggae style, yet left the threat of police oppression to thoroughly remove any appeal to young readers. The rejection of punk and reggae ideology by mainstream adult authority was so successful that later incarnations of punk and reggae children’s books either allied the music with the authorities or turned it into commodified nostalgia.

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21

Tyson, Edgar H. "The Rap Music Attitude and Perception (RAP) Scale." Journal of Human Behavior in the Social Environment 11, no. 3-4 (October 12, 2005): 59–82. http://dx.doi.org/10.1300/j137v11n03_04.

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22

Henderson, Errol A. "Black Nationalism and Rap Music." Journal of Black Studies 26, no. 3 (January 1996): 308–39. http://dx.doi.org/10.1177/002193479602600305.

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23

Baussard, A., and T. Boutin. "Time-reversal RAP-MUSIC imaging." Waves in Random and Complex Media 18, no. 1 (January 14, 2008): 151–60. http://dx.doi.org/10.1080/17455030701481856.

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24

Bonnette, Lakeyta M. "Black Political Attitudes and Political Rap Music." Ethnic Studies Review 35, no. 1 (January 1, 2012): 157–75. http://dx.doi.org/10.1525/esr.2012.35.1.157.

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Many argue that political or message rap no longer exists. Scholars and critics point to rap music as a genre that is completely negative and only diminishes the progress of the Black community by offering and supporting stereotypes of African Americans (Johnson, Jackson and Gatto 1995; Carpentier, Knobloch and Zillman 2003). On the contrary, I argue that all rap music is not the same and that in fact, there is a subgenre in rap music, political rap, that discusses political issues and candidates exclusively. In this article, I proffer a criterion for identifying political rap music to demonstrate a distinction between the subgenres of rap and the prevalence of political rap within mainstream radio. Finally, I examine the lyrical content of political rap for the assertion of Black Nationalist ideology.

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25

Moore, Robin, Peter Manuel, Kenneth Bilby, and Michael Largey. "Caribbean Currents: Caribbean Music from Rumba to Reggae." Notes 53, no. 1 (September 1996): 89. http://dx.doi.org/10.2307/900317.

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26

Averill, Gage, Peter Manuel, Kenneth Bilby, and Michael Largey. "Caribbean Currents: Caribbean Music from Rumba to Reggae." Yearbook for Traditional Music 29 (1997): 178. http://dx.doi.org/10.2307/768317.

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27

Gerstin, Julian, Peter Manuel, Kenneth Bilby, Michael Largey, and John Cowley. "Caribbean Currents: Caribbean Music from Rumba to Reggae." Ethnomusicology 43, no. 2 (1999): 355. http://dx.doi.org/10.2307/852742.

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28

Hagedorn, Katherine J. "Caribbean Currents: Caribbean Music from Rumba to Reggae." American Ethnologist 26, no. 1 (February 1999): 256–57. http://dx.doi.org/10.1525/ae.1999.26.1.256.

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29

Stuempfle, Stephen, Peter Manuel, Kenneth Bilby, and Michael Largey. "Caribbean Currents: Caribbean Music from Rumba to Reggae." Journal of American Folklore 110, no. 438 (1997): 445. http://dx.doi.org/10.2307/541673.

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30

Knobloch-Westerwick, Silvia, Paige Musto, and Katherine Shaw. "Rebellion in the Top Music Charts." Journal of Media Psychology 20, no. 1 (January 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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31

Schmidt, Johannes. "German Rap Music in the Classroom." Die Unterrichtspraxis / Teaching German 36, no. 1 (2003): 1. http://dx.doi.org/10.2307/3531679.

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32

Cummings, Melbourne S., and Abhik Roy. "Manifestations of Afrocentricity in Rap Music." Howard Journal of Communications 13, no. 1 (January 2002): 59–76. http://dx.doi.org/10.1080/106461702753555049.

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33

Anderson, Paul A. "Ellington, Rap Music, and Cultural Difference." Musical Quarterly 79, no. 1 (1995): 172–206. http://dx.doi.org/10.1093/mq/79.1.172.

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34

Dunbar, Adam, Charis E. Kubrin, and Nicholas Scurich. "The threatening nature of “rap” music." Psychology, Public Policy, and Law 22, no. 3 (2016): 280–92. http://dx.doi.org/10.1037/law0000093.

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35

Norfleet, Dawn M. "Rap Music and Street Consciousness (review)." Journal of American Folklore 120, no. 475 (2007): 113–14. http://dx.doi.org/10.1353/jaf.2007.0026.

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36

ROMMEN, TIMOTHY. "Protestant vibrations? Reggae, Rastafari, and conscious Evangelicals." Popular Music 25, no. 2 (May 2006): 235–63. http://dx.doi.org/10.1017/s026114300600081x.

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The globalisation of reggae continues to engender a wide range of highly poignant re-inscriptions and re-interpretations of reggae's sound and of Rastafarian thought. One of the most compelling of these has been the negotiation of Rastafarian and Christian ideologies within the context of Protestant reggae bands and artists. The application of Rastafarian thought, dress and language to the evangelical concerns of Protestants – at times paradoxical, at others ingenious – signals an important moment of inter-religious contact that opens a window onto the complexities and multiple meanings that attach to music and to religious systems as they travel between the local and the global. This essay considers music by Christafari (United States), Sherwin Gardner (Trinidad and Tobago), and Stitchie (Jamaica), and considers questions related to the parallel globalisation of reggae and Rastafari. It does this by interrogating the extent to which authenticity, positionality, and religious context inform the use of and interpretation of Rastafari symbols within gospel reggae. In so doing, I introduce a concept that I call the negotiation of proximity, and offer some reflections on the ways that the Rastafari elements within gospel reggae might be understood in new, global (and newly localised) contexts.

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37

Gilmore, Jeremy. "Chance Encounters: Rap Music as a Relational and Pedagogical Resource in Clinical Pastoral Education." Journal of Pastoral Care & Counseling: Advancing theory and professional practice through scholarly and reflective publications 72, no. 1 (March 2018): 32–36. http://dx.doi.org/10.1177/1542305018754795.

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Music has long been regarded as a valuable tool for educators. Over the last three decades, rap music has grown to become a global phenomenon. However, due to historical and cultural factors, rap music is often underutilized in Clinical Pastoral Education. This article discusses the social significance of rap music, highlights how rap music informed my supervision of a clinical pastoral education student, and examines Chance the Rapper’s mixtape Coloring Book as a case study on the utilization of rap music as a relational and pedagogical resource in spiritual education.

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38

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 (May 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 gender) group differences in the endorsement of RAP scale items.ConclusionsImplications of these results support the utility of the RAP for examining perceptions of rap music and provide insight into how the intersection of race and gender relates to hip-hop music themes.

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Rhiney, Kevon, and Romain Cruse. "“Trench Town Rock”: Reggae Music, Landscape Inscription, and the Making of Place in Kingston, Jamaica." Urban Studies Research 2012 (December 31, 2012): 1–12. http://dx.doi.org/10.1155/2012/585160.

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This paper examines place inscriptions in Trench Town, Jamaica, and explores the ways these are used to reinforce, shape, or challenge dominant images of this inner-city community. On one hand, Trench Town is like many of its neighbouring communities, characterised by high levels of poverty, unemployment, political and gang violence, derelict buildings, and overcrowded homes. On the other hand, Trench Town is iconic and unique as it is recognised worldwide for being the birth place of reggae music and home to a number of well-known reggae artists including reggae superstar Bob Marley. Today, Trench Town’s landscape is filled with inscriptions reminiscent of its rich cultural past. Linked to this is a conscious effort by its residents to identify themselves with reggae music and to recapture and sustain the positive legacies that have made the community popular. This is manifested in the numerous murals, statues, and graffiti seen throughout the community evoking past images of reggae music icons such as Marley and Tosh alongside renowned black leaders such as Marcus Garvey. These inscriptions are conceived as texts and are seen as part of a broader discourse on issues relating to urban spatial identity, commoditisation, exclusion, struggle, resistance, and change.

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40

LEE, CHANG. "MUSIC IN THE CARIBBEAN ISLANDS: ROLE OF REGGAE MUSIC AND TOURISTIC CULTURE IN JAMAICA." ASEAN Journal on Hospitality and Tourism 7, no. 1 (December 8, 2008): 129. http://dx.doi.org/10.5614/ajht.2008.7.1.11.

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41

Fried, Carrie B. "Bad Rap for Rap: Bias in Reactions to Music Lyrics1." Journal of Applied Social Psychology 26, no. 23 (December 1996): 2135–46. http://dx.doi.org/10.1111/j.1559-1816.1996.tb01791.x.

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42

Mäkelä, Niko, Matti Stenroos, Jukka Sarvas, and Risto J. Ilmoniemi. "Truncated RAP-MUSIC (TRAP-MUSIC) for MEG and EEG source localization." NeuroImage 167 (February 2018): 73–83. http://dx.doi.org/10.1016/j.neuroimage.2017.11.013.

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43

Dixon, Travis L., Yuanyuan Zhang, and Kate Conrad. "Self-Esteem, Misogyny and Afrocentricity: An Examination of the Relationship between Rap Music Consumption and African American Perceptions." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 345–60. http://dx.doi.org/10.1177/1368430209102847.

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The aim of this study was to examine the relationships between African American audiences, rap music videos, Black collective self-esteem, and attitudes towards women. One-hundred and forty-one African American college students participated in a survey measuring their amount of rap music video viewing, collective self-esteem, Afrocentric identity, and their belief that rap degrades women. The results revealed that viewers who consumed more rap music videos also had a higher sense of collective self-esteem. Additionally, individuals who had strong Afrocentric features tended to identify with rap music videos that contained characters with strong Afrocentric features. Finally, consumption of misogynistic rap content was negatively related to the belief that rap music degrades women. These results are discussed in light of Allen's (1993, 2001) cultural lens perspective, Appiah's (2004) theory of ethnic identification and the priming paradigm. Suggestions are made for future research concerning African American audiences and rap music.

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44

Sabelli, Sonia. "‘Dubbing di diaspora’: gender and reggae music inna Babylon." Social Identities 17, no. 1 (January 2011): 137–52. http://dx.doi.org/10.1080/13504630.2011.531910.

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45

Alleyne, Osei. "Dancehall Diaspora: Roots, Routes & Reggae Music in Ghana." Proceedings of the African Futures Conference 2, no. 1 (June 2018): 162. http://dx.doi.org/10.1002/j.2573-508x.2018.tb000033.x.

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46

Wilson, Asif, and Daunte Henderson. "Ambitionz az a Teacha: understanding Contemporary Rap Music’s Pedagogical Implications." International Journal of Critical Media Literacy 2, no. 1 (September 7, 2020): 31–55. http://dx.doi.org/10.1163/25900110-00201003.

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Abstract This case study extends Elligan’s (2000, 2004) Rap Therapy model to explore the pedagogical usefulness of contemporary rap music. Methodologically, the authors borrow the testimonio from Latina Feminist Scholarship, to explore the ways in which young people participating in a summer literacy program analyzed their lives and the world through rap music; how rap music supported their healing; and how rap music was used as a pedagogical tool. Over the course of four months the co-authors of this study created and analyzed 17 co-written testimonios for their generative themes. The authors conclude with a presentation of The (Re) mix—a rap-centered pedagogical framework. The (Re) mix is made up of three, interconnected pillars. One, contemporary rap music (re)tells the experience(s) of the dispossessed. It helps shift the blame for oppression in the world towards the structures of society. Second, contemporary rap music (re)affirms young peoples’ existence. It provides them with an imaginative environment to imagine a more just world. Third, contemporary rap music (re)stores our humanity. It is a tool to name, connect, and move beyond our pain, creating a context for healing as individuals in a collective society. The authors hope that findings of this study empower other educators to infuse contemporary rap music into their pedagogies as a method for students to better read and write the world, adding to the body of knowledge related to critical media literacy.

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Yuliantari, Ans Prawati. "Molas Baju Wara: Hybridity in Manggarai Rap Music." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 2 (June 21, 2017): 201. http://dx.doi.org/10.24167/celt.v16i2.769.

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Rap music which has been popular since 2007 in Manggarai region, East Nusa Tenggara, Indonesia, gave rise to rap hybrid phenomenon. The mixture between American rap music formats and local elements of Manggarai attracted the attention of young people in the region. One of the local songs that feature hybridity in rap Manggarai is "Molas Baju Wara" created by Lipooz, one of the pioneers of rap in Ruteng, the capital city of Manggarai district. To discuss this phenomenon, the concept of hybridity in cultural territory proposed by James Lull is adopted. This concept is used particularly to analyze the forms of hybridity reflected in " Molas Baju Wara" and the ways they are used in showing the social and cultural conditions of Manggarai. "Molas Baju Wara" was selected as the object of study because the song is clearly showing the characteristics of hybridity in music. The study shows that hybridity could be perceived in Manggarai rap music specifically in the use of local musical instruments like drums, cajon, and tambourine as a substitute for percussive sounds of drums, boombox, or turn-table which are commonly used by rap musicians in their home country, the U.S.A. In addition, there are elements of local sound such as the sound of rain that represents Ruteng as the rain city. Hybridity characteristics can also be found in the use of Manggarai vernacular in the whole lyrics as well as the narration of local themes and certain sites that represent Ruteng.

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Malmberg, Mikko. "Rap and cultural change: Authenticity and hybrid identities in the music of rappers of African descent in Finland." Journal of European Popular Culture 12, no. 1 (March 1, 2021): 5–22. http://dx.doi.org/10.1386/jepc_00025_1.

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In many European countries, the different local rap music scenes were originally founded by marginalized ethnic minority youths, and in academia, the genre is often discussed as resistance music that these youths employ to challenge oppressive cultural hegemonies. Thus, the focus in academic research has often been on rappers who are openly political and critical towards their societies in their music. However, as rap has become highly popular and influential within global youth culture, many academics have become increasingly concerned about its messages, arguing that commercial rap with apolitical, materialistic and self-obsessed lyrics have replaced rap’s anti-hegemonic resistance messages. This article challenges the idea that the majority of contemporary rap music is either harmful or insignificant and that only openly political and socially critical rap is worthy of academic praise. Instead, by focusing on the music of Finnish rappers of African descent, this article examines how rap music by marginalized ethnic minorities can challenge oppressive cultural hegemonies and foster cultural change because of an element that unites all rap: the central role of authenticity.

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Guerreiro, Goli. "As trilhas do Samba-Reggae: a invencao de um ritmo." Latin American Music Review / Revista de Música Latinoamericana 20, no. 1 (1999): 105. http://dx.doi.org/10.2307/780166.

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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 (in opposition to "gangsta" rap and other subgenres). Contemplation of this development leads to larger questions about the creation of hierarchies, value judgments, and the phenomenon of elite status within music genres.

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