Pub Date : 2019-10-24DOI: 10.1093/oso/9780190670412.003.0003
Mitchell Ohriner
The model of flow presented in Flow: The Rhythmic Voice in Rap Music attends carefully to accent and rhyme, yet neither term is easily defined. In the case of accent, the term refers to very different concepts in scholarship on the rhythm of speech and the rhythm of music. This chapter exposits theories from those domains before reconciling them in an accent discovery method calibrated for the rhythm of rap flows. Similarly, the chapter addresses cognitive challenges in representing rhyme, such as temporal boundaries and phonetic similarity.
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190670412.003.0004
Mitchell Ohriner
This chapter presents a model of vocal groove in rap delivery, defined as reiterating patterns of durations between accents. It shares with recent theories of groove emphases on repetition, virtuality, and syncopation; in contrast, it departs from these by de-emphasizing human motion, microtiming, group interaction, and large time frames. The inter-accent durations of flow are understood to be 2 or 3 units long (i.e., “eighth notes” or “dotted eight notes”) and sum to one measure (i.e., 16 units), resulting in seven distinct “groove classes.” Because some listeners are permissive of slight alterations in accent placement, the model differentiates between adaptive listeners (who switch grooves whenever necessary) and persistent listeners (who try to maintain grooves). The chapter concludes with a segmentation method modeling these two kinds of listeners.
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Pub Date : 2019-10-24DOI: 10.1093/oso/9780190670412.003.0001
Mitchell Ohriner
Artists, fans, critics, and scholars define “flow” in rap music in a variety of ways. Among the disputes are the proper scope of flow and the musical features that comprise it. This chapter begins by examining several sources of confusion: the many meanings of flow in rap lyrics, the proffered equivalence of flow with the purely musical musical, and the debate as to whether a theory of flow ought to describe or prescribe expressive practice. The chapter then identifies which features constitute flow by examining instances where artists call out flow within their lyrics, specifically when they announce in the midst of a verse that the flow has “flipped” or changed. This result is a definition of flow that arises not from what scholars say flow is, but what artists do when they (flip the) flow.
{"title":"Flow in Rap Music: Sources of Confusion and a Strategy for Clarity","authors":"Mitchell Ohriner","doi":"10.1093/oso/9780190670412.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780190670412.003.0001","url":null,"abstract":"Artists, fans, critics, and scholars define “flow” in rap music in a variety of ways. Among the disputes are the proper scope of flow and the musical features that comprise it. This chapter begins by examining several sources of confusion: the many meanings of flow in rap lyrics, the proffered equivalence of flow with the purely musical musical, and the debate as to whether a theory of flow ought to describe or prescribe expressive practice. The chapter then identifies which features constitute flow by examining instances where artists call out flow within their lyrics, specifically when they announce in the midst of a verse that the flow has “flipped” or changed. This result is a definition of flow that arises not from what scholars say flow is, but what artists do when they (flip the) flow.","PeriodicalId":93752,"journal":{"name":"Flow (Cambridge, England)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42718214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-24DOI: 10.1093/oso/9780190670412.003.0006
Mitchell Ohriner
Eminem (aka Marshall Mathers) has attracted much scholarly and media attention for his abilities as a rhymer as well as the controversial content of his lyrics and his possible cultural appropriation. This chapter fills a gap in Eminem scholarship by examining his use of the vocal groove classes described in Chapter 4. Specifically, it shows how Eminem sequences vocal grooves in a way that creates rhythmic narratives of accruing metric complexity (i.e., the proportion of accented syllables not aligned with the beat or a beat’s midpoint). These rhythmic narratives often support and even foreshadow narrative events in lyrics. By documenting correlations between Eminem’s lyrics and his rhythmic choices, the chapter shows a new way in which flow connects music to text. The chapter closes by reflexively considering the historically problematic relationship between the analysis of music complexity and Afro-diasporic music.
{"title":"Flow, Metric Complexity, and Text in Eminem","authors":"Mitchell Ohriner","doi":"10.1093/oso/9780190670412.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190670412.003.0006","url":null,"abstract":"Eminem (aka Marshall Mathers) has attracted much scholarly and media attention for his abilities as a rhymer as well as the controversial content of his lyrics and his possible cultural appropriation. This chapter fills a gap in Eminem scholarship by examining his use of the vocal groove classes described in Chapter 4. Specifically, it shows how Eminem sequences vocal grooves in a way that creates rhythmic narratives of accruing metric complexity (i.e., the proportion of accented syllables not aligned with the beat or a beat’s midpoint). These rhythmic narratives often support and even foreshadow narrative events in lyrics. By documenting correlations between Eminem’s lyrics and his rhythmic choices, the chapter shows a new way in which flow connects music to text. The chapter closes by reflexively considering the historically problematic relationship between the analysis of music complexity and Afro-diasporic music.","PeriodicalId":93752,"journal":{"name":"Flow (Cambridge, England)","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46390906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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