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

修饰语

值得尊敬

Vincent M. Liguori,Marsha L. LandoltThis chapter delves into the way early rap performances (1974–1978) were fueled by collective participation. Focusing on pre-1979 parties (or pre-Sugarhill Gang’s “Rapper’s Delight” foundational years) and on call-and-response routines, it examines how influential performers established audience engagement as a template for emceeing.

Cumbersome

An Example of an Early STAPP InterviewThis chapter looks into live performances to study how rap lyrics cultivating collective participation on vinyl (and other media) connect powerfully with live audiences. It also analyzes the stage dynamics of rap MCs and their use of call-and-response on stage, with the audience, with back-up MCs or with their DJs.

Prognosis

Introduction,The idea for this book started with a simple question: why do MCs try to nurture collective participation dynamics in their lyrics even though they perform them in a studio booth and not in front of a crowd?

Diastole

,“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978),This chapter delves into the way early rap performances (1974–1978) were fueled by collective participation. Focusing on pre-1979 parties (or pre-Sugarhill Gang’s “Rapper’s Delight” foundational years) and on call-and-response routines, it examines how influential performers established audience engagement as a template for emceeing.

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Facilities

Expiration

,“Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record,rmances and provides insight into the creative process of their lyrics. To bolster the argument of rap lyrics as a “mediated-live” conversation, it surveys a corpus of over 350 relevant songs from 1978 to 2010.

vibrant

Intertextuality in Rap Lyrics,e audience, prompted by intertextual references and similes, is an indirect expression of collective participation and call-and-response insofar as the dialogical character of rap lyrics activates the listener’s shared knowledge, thus transforming them into a collective performance.