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This ethnographic study of the Egyptian underground hip-hop scene examines the artists who collectively molded the scene and analyzes their practices and explores how these artists have interacted with and responded to political and social upheaval and change. It reveals how rappers approached and reformulated the genre in times of revolution and stasis to reveal how rap acts as a multi-layered form of expression. More specifically, it examines the location of the art form within the broader history of oppositional cultural expression in Egypt, outlining the artists' oppositions to various hegemonic structures and critically deconstructing them to reveal that they often reflect dominant ideology.
Hip-hop. --- Rap (Music)
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This multi-volume set covers all aspects of international hip hop as expressed through music, art, fashion, dance, and political activity. Most of the entries focus on music styles and notable musicians and are unique in that they discuss the sound of various hip hop styles and musical artists' lyrical content, vocal delivery, vocal ranges, and more.
Rap (Music) --- Hip-hop
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As a platform for communicating the issues of marginalized peoples, hip-hop remains a universal, relevant art form. Moreover, hip-hop culture's affirmation of liberation pedagogy has great potential not only to address many current issues in educational contexts, but also to create more egalitarian ambitions in western public schools.
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In the Mississippi Delta, creativity, community, and a rich expressive culture persist despite widespread poverty. Over five years of extensive work in the region, author Ali Colleen Neff collected a wealth of materials that demonstrate a vibrant musical scene. Let the World Listen Right draws from classic studies of the blues as well as extensive ethnographic work to document the ""changing same"" of Delta music making. From the neighborhood juke joints of the contemporary Delta to the international hip-hop stage, this study traces the musical networks that join the region's African American
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Rhymin' and Stealin' Musical Borrowing in Hip-Hop, Dr Williams uses examples from Nas, Jay-Z, A Tribe Called Quest, Eminem, and many others to show that the transformation of pre-existing material is the fundamental element of hip-hop aesthetics.
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Rap (Music) --- Gangsta rap (Music) --- Gangster rap (Music) --- History and criticism.
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What did rap music and hip hop culture inherit from the spirituals, classic blues, ragtime, classic jazz, and bebop? What did rap music and hip hop culture inherit from the Black Women's Club Movement, New Negro Movement, Harlem Renaissance, Hipster Movement, and Black Muslim Movement? In Hip Hop's Amnesia award-winning author, spoken-word artist, and multi-instrumentalist Reiland Rabaka answers these questions by rescuing and reclaiming the often-overlooked early twentieth century origins and evolution of rap music and h
Rap (Music) --- Hip-hop --- History and criticism.
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Hip Hop's Inheritance arguably offers the first book-length treatment of what hip hop culture has, literally, 'inherited' from the Harlem Renaissance, the Black Arts movement, the Feminist Art movement, and 1980's and 1990's postmodern aesthetics. By comparing and contrasting the major motifs of the aforementioned cultural aesthetic traditions with those of hip hop culture, all the while critically exploring the origins and evolution of black popular culture from antebellum America through to 'Obama's America,' Hip Hop's Inheritance demonstrates that the hip hop generation is not the first generation of young black (and white) folk preoccupied with spirituality and sexuality, race and religion, entertainment and athletics, or ghetto culture and bourgeois culture. Taking interdisciplinarity and intersectionality seriously, Hip Hop's Inheritance employs the epistemologies and methodologies from a wide range of academic and organic intellectual/activist communities in its efforts to advance an intellectual history and critical theory of hip hop culture. Drawing from academic and organic intellectual/activist communities as diverse as African American studies and women's studies, postcolonial studies and sexuality studies, history and philosophy, politics and economics, and sociology and ethnomusicology, Hip Hop's Inheritance calls into question one-dimensional and monodisciplinary interpretations or, rather, misinterpretations, of a multidimensional and multivalent form of popular culture that has increasingly come to include cultural criticism, social commentary, and political analysis.
Rap (Music) --- Hip-hop --- History and criticism.
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Author Andrew J. Rausch interviewed 24 individuals whose creative expressions are intimately associated with the world of hip-hop music and culture. Those interviewed include emcees, DJs, producers, graffiti artists, poets, and journalists. Topics of these conversations cover the careers of each of these people and their contributions/affiliations with hip-hop, as well as their views on different trends within the music.
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It's all about the scratch in Groove Music, award-winning music historian Mark Katz's groundbreaking book about the figure that defined hip-hop: the DJ.Today hip-hop is a global phenomenon, and the sight and sound of DJs mixing and scratching is familiar in every corner of the world. But hip-hop was born in the streets of New York in the 1970s when a handful of teenagers started experimenting with spinning vinyl records on turntables in new ways. Although rapping has become the face of hip-hop, for nearly 40 years the DJ has proven the backbone of the culture. In Groove Music, Katz (an amateur
Turntablism. --- Rap (Music) --- Turntablists. --- History and criticism.
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