Статті в журналах: "Rap (Music)"

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 also supporting theories used namely perception, lifestyle, music and culture. The author uses a qualitative method and selects 5 informants, including 3 rappers from the collective The Dreamfilled, 1 male rap music lover and 1 female rap music lover. The conclusion of this research is that the millennial generation and rap music lovers in the Dreamfilled collective continue to follow the subculture and fashion of Hip hop which is still being developed today and becomes a lifestyle.Musik merupakan suatu seni yang mengorganisasikan kumpulan nada nada menjadi suatu bunyi yang mempunyai arti sangat dekat dalam kehidupan. Hip hop merupakan gaya hidup yang biasa disebut dengan kultur, musik Rap merupakan salah satu genre musik Hip hop yang sudah beredar semenjak tahun 70an. Hip hop merupakan perpaduan dinamis yang terdiri dari MCing/Rapping, DJing, Graffiti, Breakdancing, masih melekat hingga era generasi milenial saat ini. Dreamfilled merupakan salah satu kolektif musik rap yang didominasi oleh generasi milenial yang memiliki gerakan nyata dalam Hip hop dalam membuat karya lagu maupun mengikuti kultur, ini dapat dikorelasikan dengan teori subkultur dan fashion, ada juga teori pendukung yang dipakai yakni persepsi, gaya hidup, musik dan budaya. Penulis menggunakan metode kualitatif dan memilih lima informan yang antara lain rapper dari kolektif The Dreamfilled, penikmat musik rap laki laki dan perempuan. Kesimpulan dari penelitian ini adalah generasi milenial pelaku dan penikmat musik rap di kolektif Dreamfilled ini tetap mengikuti subkultur dan fashion dari Hip hop yang masih terus dikembangkan hingga saat ini dan menjadi gaya hidup.

2

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.

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.

4

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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5

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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6

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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7

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.

8

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.

9

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.

10

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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11

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.

12

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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13

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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14

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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15

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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16

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 by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.

17

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 difference between the free speech principles of the two jurisdictions: American free speech doctrine treats censorship based on the work's viewpoint with hostility, whereas New Zealand law advocates censorship of this kind.

18

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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19

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.

20

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.

21

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 cyclothymic temperament score, hyperthymic temperament score, and trait anger scores were positive predictors while older age, and depressive temperament and higher education score were negative predictors of preference for rap music. The results expand previous literature on personality and music preference indicating the association of high energy/high activity temperaments and trait anger to preference for rap music.

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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.

23

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. Measurements at baseline and again after four months provided outcome data of adolescents’ psychological well-being, self-description, self-esteem and emotion regulation. Significant differences between groups on the SDQ teacher test indicated a stabilized Rap & Sing Music Therapy group, as opposed to increased problems in the control group ( p = .001; ηp2 = .132). Total problem scores of all tests indicated significant improvements in the Rap & Sing Music Therapy group. The RCT results imply overall benefits of Rap & Sing Music Therapy in a school setting. There were improved effects on all measures – as they are in line with school interventions of motivational engagement in behavioural, emotional and social themes – a promising result.

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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 discourses that emerge from the production, circulation, and consumption of online rap music by Moroccan youth? How do online rap production and reception contribute to identity formation among Moroccan youth? To what extent does online rap music contribute to the development of a progressive and alternative social youth movement that challenges dominant cultural and political power relations?

25

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 the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.

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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 methods to support domain-specific tasks.

29

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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30

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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31

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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32

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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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 theory of landscape is used to analyze the conflicts that occured between the global and the local rap music in Manggarai music spaces.This analysis shows that the process of appropriation carried out by local rapper against global rap music is a form of negotiation to adapt to local tastes as well as of creativity to face global music. The strategies undertaken in the struggle for spaces of music can be seen in the form of themes, language, dialect, or mode of production. Contestation between the global and the local is always transformed through the development of music consumers in the area.Keywords: Contestation, Rap, Transnational, Globalization

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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 activities of spectators. Female involvement as dancers is much greater than as music-makers, making attention to dance crucial for understanding gender dynamics. Our exploration of intersections between dance, music, gender and class provides insight into the reasons for and implications of male dominance in this popular music/dance scene.

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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 Russian-speaking users demonstrate a high level of criticality toward the pro-Kremlin rap music on YouTube and challenge the lies of propaganda rap. Second, pro-government rappers follow the Soviet authoritarian ethos and praise belonging to the collective of elites, while liberal ones adhere to the individual responsibility. Third, we demonstrate the prevalence of patriarchal gender values, including macho politics and unquestioned sexism, which are representative of gender politics in the country. This article proves the importance of socio-political commentary on YouTube and points to the rap videos as the popular hubs for the socio-political debates. Users flow to rap videos and utilize the comment section to have their say on the political context and power relations rather than the music, to engage with others, and to contribute to the emerging collective debate. The comment sections on these rap videos have a unique value for the Russian users who exploit them as the negotiation space in the void of other platforms for social dialogue in Russia.

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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, rappers were able to create a radically new aesthetic form that pushed the limits of digital music production and listening. I present SoundCloud rap tracks as virtualities of aesthetic origination, with rappers and producers playing with the alien, the unknown, the incomputable and the incomprehensible, which are provided to them via cybernetic technologies. These virtualities become ways of bringing forth the alien in the form of new syntaxes, new meanings, new aesthetics and new modes of being, pushing the bounds of rap and popular music.

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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 behavior. The current work builds on the community literature by exploring how the street code is present not only on “the street” but also in rap music. It addresses two important questions: (1) To what extent does rap music contain elements of the street code—and particularly nihilism—identified by Anderson (1999) and others? (2) How do rappers experience and interpret their lives, and how do they respond to conditions in their communities? These questions are explored in a content analysis of over four hundred songs on rap albums from 1992 to 2000.

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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 to outline what I believe their significance to be as contributions to the musicology of rap music.

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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. Data analysis techniques include frequency analysis, Cochran-Armitage test for trends in linear proportions, and cross-tabulations test using SPSS. Based on analysis results, it was found that 31 of the 58 songs in the sample contained mental health references. Mental health references in Kendrick Lamar's music increased from 2011 to 2012, but decreased from 2012 to 2017. The mental health references found were also related to contributing factors such as environmental conditions, spiritual beliefs, and love life. The writing of this research is expected to contribute to the realm of content analysis of rap music and popular music as a whole.Keywords: Mental health reference, Kendrick Lamar, rap music

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Segreto, Marcelo. "Elementos de passionalização no RAP." Estudos Semióticos 10, no. 2 (December 13, 2014): 79. http://dx.doi.org/10.11606/issn.1980-4016.esse.2014.90148.

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Este artigo estuda os procedimentos de compatibilização entre melodia e letra definidos por Luiz Tatit, em especial a passionalização presente na canção do gênero rap. Os elementos passionais podem ser observados na entoação do cantor, em trechos instrumentais ou vocais e em samples utilizados pelos DJ‘s (como, por exemplo, nas apropriações de músicas de autores que fazem parte da história da black music). Esta é uma perspectiva pouco usual para o estudo deste gênero de canção, mais ligado ao procedimento da figurativização e ao recurso musical da tematização (pela presença marcante do ritmo). Contudo, ao examinarmos mesmo que superficialmente obras dos principais rappers brasileiros, podemos notar a presença constante de elementos passionalizantes que fazem atenuar a remissão à fala. Passionalização advinda do conteúdo disjuntivo de grande parte das letras, bem como por sua inserção dentro de uma tradição da musica negra norte-americana em que as canções passionais são muito frequentes.

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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 cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of "Mainstream" suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie's expressive practice highlights the rare three-beat affordances of the track.

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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 society. However, it has not changed their current situation, and hip hop music and rap music are still regarded as inappropriate for children and teenagers. It is noteworthy that in recent years, with the popularity of hip-hop music, people from all over the world have gradually paid attention to this unique music style. At the same time, more and more people from the lower class of the United States are also be concerned by the U.S. government.

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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21st century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap.

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Bell, Travis R., and Victor D. Kidd. "“Mike Trout When I’m Battin’ Boy”: Unpacking Baseball’s Translation Through Rap Lyrics." Sociology of Sport Journal 37, no. 3 (September 1, 2020): 220–29. http://dx.doi.org/10.1123/ssj.2019-0038.

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Baseball and rap music are often not considered culturally or historically synonymous, but a shift appears underway. This research examines how 239 rap lyrics reach across the formerly confined (mostly racialized) boundaries of baseball to engage the sport through its reference to 128 baseball players. A thematic analysis explores how the languages of baseball and rap culture intersect through linguistic translation. The authors develop a broad understanding of the positive and negative “baller” references, and how it could affect the future growth of baseball role models for Black youth athletes. Thus, baseball “text” as a source language translates to rap “text” as a target language to form a commonly constructed language at an intersection of music, sports, and masculinity.

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Byrne, Lorcan, Cathal O’Connell, and Siobhan O’Sullivan. "Rap and Political Participation: Using Rap as a Creative Method in Research with Children and Young People." YOUNG 28, no. 1 (August 1, 2019): 50–68. http://dx.doi.org/10.1177/1103308819856755.

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This article explores how rap music workshops can be an effective method when researching neighbourhood regeneration and refurbishment with children and young people, especially in disadvantaged communities. The article draws a research with 78 children and young people in a large social housing estate which is undergoing regeneration and refurbishment in Cork City in the South of Ireland. The focus of this article is on a sub-group of six teenagers who participated in a rap workshop. The research demonstrates that rap music workshops are an insightful data collection method, particularly in contexts where rap music is already an embedded part of the local youth culture. This research also reveals how children and young people have the imaginative capacity to make an informed analysis of their communities and that they hold a strong desire to influence the decision-making process. This article will be of interest to researchers concerned with creative methodologies designed to elicit and understand children’s and young people’s experiences and perspectives.

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Fikentscher, Kai, David Toop, and Jon Michael Spencer. "Rap Attack 2: African Rap to Global Hip Hop." Ethnomusicology 38, no. 2 (1994): 349. http://dx.doi.org/10.2307/851745.

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Andrejevs, Ņikita. "“Citādāks reps” vai “kristīgā glance”: Dievs un pasaule Latvijas kristīgajā repā." Ceļš 73 (December 2022): 6–23. http://dx.doi.org/10.22364/cl.73.01.

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Historically, Christian rap emerged in the context of Evangelical Christianity in the US. Since its birth in the 1970s, it has been often represented as a tool for evangelization and outreach in the modern urban environment. Although there are stories of purported success of these attempts, most US Christian rappers have since turned to Christians as their primary audiences. There are two main attitudes towards the world and its culture among Christian rappers that are manifest in their approach to the style of their songs. Nevertheless, the general attitude towards the world and culture in Christian rap is that of distancing from these aspects, and Christian rappers want to transform or educate the faithless society, Thereby denying the world its capacity to acquire genuine meaning and truth without Christian assistance. There is a discussion on terminology for engaging Christian rap from an academic perspective. Although some Christian rap scholars prefer to use a definition such as “Christians and hip-hop” to include all the possible interactions of Christians, rappers, and hip-hop culture, throughout the article the studied phenomenon is called “Christian rap” to distance the study of the actual rap lyrics and theology they contain from the analysis of hip-hop beats, breakdance, graffiti and/or other elements of hip-hop culture. This problem with definition mirrors the discussion common to the study of Contemporary Christian music genres, where there is debate on the question of criteria that can be employed to define “Christian music”. Latvian Christian rap represents an array of attitudes towards the world. There are examples of “worship rap” or separational approach to Contemporary Christian music and examples of integrational approach. These two approaches represent different attitudes towards the world, although fundamentally all Latvian Christian rappers that are mentioned in the article distance themselves from the world and wish to enlighten it or reach the faithless with their appropriation of popular contemporary music. Latvian Christian rap is a marginal phenomenon because it struggles with acceptance in Christian circles as much as among non-Christians that are to be its main and desired audience. Rap and hip-hop are perceived to be connected to protest, violence, drugs and other things that are foreign to the image of Christianity in Latvia.

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Wester, Stephen R., Cynthia L. Crown, Gerald L. Quatman, and Martin Heesacker. "The Influence of Sexually Violent Rap Music on Attitudes of Men with Little Prior Exposure." Psychology of Women Quarterly 21, no. 4 (December 1997): 497–508. http://dx.doi.org/10.1111/j.1471-6402.1997.tb00127.x.

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This article is among the first to focus on commercially available, sexually violent rap music, so-called “gangsta” rap (GR) and its influence on attitudes toward women. Collegiate males with little experience with GR were exposed to GR music, lyrics, both, or neither. Thus the effect of GR music and lyrics were isolated from each other and from acculturation to GR. Collapsing across all attitude measures, neither lyrics alone nor lyrics with music resulted in significantly more negative attitudes toward women than music-only or no-treatment control conditions. Participants in the lyrics conditions had significantly greater adversarial sexual beliefs than no-lyrics participants, however.

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Johnston, Sholeh. "Persian Rap: The Voice of Modern Iran's Youth." Journal of Persianate Studies 1, no. 1 (2008): 102–19. http://dx.doi.org/10.1163/187471608784772760.

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AbstractPersian Rap, or Rap-e Farsi, is the latest craze in contemporary underground Iranian music, both with Iran and its extensive Diaspora. In Iran, rap is met with strong opposition from the Islamic government, but continues to enjoy immense popularity amongst web-savvy Iranian youths who consume the songs online through internet chat forums, websites, blogs and radio. This article examines the development of Persian Rap from an imitation of Afro-American "Gangsta" Rap, to a unique style of fusion rap with a distinctly Iranian identity, grounded in cultural tradition and a powerful social conscience.

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