澳大利亚嘻哈音乐中的抒情参考

IF 0.2 0 MUSIC
James Lewandowski-Cox
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引用次数: 0

摘要

和世界上其他嘻哈艺术家一样,澳大利亚的mc也经常在自己的作品中引用别人的歌词。澳大利亚的mc会引用大量的文本来帮助他们的音乐定位为明显的嘻哈音乐。这些引语的定位使mc将自己置于嘻哈音乐的谱系中,而这一谱系确定了他们的影响。通过引用之前的作品,澳大利亚嘻哈艺术家正在通过与其他作品的互动来构建嘻哈身份。通过对澳大利亚嘻哈从业者的民族志研究,我将论证抒情的借用和引用是嘻哈文化的一个重要方面。这种与其他全球嘻哈文本的互动不仅形成了这一流派的关键结构,而且还吸引了许多艺术家进入这一流派。这种类型的互文性是mc们想要探索的东西,许多mc都希望将自己融入到这种类型的叙事中。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Lyrical Referencing in Australian Hip Hop
Australian MCs, like other hip hop artists around the world, often quote lyrics from others in their own works. Australian MCs quote from a wide range of texts to help situate their music as being distinctly hip hop. The positioning of these quotes allows MCs to place themselves into a lineage of hip hop music, and this lineage identifies their influences. By quoting from previous works, Australian hip hop artists are constructing a hip hop identity that is constructed through an interaction with other works. Drawing on ethnographic research with hip hop practitioners in Australia, I will argue that lyrical borrowing and quotation is an essential aspect of hip hop culture. This interaction with other, global, hip hop texts not only forms a crucial structure to the genre, but has also drawn many of the artists into the genre. The intertextual nature of the genre is something that the MCs seek to explore, with many wishing to insert themselves into the narrative of the genre.
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
12
期刊介绍: Journal of World Popular Music is a peer-reviewed academic journal that publishes research and scholarship on recent issues and debates surrounding international popular musics, also known as World Music, Global Pop, World Beat or, more recently, World Music 2.0. The journal provides a forum to explore the manifestations and impacts of post-globalizing trends, processes, and dynamics surrounding these musics today. It adopts an open-minded perspective, including in its scope any local popularized musics of the world, commercially available music of non-Western origin, musics of ethnic minorities, and contemporary fusions or collaborations with local ‘traditional’ or ‘roots’ musics with Western pop and rock musics. Placing specific emphasis on contemporary, interdisciplinary, and international perspectives, the journal’s special features include empirical research and scholarship into the global creative and music industries, the participants of World Music, the musics themselves and their representations in all media forms today, among other relevant themes and issues; alongside explorations of recent ideas and perspectives from popular music, ethnomusicology, anthropology, musicology, communication, media and cultural studies, sociology, geography, art and museum studies, and other fields with a scholarly focus on World Music. The journal also features special, guest-edited issues that bring together contributions under a unifying theme or geographical area.
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