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"Hip-hop culture" in New York City: ...

Norfleet, Dawn Michaelle.

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"Hip-hop culture" in New York City: The role of verbal musical performance in defining a community.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	"Hip-hop culture" in New York City: The role of verbal musical performance in defining a community./
作者:	Norfleet, Dawn Michaelle.
面頁冊數:	313 p.
附註:	Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0337.
Contained By:	Dissertation Abstracts International58-02A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9723832
ISBN:	9780591326376

"Hip-hop culture" in New York City: The role of verbal musical performance in defining a community.
Norfleet, Dawn Michaelle.

"Hip-hop culture" in New York City: The role of verbal musical performance in defining a community. - 313 p.

Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0337.

Thesis (Ph.D.)--Columbia University, 1997.

Hip-hop is described as a multifaceted "culture" by a heterogeneous group of insiders who refer to themselves as a "hip-hop community," according to my research conducted in New York City from 1992 to 1996. This dissertation will focus on the verbal musical aspect of hip-hop expression (rap music).

ISBN: 9780591326376Subjects--Topical Terms:

1017604
American Studies.

"Hip-hop culture" in New York City: The role of verbal musical performance in defining a community.
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520 $a Hip-hop is described as a multifaceted "culture" by a heterogeneous group of insiders who refer to themselves as a "hip-hop community," according to my research conducted in New York City from 1992 to 1996. This dissertation will focus on the verbal musical aspect of hip-hop expression (rap music).
520 $a Verbal musical practitioners (rap artists) hold a paradoxical yet symbiotic relationship with two realms: hip-hop culture and the commercial music industry. While striving to maintain social and ideological ties to the community ("keeping it real") most hope to reap the benefits of commercialization by becoming financially successful professional artists ("making money"). Nevertheless, insiders use the act of competitive musical performance as a means of separating what they consider to be the true purveyor of hip-hop musical verbal tradition (the "MC") from one who merely "raps."
520 $a Acts of musical performance are central to hip-hoppers' conceptualization of the "culture" they have created and for maintaining control over their creation vis a vis the music industry. Scholarly studies of hip-hop tend to focus primarily on commercially recorded musical examples and interviews with popular artists as informational sources for their analyses of hip-hop; as a result, technological innovation--samplers, recording studios, mass media--may be emphasized as the central issue of hip-hop in such discourses. These technological innovations are indeed important characteristics, but they should be considered the vehicles, not the essence, of this African American creative expression.
520 $a My research has largely consisted of analyses of fieldwork with hip-hoppers from a wide spectrum of performance participation (professionally-striving, amateur, and professional hip-hoppers), as well as examinations of academic, professional, and popular written materials on hip-hop and African-American culture. The present study also suggests that traditional scholarly concepts utilizing dichotomization (culture and commodity, oral and literate or technical processes, improvisation and composition) may be useful tools for understanding human practices; however as these concepts are defined within the continuously evolving world of academia, they too, share a symbiotic relationship and are thus subject to cultural processes of defining, refining, and redefining.
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