The Musical Artistry of Rap by Connor, Martin E. -- Read -- Imperial Library of Trantor

Index

Acknowledgments Foreword by Kyle Adams Introduction ❖ 1 ❖

Rhythm

The Purposes of Transcription Transcribing Rap Compositional Versus Archival Transcribing Grammatical Syntax as Melodic Structure Eminem’s Presto Rhythms Eminem’s Non-Subdivisional Rhythms Eminem’s Constrained Rhythms Eminem’s Strophic Verse Rhythms Busta Rhymes’ Through-Composing Busta Rhymes’ Strophic Verse Rhythms 50 Cent’s Intercantual References 50 Cent’s Self-Referentiality Kendrick Lamar’s Melodic Entrances AZ’s Ultra-Delayed Entrances Slimkid3’s Tripartite Hypermeter Black Thought’s Temporal Range Waka Flocka’s Temporal Range Variation in Rap Tempos Track Length and Song Structure Outliers in Rap’s Normative Song Structures Meter and Kanye West Melodies Killer Mike’s Triplet Melodies Kendrick Lamar’s Triplet Melodies Flobots’ Complex Time Signatures Hamilton’s Complex Time Signatures Big Sean’s Shuffle Melodies Sprechstimme Melodies in Rap Eve’s Additive Rhythms Big Daddy Kane’s Additive Rhythms Summary

❖ 2 ❖

Melody

The Speech-Singing Spectrum Speech-Singing Visualized MF DOOM’s Sprechstimme T-Pain’s Sprechstimme Previous Approaches to Rap Analysis The Pitfalls of Rap Taxonomies Recitative Melodies and Rap Summary

❖ 3 ❖

Motivic Development

Cyclical Motivic Development in DMX’s “Who We Be” Linear Motivic Development in Dr. Dre’s “Some L.A. Niggaz” Organic Motivic Development in B-Lo’s “U Know” Summary

❖ 4 ❖

Structure and Performance Practice

Rap’s Division of Labor and Mode of Manufacture Complex Meter in Waka Flocka Flame’s A Cappella Intros Wyclef Jean’s Hook–Freestyle Integration Disjunction in Mobb Deep’s Accompaniment-Melody Relationship Eminem’s False Hooks Hypermetric, Arrhythmic Interludes The Structure of Eminem’s “Guilty Conscience” Eminem’s Intra-song Skits Eminem’s Intra-album Skits Eminem’s Extended Song Structures Elzhi’s Musical Tributes Popular Music Remixes Popular Music Covers Jazz Music Standards Rap Remakes Wyclef Jean’s Rap Remakes Thematic Quotations in Classical Music Digital Production in Rap Performance Practice Summary

❖ 5 ❖

Texture and Orchestration

Jean Grae’s Borrowed Orchestrations Jean Grae’s Borrowed Lead Voices Rap’s Texture-Orchestration Relationship Monophonic Rap Recordings Live Monophonic Raps Homophonic Raps Polyphonic Raps Harmony in Rap Textures Heterophonic Raps Call-and-Response Textures in Rap Summary

❖ 6 ❖

Instrumentalism

Instrumentalism in Chordophones and Singing Twista’s Stamina, Articulation and Breath Control Kendrick Lamar’s Tessitura and Passaggio Kendrick Lamar’s Timbral Flexibility Rone’s Dynamic Control Eminem’s Spinto Vocal Weight Summary

❖ 7 ❖

Masters of the Form

Kanye West Kendrick Lamar André 3000 Pharoahe Monch Black Thought Notorious B.I.G. Eminem Jean Grae Nas Talib Kweli MF DOOM Mos Def 2Pac Lil Wayne Wyclef Jean Lauryn Hill Busta Rhymes Jay-Z Summary

Epilogue Afterword by Ilan Zechory Appendix

Songs Analyzed

Afrika Bambaataa Akon AZ and Nas and Foxy Brown Big Daddy Kane Busta Rhymes Captain Murphy Consequence DJ Honda DMX Dr. Dre Drake El-P Elzhi Eminem Eminem and Paul Rosenberg Eminem and Royce Eve 50 Cent Flobots The Fugees The Game Hamilton Jay-Z Jean Grae Kanye West Kendrick Lamar Kurupt Lauryn Hill Lil Wayne Ludacris MF DOOM Mike Posner Mobb Deep Mos Def and Talib Kweli Nas Notorious B.I.G. OutKast Pharoahe Monch The Roots Run-D.M.C. Slimkid3 and DJ Nu-Mark Souls of Mischief Sugarhill Gang Talib Kweli A Tribe Called Quest Twista Waka Flocka Flame Wu-Tang Clan Wyclef Jean

Chapter Notes

Introduction Chapter 1 Chapter 2 Chapter 4 Chapter 5 Chapter 6 Epilogue

Bibliography List of Names and Terms

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