Listing 1 - 10 of 37 | << page >> |
Sort by
|
Choose an application
Zu Beginn der 1980er Jahre entsteht innerhalb der Hip-Hop-Kultur in den USA das Beatmaking - eine Musikpraxis, die auf dem kreativen Umgang mit bereits vorhandenem Klangmaterial basiert und hauptsächlich in informellen Kontexten ausgeübt wird. In den letzten 40 Jahren hat sich das Beatmaking in enger Verbindung mit musik- und medientechnologischen Entwicklungen global verbreitet und vielfältig ausdifferenziert. Dabei hat es vor allem im Bereich der populären Musik in musikalisch-ästhetischer und technisch-praktischer Hinsicht maßgebende Impulse gesetzt.In seiner qualitativ-empirischen Studie geht Chris Kattenbeck der Frage nach, was es bedeutet, als Beatmaker*in künstlerisch kompetent zu handeln, welche Fertigkeiten und Kenntnisse dafür nötig sind und wie diese erworben und entwickelt werden. Damit liefert er grundlegende Erkenntnisse über eine bislang kaum erforschte Musikpraxis und die mit ihr verbundenen künstlerischen Strategien und Techniken, ästhetischen Ziele und Vorstellungen, Wissensformen und Lernpraktiken. Dabei zeigt sich unter anderem, dass bestimmte in der Musikpädagogik vorherrschende Verständnisse - etwa von Musiklernen oder Musiktheorie - ungeeignet sind, das Beatmaking adäquat zu erfassen. Die Studie bietet daher nicht zuletzt Anlass, diese Verständnisse zu hinterfragen und neu zu konzeptualisieren, um mit der Vielfalt musikalischer Praxen in Zukunft angemessen umgehen zu können.
Hip Hop. --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture
Choose an application
2007 Arts Club of Washington’s National Award for Arts Writing - Finalist SEE ALSO: Pimps Up, Ho’s Down: Hip Hop’s Hold on Young Black Women by T. Denean Sharpley-Whiting. With roots that stretch from West Africa through the black pulpit, hip-hop emerged in the streets of the South Bronx in the 1970's and has spread to the farthest corners of the earth. To the Break of Dawn uniquely examines this freestyle verbal artistry on its own terms. A kid from Queens who spent his youth at the epicenter of this new art form, music critic William Jelani Cobb takes readers inside the beats, the lyrics, and the flow of hip-hop, separating mere corporate rappers from the creative MCs that forged the art in the crucible of the street jam. The four pillars of hip hop—break dancing, graffiti art, deejaying, and rapping—find their origins in traditions as diverse as the Afro-Brazilian martial art Capoeira and Caribbean immigrants’ turnstile artistry. Tracing hip-hop’s relationship to ancestral forms of expression, Cobb explores the cultural and literary elements that are at its core. From KRS-One and Notorious B.I.G. to Tupac Shakur and Lauryn Hill, he profiles MCs who were pivotal to the rise of the genre, verbal artists whose lineage runs back to the black preacher and the bluesman. Unlike books that focus on hip-hop as a social movement or a commercial phenomenon, To the Break of Dawn tracks the music's aesthetic, stylistic, and thematic evolution from its inception to today's distinctly regional sub-divisions and styles. Written with an insider's ear, the book illuminates hip-hop's innovations in a freestyle form that speaks to both aficionados and newcomers to the art.
Hip-hop. --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Bronx. --- Eminem. --- South. --- artistic. --- evolution. --- from. --- hip-hop.
Choose an application
English language --- Hip-hop. --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Influence on German. --- German language --- Germanic languages
Choose an application
1. Introduction. 2. Getting Your Foundation: Pedagogy. 3. B-Boy Text: Aesthetics. 4. Crews. 5. I hate b-boys - that's why I break: Battling. 6. Like old folk songs handed down from generation to generation: history, canon, and community in B-boy culture. 7. If Breaking came out of Uprock, then Hip-Hop didn't start in the Bronx: B-boy History. 8. Conclusion
Hip-hop dance. --- Hip-hop dance --- Hip-hop --- Music, Dance, Drama & Film --- Dance --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Break dancing
Choose an application
Expressive culture has always been an important part of the social, political, and economic lives of Indigenous people. More recently, Indigenous people have blended expressive cultures with hip hop culture, creating new sounds, aesthetics, movements, and ways of being Indigenous. This book documents recent developments among the Indigenous hip hop generation. Meeting at the nexus of hip hop studies, Indigenous studies, and critical ethnic studies, Hip Hop Beats, Indigenous Rhymes argues that Indigenous people use hip hop culture to assert their sovereignty and challenge settler colonialism. From rapping about land and water rights from Flint to Standing Rock, to remixing "traditional" beading with hip hop aesthetics, Indigenous people are using hip hop to challenge their ongoing dispossession, disrupt racist stereotypes and images of Indigenous people, contest white supremacy and heteropatriarchy, and reconstruct ideas of a progressive masculinity. In addition, this book carefully traces the idea of authenticity; that is, the common notion that, by engaging in a Black culture, Indigenous people are losing their "traditions." Indigenous hip hop artists navigate the muddy waters of the "politics of authenticity" by creating art that is not bound by narrow conceptions of what it means to be Indigenous; instead, they flip the notion of "tradition" and create alternative visions of what being Indigenous means today, and what that might look like going forward.
Indians of North America --- Rap (Music) --- Hip-hop --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Music --- History and criticism.
Choose an application
Graffiti --- Hip-hop --- Young artists --- Youth as artists --- Artists --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Graffiti culture --- Folklore --- Inscriptions --- Street art
Choose an application
In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centring on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaetón, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry's analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.
Hip-hop --- Blacks --- Political aspects --- Social conditions. --- Cuba --- Race relations. --- Negroes --- Ethnology --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Black persons --- Black people --- social conditions --- music --- political aspects --- hip-hop --- blacks --- anthropology --- cuba
Choose an application
First book on hip-hop sampling as a musical process, now with a new foreword and afterword
Rap (Music) --- Hip-hop. --- Turntablism. --- Sound recording executives and producers --- Turntablists. --- Disc jockeys --- Scratching (Music) --- Arrangement (Music) --- Electronic composition --- Improvisation (Music) --- Phonograph turntable music --- Sound recordings --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- History and criticism. --- Remixing
Choose an application
English language --- Hip-hop --- Music and globalization --- Germanic languages --- Globalization and music --- Globalization --- Dissemination of music --- Hip-hop culture --- Hiphop --- African American arts --- Popular culture --- Influence --- Variation --- Social aspects --- Globalization.
Choose an application
In the case of hip-hop, the forces of top-down corporatization and bottom-up globalization are inextricably woven. This volume takes the view that hip-hop should not be viewed with this dichotomous dynamic in mind and that this dynamic does not arise solely outside of the continental US. Close analysis of the facts reveals a much more complex situation in which market pressures, local (musical) traditions, linguistic and semiotic intelligibility, as well as each country's particular historico-political past conspire to yield new hybrid expressive genres. This exciting collection looks at lingu
Cultuur en globalisering. --- Hiphop --- Sociolinguïstiek. --- invloed. --- Sociolinguistics. --- Hip-hop --- Culture and globalization. --- Sociolinguistique --- Culture et mondialisation --- Influence. --- Influence --- Hip-hop. --- Rap (Music) --- Hip-hop music --- Rap songs --- Rappin' (Music) --- Rapping (Music) --- African Americans --- Monologues with music --- Popular music --- Trip hop (Music) --- Hip-hop culture --- African American arts --- Popular culture
Listing 1 - 10 of 37 | << page >> |
Sort by
|