國立虎尾科技大學 |

Collective Participation and Audience Engagement in Rap Music

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Collective Participation and Audience Engagement in Rap Music/ by David Diallo.
Author:	Diallo, David.
Description:	XI, 150 p. 6 illus.online resource. :
Contained By:	Springer Nature eBook
Subject:	Music. -
Online resource:	https://doi.org/10.1007/978-3-030-25377-6
ISBN:	9783030253776

Collective Participation and Audience Engagement in Rap Music
Diallo, David.

Collective Participation and Audience Engagement in Rap Music[electronic resource] /by David Diallo. - 1st ed. 2019. - XI, 150 p. 6 illus.online resource. - Pop Music, Culture and Identity,2634-6613. - Pop Music, Culture and Identity,.

1. Introduction -- 2. Call-and-Response in Rap Music -- 3.“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978) -- 4. “Keeping It Real Live!” Maintaining Collective Participation on Records -- 5. “Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record -- 6. Intertextuality in Rap Lyrics -- 7. From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance -- 8. Rap Music and Singing Along to the N-word -- 9. Discussing Collective Participation and Audience Engagement with Sugarhill Gang’s Master Gee -- 10. Conclusion.

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 references and similes by rap lyricists works as a fluid interchange designed to keep the listener involved in the performance. Like call-and-response in live performances, it involves a dynamic form of communication and places MCs in a position where they activate the shared knowledge of their audience, making sure that they “know what they mean,” thus transforming their mediated lyrics into a collective and engaging performance.

ISBN: 9783030253776

Standard No.: 10.1007/978-3-030-25377-6doiSubjects--Topical Terms:

649088
Music.

LC Class. No.: M1-960

Dewey Class. No.: 780

Collective Participation and Audience Engagement in Rap Music
LDR:03712nam a22004095i 4500 001 1015357
003 DE-He213
005 20200930203630.0
007 cr nn 008mamaa
008 210106s2019 gw | s |||| 0|eng d
020 $a 9783030253776 $9 978-3-030-25377-6
024 7 $a 10.1007/978-3-030-25377-6 $2 doi
035 $a 978-3-030-25377-6
050 4 $a M1-960
072 7 $a AV $2 bicssc
072 7 $a MUS000000 $2 bisacsh
072 7 $a AV $2 thema
082 0 4 $a 780 $2 23
100 1 $a Diallo, David. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1309478
245 1 0 $a Collective Participation and Audience Engagement in Rap Music $h [electronic resource] / $c by David Diallo.
250 $a 1st ed. 2019.
264 1 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Pivot, $c 2019.
300 $a XI, 150 p. 6 illus. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
490 1 $a Pop Music, Culture and Identity, $x 2634-6613
505 0 $a 1. Introduction -- 2. Call-and-Response in Rap Music -- 3.“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978) -- 4. “Keeping It Real Live!” Maintaining Collective Participation on Records -- 5. “Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record -- 6. Intertextuality in Rap Lyrics -- 7. From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance -- 8. Rap Music and Singing Along to the N-word -- 9. Discussing Collective Participation and Audience Engagement with Sugarhill Gang’s Master Gee -- 10. Conclusion.
520 $a 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 references and similes by rap lyricists works as a fluid interchange designed to keep the listener involved in the performance. Like call-and-response in live performances, it involves a dynamic form of communication and places MCs in a position where they activate the shared knowledge of their audience, making sure that they “know what they mean,” thus transforming their mediated lyrics into a collective and engaging performance.
650 0 $a Music. $3 649088
650 0 $a African Americans. $3 656472
650 0 $a Performing arts. $3 556749
650 0 $a Culture. $3 556041
650 2 4 $a African American Culture. $3 1109722
650 2 4 $a Performing Arts. $3 670086
650 2 4 $a Global/International Culture. $3 1115696
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9783030253769
776 0 8 $i Printed edition: $z 9783030253783
776 0 8 $i Printed edition: $z 9783030253790
830 0 $a Pop Music, Culture and Identity, $x 2634-6613 $3 1255852
856 4 0 $u https://doi.org/10.1007/978-3-030-25377-6
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)