This song is a useful example of flow because it features a section in which Big Boi raps that he is changing the flow we can therefore understand the difference in flow before and after the stated change by analyzing parameters of beat, rhyme, rhythm and accent. Adaptation of Ohriner’s Transcription of an excerpt from “Flip Flop Rock” by Outkast feat. To illustrate this definition of flow, figure 1 adapts Ohriner’s (2019) transcription of the song “Flip Flop Rock” by Outkast feat. Music theorists have also studied how rappers manipulate flow in order to achieve different formal or narrative effects, and how these techniques of flow can also be used to situate the rapper historically and generically. Another important parameter of flow is accent, which arises through the interaction between these parameters of flow. Flow comprises the backdrop of beats in the instrumental track, the rhyme pattern of the rapper’s text, and the rhythmic density of the rapper’s delivery. One of music theory’s contributions to hip hop study has been to provide a more precise definition of flow by pinning down the musical parameters that constitute it. The term “flow” in discourse about hip hop often invokes a rather slippery notion of the “feel” of rap music. What are some limitations of notation and transcription for representing hip hop?.Structuring a study of hip hop around these two strands offers a framework for thinking through important questions about hip hop’s intersections between musical style and histories of racism and identity politics in the US. This literature review draws together two strands in hip hop studies: music-theoretical analyses of “flow,” and cultural studies analyses of identity, reclamation, and individualism. Below, we summarize literature on hip hop in the US in order to aid teachers in thinking through these complexities when designing their undergraduate music courses. It is therefore not sufficient to tack on a lesson about hip hop to canonic courses about Western art music, as doing the artform justice in the classroom would involve analyzing all of these components. ![]() ![]() (Kajikawa 2019, 161) Moreover hip hop has developed into a visual culture and an artistic school and style, all of which are integral to this genre of music. As Loren Kajikawa has argued, “hip hop producers have their own aesthetic values and ideas about complexity” independent from those accorded to Western art music. Such maneuvers do not adequately convey the complexities and specificities of the hip hop tradition, nor are they sensitive to the history of hip hop as a tradition developed, performed, and cultivated first by Black artists. It is important to consider issues of tokenism and academic imperialism that can arise when one either appends a lesson on hip hop to the end of a historical survey of Western art music, or when one uses hip hop alongside Western art music as illustrations of a common set of music-theoretical principles. Incorporating the study of hip hop into undergraduate music curricula is fraught because traditional music theory and history sequences are built around the canon of Western art music tradition.
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