1. A Song, Two Rhythms and Rihanna Musical Sounds, Identity and Power in Four Genre Worlds H. Stefan Walcott PhD Candidate Cultural Studies

2. A Song, Two Rhythms and Rihanna Musical practitioners Sounds Identity 3. Questions Which sounds do Barbadian musical practitioners use to articulate their identities? What do these sounds mean and how do these meanings then attach themselves to other meanings, in particular, a nationalist identity? Who benefits from this particular articulation of a nationalist identity? 4. Discipline Sounds Identity Power 5. Framework Genre World Articulation 6. Genre World Calypso/Soca Western European Classical Euro American Popular Spouge Folk Musical Practitioner Musical Text Audience 7. Chapters Introduction Methods Bajan to the Bone: Whose Folk Song Are These? Spouge: Sounding a Bajan Genre, Sounding a Bajan Hero 246 to the Wirl - Under Her Umbrella Ella Ella: the Global Bajan the Bajan Global Outside Men Bajan to the Bone Spouge: Sounding a Genre, Sounding a Hero 246 to the Wirl: Under Her Umbrella Outside Men 8. Articulation Practitioners articulate their identities in fleeting moments from multiple discourses. Sounds have become articulated to particular discourses which are not permanent. Articulation concerns itself with hegemony. 9. Methods Interviews Analysis of strategy through musical parameters Transcription Analysis 10. Interviews 11. Strategy Melody Harmony Rhythm Texture 12. Transcription Analysis Boom Tick Tick 13. Findings Bajan to the Bone: Whose Folk Song Are These? The Bajan folk song has been constructed as an Afro form, Bajan dialect is only considered on a lyrical level, other songs in common circulation are not articulated to a Bajan identity. Spouge: Sounding a Bajan Genre, Sounding a Bajan Hero Spouge is articulated as a rhythmic genre, Bishop is articulated to a Bajan musical canon using criteria from a borrowed aesthetic, the Opel figure and Spouge are seen to resist cultural imperialist such as Jamaica. 246 to the Wirl - Under Her Umbrella Ella Ella: the Global Bajan the Bajan Global Rihannas articulation to a Bajan identity is problematic, others have articulated their Bajan identities using non indigenous sounds, technology is not seen to be as problematic as rhythm in terms of an indigenous articulation. 14. Outside Men - Findings (Summary) Practitioners actually engage with sound to produce meaning in Barbados. *A key contribution. They are a number of specific strategies which have been weakly and strongly articulated to certain identity discourses. They are a number of identities which are actively articulated through sounds. They do not unsettle discourses and contradictions are shown within their articulations. The articulations by practitioners show the presence of a expansive hegemony. Articulations show an attempt to create a homogenous Bajan identity based on Creolisation at the exclusion of other Barbadians. 15. Articulations Sounds Identities Articulated Identities heteregoneous texture, polyrhythm privileging, absence of dense harmonic structures, musematic repetition, binary-construcuts African/Afro-Bajan/African Lack of rhythm, homegenous textre, harmonic privileging European back-beat, use of technology in creation of post-production textures, American/Globalised absence of dense harmonic structures, Ska beat, musematic repetition, speech rhythm Jamaican Sweetness through discursive repetition Trinidadian 16. What is your key contribution Examining meanings and sound The reading of an presence of an expansive hegemony Re-articulations 17. Weaknesses Clearer layout. Too many genre worlds. 18. Future? Christopher Spencer Barbadian avant garde composer The Merrymen Popular Folk Group Bajan Dancehall an evolving genre world since the 1980s Further fleshing out of genre worlds presented