LEADER 04233nam 22006495 450 001 9910484508203321 005 20250610110526.0 010 $a9783030253776 010 $a3030253775 024 7 $a10.1007/978-3-030-25377-6 035 $a(CKB)4100000009152690 035 $a(MiAaPQ)EBC5887823 035 $a(DE-He213)978-3-030-25377-6 035 $a(Perlego)3492513 035 $a(MiAaPQ)EBC29247015 035 $a(EXLCZ)994100000009152690 100 $a20190828d2019 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCollective Participation and Audience Engagement in Rap Music /$fby David Diallo 205 $a1st ed. 2019. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Pivot,$d2019. 215 $a1 online resource (154 pages) 225 1 $aPop Music, Culture and Identity,$x2634-6621 311 08$a9783030253769 311 08$a3030253767 327 $a1. Introduction -- 2. Call-and-Response in Rap Music -- 3."Rock the House:" Emceeing and Collective Participation in Rap Music's Formative Years (1974-1978) -- 4. "Keeping It Real Live!" Maintaining Collective Participation on Records -- 5. "Coming to You Live and Direct!": Performing Liveness and Immediacy on Record -- 6. Intertextuality in Rap Lyrics -- 7. From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance -- 8. Rap Music and Singing Along to the N-word -- 9. Discussing Collective Participation and Audience Engagement with Sugarhill Gang's Master Gee -- 10. Conclusion. 330 $aWhy do rap MCs present their studio recorded lyrics as "live and direct"? Why do they so insistently define abilities or actions, theirs or someone else's, against a pre-existing signifier? This book examines the compositional practice of rap lyricists and offers compelling answers to these questions. Through a 40 year-span analysis of the music, it argues that whether through the privileging of chanted call-and-response phrases or through rhetorical strategies meant to assist in getting one's listening audience open, the focus of the first rap MCs on community building and successful performer-audience cooperation has remained prevalent on rap records with lyrics and production techniques encouraging the listener to become physically and emotionally involved in recorded performances. Relating rap's rhetorical strategy of posing inferences through intertextuality to early call-and-response routines and crowd-controlling techniques, this study emphasizes how the dynamic and collective elements from the stage performances and battles of the formative years of rap have remained relevant in the creative process behind this music. It contends that the customary use of identifiable references and similes by rap lyricists works as a fluid interchange designed to keep the listener involved in the performance. Like call-and-response in live performances, it involves a dynamic form of communication and places MCs in a position where they activate the shared knowledge of their audience, making sure that they "know what they mean," thus transforming their mediated lyrics into a collective and engaging performance. 410 0$aPop Music, Culture and Identity,$x2634-6621 606 $aMusic 606 $aAfrican Americans 606 $aCulture 606 $aPerforming arts 606 $aTheater 606 $aMusic 606 $aAfrican American Culture 606 $aTheatre and Performance Arts 606 $aGlobal and International Culture 615 0$aMusic. 615 0$aAfrican Americans. 615 0$aCulture. 615 0$aPerforming arts. 615 0$aTheater. 615 14$aMusic. 615 24$aAfrican American Culture. 615 24$aTheatre and Performance Arts. 615 24$aGlobal and International Culture. 676 $a782.421649 676 $a782.421649 700 $aDiallo$b David$4aut$4http://id.loc.gov/vocabulary/relators/aut$01225745 906 $aBOOK 912 $a9910484508203321 996 $aCollective Participation and Audience Engagement in Rap Music$92845903 997 $aUNINA