analyzing collaborative flow in rap music · analyzing collaborative flow in rap music ... plural...
TRANSCRIPT
Robert Komaniecki
Analyzing Collaborative Flow in Rap Music Presentation Handout
Motive A
“I love Cali like I love women
‘Cause every nigga in L.A. got a little bit of thug in him
We might fight amongst each other
But I promise you this: we’ll burn this bitch down
Get us pissed, to live and die in L.A.”
2Pac, “To Live & Die in L.A.” (1996)
Example 1a (Location)
“You can’t harm me, alarm me ‘Cause we’re the generals in this fucking hip-hop army. The niggas wit attitudes if you didn’t know We blow, flow and getting loose from the get-go, yo.”
N.W.A., “Real Niggaz” (1991)
Example 1b (Membership of a musical group or collective)
“We from a different street, all got that different heat But when we move the Mac when Game come, we on
the same beat. So if you fuck with Blood, then you fuck with us And we ain’t busting duds, cause we busting slugs” The Game feat. Snoop Dogg, “One Blood (Remix)”
(2006)
Example 1c (Gang Membership)
“Ahh, rollin’ in my posse, was getting’ kinda bored There’s not another posse with more points scored We don’t walk around like criminals or flex like big gorillas My homeboy Kid sensation is a teenage lady killa.
Maharaji’s on the def side dancin’ like a freak, The girlies see his booty and their knees get weak, Larry is the white guy people think he’s funny. A real estate investor who makes a lot of money.” Sir Mix-a-lot, “Posse on Broadway” (1988)
Example 1d (Generalized Entourage/Posse)
Example 2a (continued on next page)
Robert Komaniecki
Example 5b
Example 6a
Example 6b
Example 6c
Example 6d
Example 6e
Robert Komaniecki
Bibliography
Adams, Kyle. 2008. “Aspects of the Music/Text Relationship in Rap.” Music Theory Online 14 (2).
—————. 2009. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15 (5).
—————. 2016. “Playing with Beats and Playing with Cats: Meow the Jewels, Remixes, and Reinterpretations.”
Music Theory Online 22 (3).
Azuma, Shoji. 1997. “Speech accommodation and Japanese Emperor Hirohito.” Discourse and Society 8 (2): 189–
202.
Burns, Lori. “Vocal Authority and Listener Engagement: Musical and Narrative Expressive Strategies in the Songs
of Female Pop-Rock Artists,” in Sounding Out Pop: Analytical Essays in Popular Music, edited by Mark
Spicer and John Covach. Ann Arbor: University of Michigan Press, 2010.
Chua, Daniel K. L. 2004. “Rethinking Unity.” Music Analysis 23, (2-3): 353–359.
Cohn, Richard and Douglas Dempster. 1992. “Hierarchical Unity, Plural Unities.” In Disciplining Music:
Musicology and its Canons, ed. Katherine Bergeron and Philip Bohlman. University of Chicago Press.
156–181.
Condit-Schultz, Nathaniel. 2016. “MCFlow: A Digital Corpus of Rap Transcriptions.” Empirical Musicology
Review 11 (2).
Edwards, Paul. 2009. How to Rap: The Art and Science of the Hip-Hop MC. Chicago Review Press.
—————. 2013. How to Rap 2: Advanced Flow and Delivery Techniques. Chicago Review Press.
Korsyn, Kevin. 2004. “The Death of Musical Analysis? The Concept of Unity Revisited.” Music Analysis 23 (2-3):
337–351.
Kramer, Jonathan D. 2004. “The Concept of Disunity and Musical Analysis.” Music Analysis 23, (2-3): 361–372.
Krims, Adam. 2000. Rap Music and the Poetics of Identity. Cambridge University Press.
Maus, Fred Everett. 1999. “Concepts of Musical Unity.” In Rethinking Music, ed. Nicholas Cook and Mark Everist,
171–192. Oxford University Press.
Morgan, Robert P. 2003. “The Concept of Unity and Musical Analysis.” Music Analysis 22 (1-2): 7–50.
Ohriner, Mitchell. 2016. “Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast's
‘Mainstream’ (1996).” Empirical Musicology Review 11 (2).
Savage, Steve. 2011. Bytes and Backbeats: Repurposing Music in the Digital Age. University of Michigan Press.
Shipp, Matthew. 2003. “El-P.” BOMB 85. 60–65.
Tardio, Andres. 2015. “Here’s what it’s like to ghostwrite for Dr. Dre.” Accessed August 30, 2017.
http://www.mtv.com/news/2240201/dr-dre-ghostwriter-king-mez/.
Williams, Justin A. 2009. “Beats and Flows: A Response to Kyle Adams, ‘Aspects of the Music/Text Relationship
in Rap’” Music Theory Online 15 (2).
—————. 2013. Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. University of Michigan Press.