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{"title":"Rhythmic Techniques in Deaf Hip Hop","authors":"Anabel Maler, Robert Komaniecki","doi":"10.30535/MTO.27.1.7","DOIUrl":null,"url":null,"abstract":"The art of signed music involves the use of rhythmicized signs from a signed language, such as American Sign Language (ASL), in a musical context. Signed music encompasses a variety of subgenres, including ASL hip hop or “dip hop.” A typical dip hop performance involves a Deaf or hard-of-hearing artist simultaneously performing vocalized and signed rapping over a looped background beat. Although dip hop emerged as a grassroots movement in the early 1990s, it has received li le analytical a ention in the scholarly literature on hip hop. In this paper, the authors combine techniques adapted from analyzing rhythm in non-signed rap music with techniques adapted from analyzing non-rapped signed music to analyze the rhythmic flow of tracks by dip hop artists Sean Forbes, Wawa, and Signmark. The authors demonstrate that dip hop artists have developed genre-specific rhythmic paradigms and tropes to convey the periodicity and rhyme that are fundamental to rap music. Specifically, we address the alignment of rhythm and meter in signed and vocal rap and the conveyance of a repeated “beat” through rhythmic signing. The analyses of dip hop tracks reveal important differences between dip hop and vocal rap, as well as differences between the conventions of dip hop and ASL poetry. DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory Dip hop is hip hop through Deaf eyes.","PeriodicalId":44918,"journal":{"name":"Music Theory Online","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"3","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Music Theory Online","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/MTO.27.1.7","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
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聋人嘻哈的节奏技巧
手语音乐的艺术包括在音乐环境中使用有节奏的手语,如美国手语(ASL)。签名音乐包括各种各样的子流派,包括美国手语嘻哈或“dip hop”。一个典型的dip hop表演包括一个聋人或重听艺术家在一个循环的背景节拍上同时表演声乐和手语说唱。虽然dip hop在20世纪90年代初作为一种草根运动出现,但在嘻哈的学术文献中却很少有分析性的提及。在本文中,作者将分析非签名说唱音乐节奏的技巧与分析非说唱签名音乐的技巧结合起来,分析了dip hop艺术家Sean Forbes, Wawa和Signmark的歌曲节奏流。作者证明,dip hop艺术家已经发展出特定类型的节奏范式和修辞,以传达说唱音乐的基本周期性和韵律。具体来说,我们解决节奏和节拍的对齐在签名和声乐说唱和传递重复的“拍”通过节奏签名。通过对dip hop歌曲的分析,揭示了dip hop与声乐说唱之间的重要差异,以及dip hop与ASL诗歌的惯例之间的差异。DOI: 10.30535/mto.27.1.0 Volume 27, Number 1, March 2021版权©2021 Society for Music Theory Dip hop是hip hop through Deaf eyes。
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