標(biāo)題: Titlebook: Collective Participation and Audience Engagement in Rap Music; David Diallo Book 2019 The Editor(s) (if applicable) and The Author(s), und [打印本頁] 作者: DEIFY 時(shí)間: 2025-3-21 18:16
書目名稱Collective Participation and Audience Engagement in Rap Music影響因子(影響力)
書目名稱Collective Participation and Audience Engagement in Rap Music影響因子(影響力)學(xué)科排名
書目名稱Collective Participation and Audience Engagement in Rap Music網(wǎng)絡(luò)公開度
書目名稱Collective Participation and Audience Engagement in Rap Music網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Collective Participation and Audience Engagement in Rap Music被引頻次
書目名稱Collective Participation and Audience Engagement in Rap Music被引頻次學(xué)科排名
書目名稱Collective Participation and Audience Engagement in Rap Music年度引用
書目名稱Collective Participation and Audience Engagement in Rap Music年度引用學(xué)科排名
書目名稱Collective Participation and Audience Engagement in Rap Music讀者反饋
書目名稱Collective Participation and Audience Engagement in Rap Music讀者反饋學(xué)科排名
作者: 祖?zhèn)?nbsp; 時(shí)間: 2025-3-21 23:08 作者: Oafishness 時(shí)間: 2025-3-22 03:13 作者: brachial-plexus 時(shí)間: 2025-3-22 06:30
An Example of an Early STAPP Interviewmer/audience relationship. Crowd involvement and cooperation being instrumental to creating and building intensity and unity, can the rap performance still work as a cooperative venture with non-black fans singing black rappers’ unaltered lyrics?作者: glisten 時(shí)間: 2025-3-22 09:18
https://doi.org/10.1007/978-1-4899-0843-8 that creates a situation. And it’s what it’s always been. It’s been a call-and-response, an answer, because you connect with the audience, it’s a connection. You’ve got to make a connection with the crowd. That’s what every MC’s goal is. To connect with the crowd.作者: 細(xì)頸瓶 時(shí)間: 2025-3-22 16:34
Vincent M. Liguori,Marsha L. Landoltt reflects on call-and-response as a longstanding rhetorical and musical practice that is unquestionably prominent in the sociocultural practices of some black communities in the US, but not, as many scholars contend, a uniquely ‘black’ feature. It first revisits the prevalent discourse on the Afric作者: 細(xì)頸瓶 時(shí)間: 2025-3-22 17:41
Short-Term Dynamic Psychotherapy seminal years exerted a significant influence over rap lyricism, especially in terms of its focus on call-and-response strategies and its emphasis on collective participation. The performance philosophy of the early days, in which the individual and group are affirmed simultaneously, survived the t作者: figure 時(shí)間: 2025-3-22 21:47 作者: 拘留 時(shí)間: 2025-3-23 04:09 作者: 確保 時(shí)間: 2025-3-23 05:46 作者: Synovial-Fluid 時(shí)間: 2025-3-23 13:05 作者: ACRID 時(shí)間: 2025-3-23 15:20 作者: GUILE 時(shí)間: 2025-3-23 22:04
,“Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record,rmances and provides insight into the creative process of their lyrics. To bolster the argument of rap lyrics as a “mediated-live” conversation, it surveys a corpus of over 350 relevant songs from 1978 to 2010.作者: 惡臭 時(shí)間: 2025-3-23 23:55 作者: FLAG 時(shí)間: 2025-3-24 02:39
Rap Music and Singing Along to the N-word,mer/audience relationship. Crowd involvement and cooperation being instrumental to creating and building intensity and unity, can the rap performance still work as a cooperative venture with non-black fans singing black rappers’ unaltered lyrics?作者: 手工藝品 時(shí)間: 2025-3-24 07:29
,Discussing Collective Participation and Audience Engagement with Sugarhill Gang’s Master Gee, that creates a situation. And it’s what it’s always been. It’s been a call-and-response, an answer, because you connect with the audience, it’s a connection. You’ve got to make a connection with the crowd. That’s what every MC’s goal is. To connect with the crowd.作者: 情感 時(shí)間: 2025-3-24 11:55 作者: 圓錐 時(shí)間: 2025-3-24 15:30
Pop Music, Culture and Identityhttp://image.papertrans.cn/c/image/229587.jpg作者: Goblet-Cells 時(shí)間: 2025-3-24 19:09
https://doi.org/10.1007/978-3-030-25377-6Rap music; Audience participation; Collective participation; Audience engagement; Sugarhill gang; composi作者: CYN 時(shí)間: 2025-3-25 00:20 作者: 修飾語 時(shí)間: 2025-3-25 04:12 作者: 值得尊敬 時(shí)間: 2025-3-25 08:13
Vincent M. Liguori,Marsha L. LandoltThis chapter delves into the way early rap performances (1974–1978) were fueled by collective participation. Focusing on pre-1979 parties (or pre-Sugarhill Gang’s “Rapper’s Delight” foundational years) and on call-and-response routines, it examines how influential performers established audience engagement as a template for emceeing.作者: Cumbersome 時(shí)間: 2025-3-25 13:56
An Example of an Early STAPP InterviewThis chapter looks into live performances to study how rap lyrics cultivating collective participation on vinyl (and other media) connect powerfully with live audiences. It also analyzes the stage dynamics of rap MCs and their use of call-and-response on stage, with the audience, with back-up MCs or with their DJs.作者: Prognosis 時(shí)間: 2025-3-25 17:18
Introduction,The idea for this book started with a simple question: why do MCs try to nurture collective participation dynamics in their lyrics even though they perform them in a studio booth and not in front of a crowd?作者: Diastole 時(shí)間: 2025-3-25 21:52
,“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978),This chapter delves into the way early rap performances (1974–1978) were fueled by collective participation. Focusing on pre-1979 parties (or pre-Sugarhill Gang’s “Rapper’s Delight” foundational years) and on call-and-response routines, it examines how influential performers established audience engagement as a template for emceeing.作者: 固執(zhí)點(diǎn)好 時(shí)間: 2025-3-26 03:59 作者: MODE 時(shí)間: 2025-3-26 05:26 作者: Facilities 時(shí)間: 2025-3-26 11:53 作者: Expiration 時(shí)間: 2025-3-26 14:46
,“Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record,rmances and provides insight into the creative process of their lyrics. To bolster the argument of rap lyrics as a “mediated-live” conversation, it surveys a corpus of over 350 relevant songs from 1978 to 2010.作者: vibrant 時(shí)間: 2025-3-26 19:57
Intertextuality in Rap Lyrics,e audience, prompted by intertextual references and similes, is an indirect expression of collective participation and call-and-response insofar as the dialogical character of rap lyrics activates the listener’s shared knowledge, thus transforming them into a collective performance.作者: DOLT 時(shí)間: 2025-3-26 22:13 作者: PET-scan 時(shí)間: 2025-3-27 04:10 作者: 會(huì)議 時(shí)間: 2025-3-27 06:33
Conclusion,ched into his first song, I felt as if all my assumptions on rap and collective participation were about to be shattered. Busdriver was rapping alone on stage, barely establishing eye contact with the audience. His minimalist DJ setup consisted of a smartphone, a portable Roland SP-404SX sampler and作者: 狂熱文化 時(shí)間: 2025-3-27 13:07
Short-Term Dynamic Psychotherapyransition through the emphasis on call-and-response-based practices. Rap lyricism prolonged the “l(fā)ive” characteristic of pre-1979 performances through a prevailing conversional tone involving an interactive, interdependent, spontaneous process for achieving a sense of unity in which listeners have a sense of inclusiveness.作者: Immunotherapy 時(shí)間: 2025-3-27 16:51 作者: V洗浴 時(shí)間: 2025-3-27 21:51
Vincent M. Liguori,Marsha L. Landoltome black communities in the US, but not, as many scholars contend, a uniquely ‘black’ feature. It first revisits the prevalent discourse on the African roots of call-and-response, examining how it came to epitomize ‘black’ music. It then examines the chief functions of call-and-response.作者: 使高興 時(shí)間: 2025-3-27 22:59
Short-Term Dynamic Psychotherapyon stage, barely establishing eye contact with the audience. His minimalist DJ setup consisted of a smartphone, a portable Roland SP-404SX sampler and two microphones. There was no DJ or hype man working the crowd, only Busdriver moving from the stage to his sampler where he spent long bits bent over the device, playing with sound effects.作者: 極深 時(shí)間: 2025-3-28 04:46 作者: BUST 時(shí)間: 2025-3-28 09:19
Conclusion,on stage, barely establishing eye contact with the audience. His minimalist DJ setup consisted of a smartphone, a portable Roland SP-404SX sampler and two microphones. There was no DJ or hype man working the crowd, only Busdriver moving from the stage to his sampler where he spent long bits bent over the device, playing with sound effects.作者: 爆炸 時(shí)間: 2025-3-28 10:30
,“Keeping It , Live!” Maintaining Collective Participation on Records,ransition through the emphasis on call-and-response-based practices. Rap lyricism prolonged the “l(fā)ive” characteristic of pre-1979 performances through a prevailing conversional tone involving an interactive, interdependent, spontaneous process for achieving a sense of unity in which listeners have a sense of inclusiveness.作者: DEAF 時(shí)間: 2025-3-28 15:44 作者: 搖曳的微光 時(shí)間: 2025-3-28 20:42 作者: encomiast 時(shí)間: 2025-3-29 01:52
2634-6613 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 ref978-3-030-25377-6Series ISSN 2634-6613 Series E-ISSN 2634-6621 作者: 苦惱 時(shí)間: 2025-3-29 03:14
Book 2019onse 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 ref作者: 尖牙 時(shí)間: 2025-3-29 10:26
Srinivasan Gopalakrishnan,Saggam Narendarty during software development. Software will always contain errors. V & V must be about how efficient we can be in pulling out the errors. The right attitude to V & V is important. Case tools and formal methods will not solve all of the problems of developing software for large systems. V & V is he作者: anaerobic 時(shí)間: 2025-3-29 13:03 作者: 地名表 時(shí)間: 2025-3-29 16:26 作者: 配偶 時(shí)間: 2025-3-29 20:29 作者: 察覺 時(shí)間: 2025-3-30 01:16
Einleitung,chkreisen wie in der ?ffentlichen Wahrnehmung mehr und mehr in den Blickpunkt des Interesses. Unter anderem bedingt durch konjunkturelle Einflüsse, die deutsche Wiedervereinigung aber auch interne Faktoren im Rahmen des Kreditrisikomanagements von Banken entstand w?hrend der 90er Jahre in Deutschlan
