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Titlebook: Collective Participation and Audience Engagement in Rap Music; David Diallo Book 2019 The Editor(s) (if applicable) and The Author(s), und

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书目名称Collective Participation and Audience Engagement in Rap Music
编辑David Diallo
视频videohttp://file.papertrans.cn/230/229587/229587.mp4
概述Focuses primarily on the dialogical quality of rap’s intertextual lyrics and approaches emceeing as a performance-based expressive form.Examines the aesthetic development of the verbal aspects of rap
丛书名称Pop Music, Culture and Identity
图书封面Titlebook: Collective Participation and Audience Engagement in Rap Music;  David Diallo Book 2019 The Editor(s) (if applicable) and The Author(s), und
描述Why do rap MCs present their studio recorded lyrics as “live and direct”? Why do they so insistently define abilities or actions, theirs or someone else’s, against a pre-existing signifier? This book. .examines the compositional practice of rap lyricists and offers compelling answers to these questions. Through a 40 year-span analysis of the music, it argues that whether through the privileging of chanted call-and-response phrases or through rhetorical strategies meant to assist in getting one’s listening audience open, the focus of the first rap MCs on community building and successful performer-audience cooperation has remained prevalent on rap records with lyrics and production techniques encouraging the listener to become physically and emotionally involved in recorded performances. Relating rap’s rhetorical strategy of posing inferences through intertextuality to early call-and-response routines and crowd-controlling techniques, this study emphasizes how the dynamic and collective elements from the stage performances and battles of the formative years of rap have remained relevant in the creative process behind this music. It contends that the customary use of identifiable ref
出版日期Book 2019
关键词Rap music; Audience participation; Collective participation; Audience engagement; Sugarhill gang; composi
版次1
doihttps://doi.org/10.1007/978-3-030-25377-6
isbn_ebook978-3-030-25377-6Series ISSN 2634-6613 Series E-ISSN 2634-6621
issn_series 2634-6613
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
The information of publication is updating

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An Example of an Early STAPP Interviewmer/audience relationship. Crowd involvement and cooperation being instrumental to creating and building intensity and unity, can the rap performance still work as a cooperative venture with non-black fans singing black rappers’ unaltered lyrics?
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https://doi.org/10.1007/978-1-4899-0843-8 that creates a situation. And it’s what it’s always been. It’s been a call-and-response, an answer, because you connect with the audience, it’s a connection. You’ve got to make a connection with the crowd. That’s what every MC’s goal is. To connect with the crowd.
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Vincent M. Liguori,Marsha L. Landoltt reflects on call-and-response as a longstanding rhetorical and musical practice that is unquestionably prominent in the sociocultural practices of some black communities in the US, but not, as many scholars contend, a uniquely ‘black’ feature. It first revisits the prevalent discourse on the Afric
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Short-Term Dynamic Psychotherapy seminal years exerted a significant influence over rap lyricism, especially in terms of its focus on call-and-response strategies and its emphasis on collective participation. The performance philosophy of the early days, in which the individual and group are affirmed simultaneously, survived the t
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