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Journal articles on the topic 'Rap (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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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 (May 31, 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

Tompo, Krisna Pradipta. "Analisis Ritme Divisi dan Subdivisi Bagian Rap pada Lagu “Jogja Ora Didol”." INVENSI 9, no. 1 (March 1, 2024): 1–12. http://dx.doi.org/10.24821/invensi.v9i1.9129.

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Ritme adalah salah satu aspek dasar dalam musik. Peran ritme yang dominan dalam musik, bahkan juga menjadi bagian dari aspek lain seperti melodi. Musik rap adalah salah satu jenis musik yang merepresentasikan dominasi ritme daripada pitch yang membuat istilah melodi dalam musik rap menjadi kurang cocok. Ritme kemudian menjadi ranah eksplorasi di mana salah satunya merujuk pada ritme divisi dan subdivisi. Riset ini bertujuan untuk menunjukkan bahwa ‘nyanyian’ dalam musik rap tidak jauh dari pengolahan ritme divisi dan subdivisinya. Metode yang digunakan adalah studi pustaka dengan pendekatan mu

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3

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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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 demonst

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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 ra

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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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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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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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9

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 ge

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10

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

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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 apol

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12

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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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (May 2, 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.

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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity

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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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Tomlinson, Brendan H. "The Censorship of Misogynistic Rap Music - A Consideration of Gender-Based Harms and Free Speech." Victoria University of Wellington Law Review 26, no. 3 (September 2, 1996): 531. http://dx.doi.org/10.26686/vuwlr.v26i3.6152.

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The lyrics of gangster rap music have created a storm of controversy in the United States and elsewhere. This article considers the censorship of misogynistic rap music, analysing both the harm which it may do to women, and the way in which free speech principles apply to rap music. The criteria for works to be censored in New Zealand and the United States are analysed. Comments are made about how the New Zealand Classification Office should treat rap music works. It is argued that censorship of rap will rarely be justified. The article concludes by examining an interesting and fundamental dif

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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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17

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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18

Norfleet, Dawn M. "Rap Music and Street Consciousness." Journal of American Folklore 120, no. 475 (January 1, 2007): 113–14. http://dx.doi.org/10.2307/4137886.

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Järvenpää, Tuomas. "‘The Wisest Man in the East’." Temenos - Nordic Journal for Study of Religion 59, no. 2 (December 19, 2023): 207–29. http://dx.doi.org/10.33356/temenos.122051.

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This article presents an ethnographic analysis of the performance of gospel rap music as part of Evangelical Christian youthwork in Finland. The article is based on my observations of six onsite and five online events that featured gospel rap music in their line-up, as well as interviews with nine musicians and three event organizers. I address the relationship between the aesthetics of gospel rap music and the emotional regimes of Finnish Evangelical Christianity. I define ‘emotional regimes’ here as cultural, social, and material practices that set normative rules for the expression of colle

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20

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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Infortuna, Carmenrita, Fortunato Battaglia, David Freedberg, Carmela Mento, Fiammetta Iannuzzo, Rosa De Stefano, Clara Lombardo, Maria Rosaria Anna Muscatello, and Antonio Bruno. "Emotional Temperament and Character Dimensions and State Anger as Predictors of Preference for Rap Music in Italian Population." International Journal of Environmental Research and Public Health 19, no. 20 (October 21, 2022): 13650. http://dx.doi.org/10.3390/ijerph192013650.

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The objective of the current work was to examine the relationships between affective temperaments dimensions, trait anger, and the preference for rap music in a sample of Italian adults. An online survey was administered to 662 subjects. We assessed preference for rap music using a Likert scale. Ina addition, we investigated the sample’ affective temperament traits using the Memphis, Pisa, Paris, and San Diego (TEMPS-A) short scale and the trait anger by using the Trait Anger component of the State Trait Anger Expression Inventory 2 (STAXI-2). Multiple linear regression indicated that cyclothy

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22

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

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

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23

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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Uhlig, Sylka, Erik Jansen, and Erik Scherder. "“Being a bully isn’t very cool…”: Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting – a randomized controlled trial." Psychology of Music 46, no. 4 (July 21, 2017): 568–87. http://dx.doi.org/10.1177/0305735617719154.

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Music as an effective self-regulative tool for emotions and behavioural adaptation for adolescents might enhance emotion-related skills when applied as a therapeutic school intervention. This study investigated Rap & Sing Music Therapy in a school-based programme, to support self-regulative abilities for well-being. One-hundred-and-ninety adolescents in grade 8 of a public school in the Netherlands were randomly assigned to an experimental group involving Rap & Sing Music Therapy or a control group. Both interventions were applied to six classes once a week during four months. Measurem

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Ben Moussa, Mohamed. "Rap it up, share it up: Identity politics of youth “social” movement in Moroccan online rap music." New Media & Society 21, no. 5 (May 2019): 1043–64. http://dx.doi.org/10.1177/1461444818821356.

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This study examines the discursive and artistic expression of Moroccan youth identity politics through the production and consumption of rap music online, particularly on YouTube. Drawing on multimodal discourse analysis (MDA), the study explores textual, visual, and reception modes and discourses of Moroccan rap songs mediated through songs’ lyrics, video clips, and user comments on the video sharing platform. Focusing on four levels of discourse, namely, narrative and interpersonal representation, genre, modality, and style, the study examines the following key questions: What are the discou

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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

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Ibrahim, Mohd Izuan, Rukiah A. Latif, and Afiq Mustafa Kamal. "The Effects of Background Music on The Screen-Based Reading Material Among University Students: An Eye Tracking Study." Journal of Cognitive Sciences and Human Development 9, no. 2 (September 30, 2023): 117–32. http://dx.doi.org/10.33736/jcshd.5933.2023.

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Reading performance is a crucial skill that can predict success in education. Many factors can influence reading performances, such as background music and perceiving the sentences while reading. This study explores the effects of music on screen-based reading materials among health sciences university students. One hundred twelve participants from The National University of Malaysia, Kuala Lumpur Campus, participated in this study. Participants were asked to read and understand the general theme text given on the computer screen. The participants were segregated into two groups according to t

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Yuliantari, Ans Prawati. "CONTESTATION BETWEEN GLOBAL AND LOCAL IN MANGGARAI RAP MUSIC." Rubikon : Journal of Transnational American Studies 3, no. 1 (July 18, 2019): 1. http://dx.doi.org/10.22146/rubikon.v3i1.34248.

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Globalization causes the spread of pop culture beyond geographical boundaries. Rap music as a form of pop culture spread around the world in the 1990s through the mass media that was driven by the transnational music industry. Its popularity was not just happened in big cities, but in peripheral regions like in Manggarai of East Nusa Tenggara as well.This article uses the transnational concept in American studies and theory of landscape advanced by Arjun Appadurai. The concept of Transnational American Studies is used to analyze the influence of American culture beyond its territory, while the

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Marques, Gustavo Souza. "Full of rage and references: Understanding Coronel’s Frenesi (Frenzy) (2022) in the Brazilian rap scene – An interview/review." Global Hip Hop Studies 3, no. 1 (December 1, 2022): 191–94. http://dx.doi.org/10.1386/ghhs_00063_5.

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Coronel is an underground Brazilian rapper and music producer who has a psychologizing and post-gangsta musical work. In his album Frenesi (2022), Coronel shows his rage against fake gangsterism in the Brazilian rap scene utilizing references from a diverse setting of cultural productions ranging from Hitchcock movies to Egyptian gods. This article examines the uniqueness of Coronel’s musical work in the Brazilian rap scene considering his initial maromba rap phase as well. Maromba rap is a subgenre of rap music made for working out comprising motivating but also dissing lyrics against other b

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GILMAN, LISA, and JOHN FENN. "Dance, gender, and popular music in Malawi: the case of rap and ragga." Popular Music 25, no. 3 (September 11, 2006): 369–81. http://dx.doi.org/10.1017/s026114300600095x.

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Rap and ragga musics have found a place on the musical landscape of Malawi over the last decade, exemplified in a nation-wide scene characterised by competitions. Recordings and associated materials of rap and ragga that inform Malawian youth interpretations tend to emphasise male participation and masculine symbols. Competitions are male-dominated in their organisational structure and participatory roles. Though the articulated focus of these events is the musical component, movement practices are at the core of the scene, comprising part of contestants' performances and the more informal act

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Stoia, Nicholas, Kyle Adams, and Kevin Drakulich. "Rap Lyrics as Evidence." Race and Justice 8, no. 4 (January 31, 2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.

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Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight

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Denisova, Anastasia, and Aliaksandr Herasimenka. "How Russian Rap on YouTube Advances Alternative Political Deliberation: Hegemony, Counter-Hegemony, and Emerging Resistant Publics." Social Media + Society 5, no. 2 (April 2019): 205630511983520. http://dx.doi.org/10.1177/2056305119835200.

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The late 2010s have seen the unprecedented rise of Russian rap culture on YouTube. This study delves into the unexplored area of the relationship between rap music, politics, and the Internet audience in Russia. It focuses on the analysis of the production of the most popular rap videos—their narratives, power relations, and socio-political themes, as well as the prevailing patterns in the discussion on socio-political issues by the YouTube audience. The study brings three contributions that identify the power relations in the Russian society that manifest in the field of rap music. First, the

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Gonzalez, Tiphanie, and B. Grant Hayes. "Rap Music in School Counseling Based on Don Elligan's Rap Therapy." Journal of Creativity in Mental Health 4, no. 2 (June 5, 2009): 161–72. http://dx.doi.org/10.1080/15401380902945293.

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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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Meinecke, Christofer, Ahmad Dawar Hakimi, and Stefan Jänicke. "Explorative Visual Analysis of Rap Music." Information 13, no. 1 (December 28, 2021): 10. http://dx.doi.org/10.3390/info13010010.

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Detecting references and similarities in music lyrics can be a difficult task. Crowdsourced knowledge platforms such as Genius. can help in this process through user-annotated information about the artist and the song but fail to include visualizations to help users find similarities and structures on a higher and more abstract level. We propose a prototype to compute similarities between rap artists based on word embedding of their lyrics crawled from Genius. Furthermore, the artists and their lyrics can be analyzed using an explorative visualization system applying multiple visualization met

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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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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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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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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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Chen, Sitong. "The Effects of Musical Arousal on Adolescence Long-term Memory." Lecture Notes in Education Psychology and Public Media 45, no. 1 (April 19, 2024): 71–78. http://dx.doi.org/10.54254/2753-7048/45/20230248.

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To examine the effects of different music genres on adolescents' long-term memory. Thirty participants were recruited to take part in the study. First, they were given a list of random letter combinations to memorize while listening to a soothing song or fast-paced rap music. After learning for five minutes, they were given some randomly generated arithmetic questions to complete within two minutes. Then, they did a recognition test on the previously memorized words. Results show that the memory-recalling abilities of the participants while listening to rap or soft music are significantly diff

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Ahmad Daniel Faiz Ramlee and Dexter Sigan John. "“Bitch”, “Ho” and “Pussy”: Messages of Popular Rap Music." Trends in Undergraduate Research 6, no. 1 (June 23, 2023): f10–19. http://dx.doi.org/10.33736/tur.5496.2023.

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This study aims to examine the messages of the popular rap songs. The specific objectives are: (1) to analyse the messages of rap songs in the Billboard Hot 100 Year-End Chart from 2017 to 2021, and (2) to analyse the level of misogyny in the rap songs listed in the Billboard Hot 100 Year-End Chart from 2017 to 2021. The descriptive study involved the analysis of messages in 25 popular rap songs. The content analysis of the songs showed that the most frequently used type of misogyny is sexual conquest messages found in 23 songs, followed by derogatory manner and physical aggression but rape an

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Abdul-Adil, Jaleel K. "Modern Rap Music: Mining the Melodies for Mental Health Resources." Journal of Youth Development 9, no. 2 (June 1, 2014): 149–52. http://dx.doi.org/10.5195/jyd.2014.66.

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Modern Rap music is a very popular, powerful, and controversial form of contemporary youth media. Despite clearly counter-productive aspects of certain lyrics, videos, and other cultural elements, Rap music also offers prosocial material that can enhance the appeal and impact of mental health interventions. This article describes the Young Warriors program as an example of a Rap-based program that promotes positive development in urban ethnic minority youth. Future directions and similar scholarly efforts are also highlighted.

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Phillips, Matthew T. "Soundcloud Rap and Alien Creativity." Journal of Popular Music Studies 33, no. 3 (September 1, 2021): 125–44. http://dx.doi.org/10.1525/jpms.2021.33.3.125.

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In this paper I argue that the SoundCloud rap movement of the 2010s signalled not only a crisis of the rap-image (the specific ways in which rap had been traditionally represented and produced), but also a moment of intense aesthetic creativity and experimentation. Following Luciana Parisi’s notion of alien thinking and Kodwo Eshun’s work on Afrofuturism, I see the SoundCloud rap movement as exhibiting a type of alien creativity, existing outside the human but having real effects upon the human aesthetic experience. Through techniques such as Auto-Tune, mumbling, repetition, ad-libs, triplets,

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Gran, Jacob J. "Two Corpus-Based Approaches to Rap Flow." Empirical Musicology Review 11, no. 2 (January 10, 2017): 185. http://dx.doi.org/10.18061/emr.v11i2.5332.

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This commentary compares and contrasts the two articles within this issue that describe a corpus-based approach to rap music (Condit-Schultz, 2016; Ohriner 2016). Beyond their technical differences, these studies mutually converge on the concept of "flow" as a window into the technical problems of analyzing rap music, and the results of the two studies complement one another. The comparison of these essays allows a unique insight into the methodological alternatives available within corpus-based research. I also attempt to briefly contextualize these essays within the history of the field, and

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Kubrin, Charis E. "“I See Death around the Corner”: Nihilism in Rap Music." Sociological Perspectives 48, no. 4 (December 2005): 433–59. http://dx.doi.org/10.1525/sop.2005.48.4.433.

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Rap is one of the most salient music genres of the late twentieth and early twenty-first centuries. Gangsta rap, in particular, with its focus on urban street life, has become a dominant means of expression within contemporary African American adolescent culture. As such, it speaks directly to issues of identity, culture, violence, and nihilism—themes that permeate recent research on inner-city black communities. Mostly ethnographic in nature, this work describes how structural disadvantage, social isolation, and despair create a black youth culture, or street code, that influences adolescent

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Erlambang, Muhammad Fandy, Ikhsan Fuady, and S. Kunto Adi Wibowo. "Analisis Konten Kesehatan Mental Dalam Karya Musik Kendrick Lamar." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (June 30, 2021): 46. http://dx.doi.org/10.26740/vt.v4n1.p46-52.

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During the 2000s and 2010s, mental health problems of Generation Z youth increased, but efforts to seek help decreased. However, rap music can be one of the several interventions that can help them. In this content analysis research, the authors apply a quantitative analysis method to the lyrics contained in the music of Kendrick Lamar, one of the most popular rap musicians during the 2010s. The analysis was conducted on a sample of 58 Kendrick Lamar songs to find the number of mental health references in his musical works from 2011 to 2017. The sampling technique used was purposive sampling.

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Puteri, Aisha Maura. "COUNTERING HIP-HOP AS A BLACK SPACE: HOW “THE OTHERS” STRUGGLED TO FIND SPACE IN RAP BATTLE CULTURE AS ANALYZED IN 8 MILE (2002) AND BAD RAP (2016)." Rubikon : Journal of Transnational American Studies 10, no. 2 (October 30, 2023): 204. http://dx.doi.org/10.22146/rubikon.v10i2.76853.

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This article analyzes the normativity of the black race in rap music and how it affected Asian American and White American MCs in Rap Battle (specifically Jin the MC, Dumbfoundead, and Eminem), the importance of rap battle in connection between race and rap, and how rap battle’s connection with race and rap contributed to Jin the MC, Dumbfoundead, and Eminem’s success factors as they tackled racist attacks from their rap battle opponents. The corpus of the study is a documentary about Asian American’s struggle in the hip-hop industry called Bad Rap (2016), as well as Eminem’s revised-autobiogr

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Ohriner, Mitchell. "Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast's "Mainstream" (1996)." Empirical Musicology Review 11, no. 2 (January 10, 2017): 153. http://dx.doi.org/10.18061/emr.v11i2.4896.

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Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee's rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast's "Mainstream" (1996) simultaneously afford hearing both a four-beat and a three-beat metric cyc

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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 (November 18, 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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Schauert, Paul. "Posthuman Rap." Ethnomusicology 68, no. 1 (February 1, 2024): 150–52. http://dx.doi.org/10.5406/21567417.68.1.09.

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