DOCSLIB.ORG

DANCE the Wild Child Comes of Age H5p-H®Mse Mcay Bessk Gkefs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DANCE the Wild Child Comes of Age H5p-H®Mse Mcay Bessk Gkefs DANCE The wild child comes of age t H5p-h®Mse mcay Bessk gkefS® sred saBtieS pMsidits' |pS«aiadlS&s isnsS bki Emtop®, oirad ei@w the yS it's frast bee@m5Btg the peegsie's sh®5se I IP-HOUSE is the bas- Double Trouble & The Rebel tardmade good.offspring When that it ord,MCs isStreet the Tuff,biggest-ever a hip-house selling rec- phaticYo Yo rapGet setFunky, to aa greatsimple, house em- DJsK-Aiexi Julian Shelby, 'Jumpin' JMD; ChicagoPerez, hmcs.dismisses I dontthe likeidea that. of Thai'sHUITOliticol j comparedfirst to^ hip-hopemerged and it deepwas pressUK rap and record. radio Thehave fact chosen that the to theaeat. style That a namesame withyear the he record gave Mixmastersington's Doug & AACLazy Action. has had Wash- two cuminform of outpreiudice.prejudice. with black Those this rnk and uek : fad.house When and declaredFast Eddie a &shallow Kool musicalignore hip-housesub-genre ashas a not separate affect- otherHip House. way to It getwas, house blatantly, across an- to UKOther hits. acts who started off everybody.black that: There'sI make too music many forof i withRock TurnSteady Up Thehit bigBass in inEurope 1988 an indifferent US; hip-house away from hip-house, such as thethen! government doing it. I can'tain't helpdoina thol o | the musical snobs dismissed it as Thec wasn'twanted preaching bucks, a ghettogood politics,time. It Jive'sMr Lee, signings are now Mike working Dunn in andthat job Sere ain't no reason to pu, achart fluke. has Even been today, subject when to thea the rhyn . atit didn'tthe side have of aits Uzi-toting stage. guard dancefield and hits getting of their the careers. biggest Dunn US yearfrontal it stillhip-house lacks critical attack credibility. for a thoughtIt is astonishing of it before. that Hip-hop's no-one caution:Critics, it however,was a music reacted that didn't with petitors,is critical arguing of his bash-it-outthat there is com- little house.Public "IEnemy don't thinkemerging sc " from .. ._ ... Bullet, precursor, electro, borrowed artistic merit in some of the stuff happen, but I've yet to Technotronic, Mantronix, Black maestrosheavily fromsuch asEuro Kraflwerk. electronic thereeven wantedif the kids to hearthat it.hung It wasn't out larlyparading In Europe. as hip-house, particu- The rise of political lyrics has BettyBox, Boo,Tyree, Queen The Latifah.Bealmasters, Hip- Chicago DJ-musician Fast Ed- a direct expression of some "They don't go deep enough," been central to rap's ability to ■ house is the people's choice. ventingdie is generally hip-house credited with with1988's in- reggaeyouth movement, or punk, it suchwas argued.as rap, enthe says.direction; "I'm aimingI'll still be for doing a differ- the survive, and hip-house will have time,The pundits wrong. were, not for the first sampleit to be type listenable of things as but well I want as issued The Other Side Of Me, o rapIn followingChicago, therebut no was means a huge to danceable." single bedecked in "Explicit push the street-corner stars into whenOften performed lyrically shallow,by New evenYork Lyrics!"yncs!n NWA-sfyled warning housestickers. group There ol- is j officesthe charts in theas thecity majorsin the closedearly- hip-hoppers like the Jungle PPI Seventies. When hip-house sur- beenBrothers left andto British T La rapperRock, itSilver has An outlaw hip-house is head- pa tofaced, join peoplea music were that queuing offered upa Bullet to prove that a punchy means to break local rapping lyricAntonia, can sit from on a London fun beat. rappers RECORDS The Chicago hip-house rap- sic'sShe tooRockers, happy argues: to say '7heanything mu- withpers ahave young given audience house whichcredence re- too serious. I'm not saying you sisted its charms. A recent hip- havecan t todo bea gooda certain lyric, sort but of it sub- will BREAKING OUT Clubhouse featuring showcase Fast at Eddie,the Riviera Kool lect" Fast Eddie concurs: 'The Rock Steady, and Tyree brought feelingIts not liketo differentNew York/' in Chicago. people OF GERMANY aboutUnfortunately, a pocked house5,000 of 4,000were are out to party. Sure there are turned away. Those sort of needproblems to behere constantly but people remind- don't ...INTO EUROPE figureshouse are unheard-of for a live .Fast uuuiu is reckoned by traditionalPredictably, rappers in havethe beenUS Everybody's talking about East- and West-Germany - Smanyar n totf bee UtheS Arsennext big solo rap quick to ditch the house style, we are only talking about blackK, i ttalklu showc- supremo,'<^ Hall, is,h^ a despite the fact that many of the fan. In Canada, Eddie is already moreLatifah open-minded and the Jungle chatters Brothers like DANCE!! a regularKool Rock on TV Steady and star is onnot vinyl. far have been happy to try it. Hip- We have conquered the whole of Europe with behind. If Eddie's image is the house it sees, was not "ghetto- the very best of international dance music. Koolpersonable, Rock carneseasy-going himself type, enough for the hip-hoppers, and - and we keep moving! themc bearing^ofaeunng or a street-to'Jg'hstreet-ti hip- "I', confronting the hopper., "People6 ra likeke dancin', ?fttRS-rwInron^rinica9° declaring tha" Too" So - if you want to get your feet off the ground, RnrkRock, b'They ''t been P."sayswaiting forKool a innng thattku it would^ C°" ldnbe' t therap. end think- of contactat the NEW the MUSICBCM Dance SEMINAR Team rapKool musicRock hasyou beencan rappingdance to."for he subiect. Kool Rock had other in New York. years waiting for a break, per- ideas, and withinNobod days ahad issu- fromFrom his ccousins'™"9 ' encour-Vap'slound-,a9e'Tlent counter-attackcoil?" « * , on^ y' the brilliant BDP BCM RECORDS mg father, Afnka Bambaataa a ~ '. couldn'tSays Ko01let him R get J.K. OITIco; Unit2/Seven Onks Way/Orpington1 bddieBehind are Koola melee Rock, of Tyreeother and "Yo?kw Vek . ' stand, °clc Head OHlce:Tel.: 0649589In) Tapflental 07 49 9 // 4040Fax: 06N'euss 89 - /S Vt] ■ •"-y waiting to be heard; asself.Jl? anyone Heci .s in else"it for the money"P for your-same . 'tel.;j021 OHjt 1050/Fax; 0 21 01 - 3 ...uioSundance, MC; aKA sharp-tongued Posse, featuri fe- the sharp, noisy productions selves on record, but Kool Rock PAGE 8 DANCE SPECIAL 990 MUSIC WEEK 14 JULY, 1.
Load more

Recommended publications
  • Hip-Hop's Diversity and Misperceptions
    The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
    [Show full text]
  • Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
    Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International
    [Show full text]
  • Copyright by Jessica Lyle Anaipakos 2012
    Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/30/2021 9:03 p.m. Cahiers de recherche sociologique Entre résistance et commercialisation : à la recherche du renouveau politique Présentation Marie Nathalie LeBlanc Dilemmes hip-hop Number 49, Winter 2010 URI: https://id.erudit.org/iderudit/1001409ar DOI: https://doi.org/10.7202/1001409ar See table of contents Publisher(s) Athéna éditions ISSN 0831-1048 (print) 1923-5771 (digital) Explore this journal Cite this document LeBlanc, M. N. (2010). Entre résistance et commercialisation : à la recherche du renouveau politique : présentation. Cahiers de recherche sociologique, (49), 5–15. https://doi.org/10.7202/1001409ar Tous droits réservés © Athéna éditions, 2010 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Entre résistance et commercialisation : à la recherche du renouveau politique Présentation Marie Nathalie LeBlanc e terrain de la culture populaire nord-américaine s’est redéfini grâce Là l’essor et à la mondialisation du hip-hop à la fin des années 1980. De nos jours, la culture hip-hop continue d’évoluer au sein du marché mon- dial de la musique populaire. Les premiers artistes hip-hop aux États-Unis témoignaient de leurs conditions de vie à travers divers modes d’expression – musicaux avec les rappeurs et les DJ qui pratiquent le platinisme, le turn- tabalism ou le scratching ; corporels par le breakdancing des b-boys et b-girls ou graphiques chez les graffitistes ou les bombeurs.
    [Show full text]
  • The Entrepreneurial Process in the Rise of Electronic Music Martina Montauti University of Lugano Institute of Management [email protected]
    Paper to be presented at the DRUID Society Conference 2014, CBS, Copenhagen, June 16-18 Between inertia and change: The entrepreneurial process in the rise of electronic music Martina Montauti University of Lugano Institute of Management [email protected] Filippo Carlo Wezel University of Lugano Institute of Management [email protected] Abstract This paper explores the structural conditions under which a reduced number of entrepreneurial events is observed. Hypotheses are tested in the context of the music industry, and in particular during the rise and establishment of electronic music. Empirical evidence provides support to the arguments advanced in the paper and implications for the relevant literatures are sketched. Jelcodes:M13,- BETWEEN INERTIA AND CHANGE: THE ENTREPRENEURIAL PROCESS IN THE RISE OF ELECTRONIC MUSIC **Draft paper: please do not quote or cite** INTRODUCTION Sure enough, entrepreneurial events keep occurring despite the high failure rates of new ventures (Aldrich and Ruef, 2006; Caves, 1998; Klepper and Graddy, 1990). This well-documented empirical regularity suggests that a prime exception in the entrepreneurial process pertains to inaction, rather than to actions that prove unsuccessful (Carroll and Khessina, 2005). As long as the understanding of exceptions helps a more comprehensive grasp of regularities, a set of notable works has focused on the cases in which entrepreneurial action has not always been promptly realized (Carroll and Hannan, 2000; Lomi, Larsen and Wezel, 2010; Sørensen and Sorenson, 2003). The antecedents of entrepreneurial inertia (Ruef, 2006), namely of the inaction resulting from the procrastination of market entry, have been located in the environment and in specific characteristics of the entrepreneurial organizations (Kuilman and Li, 2006; Kuilman, Vermeulen and Li, 2009; Schoonhoven, Eisenhardt and Lyman, 1990).
    [Show full text]
  • Download Dancing Songs Hip Hop
    Download dancing songs hip hop House party? Office dance off? Bedroom boogie? Here's a playlist of the best hip-hop dance songs to get you moving and grooving. Download Free Hip Hop Songs. Thousands of Free Rap Songs and download instantly. R&B, Pop, Reggae all available. Get ready to be amazed by this awesome 'hot off the press' Street Dance album. Whether you teach Street Dance, Hip Hop, Funk or Jazz dance this Download. Need hip-hop tracks for your set? Beatport has high quality formats and the world's largest selection. Find and download here. List of Download Perfect Life Best Hip Hop Rap Dance Song Remix. Reviewed by Dirk on Thursday October 19 ☆ 59 out of 94 based on 32 user. Hip Hop Dance Songs Download- Listen Hip Hop Dance MP3 songs online free. Play Hip Hop Dance album songs MP3 by DjSunnymega and download Hip. Description: Hey there. This is yet another chill track for you people that I made some time ago Hope youll like the vibe on this one it has a smooth guitar with. Hop. Download The Plug App The Best Hip-Hop & R&B Songs of (Ongoing) For the last two years, we've solved that problem by creating an ongoing playlist of the best hip-hop and R&B songs for the entire year. Listen to and download the best rap and newest hip hop songs from well-known and up-and-coming hip hop artists. Hip Hop, Dance music top Select a genre #Hip Hop, Dance. Download Tiziana Miss Attitude - Heat Song Stream Tiziana Miss Attitude - Heat Song.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Cultural Victimization in Participants of the Punk- Rock, Hip-Hop and House Subcultures
    Cultural victimization in participants of the Punk- Rock, Hip-Hop and House subcultures Niels Hoogstraten, 486500 Supervisor: Prof. dr. Antony Pemberton Master’s thesis Victimology and Criminal Justice Tilburg University July 10th, 2017 Contents 1 Introduction ..................................................................................................................................................................... 6 1.1 Method ...................................................................................................................................................................... 7 1.2 Thesis structure.................................................................................................................................................... 7 2 History of the Punk, Hip-Hop and House subcultures globally ............................................................... 9 2.1 History of Punk ..................................................................................................................................................... 9 2.1.1 Rebellious attitude .................................................................................................................................... 9 2.1.2 The first Punk band .................................................................................................................................. 9 2.1.3 The emergence of the American punk scene................................................................................ 9 2.1.4 The emergence of the English
    [Show full text]
  • The Technologies and Aesthetics of Kuduro
    Fruity Batidas: The Technologies and Aesthetics of Kuduro Feature Article Garth Sheridan RMIT University (Australia) Abstract The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro, a hybrid musical genre that draws on house, techno, soca and regional styles. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro. Keywords: kuduro, hybridity, aesthetics, lusophone, technology, studio practice Garth Sheridan is a PhD candidate at RMIT University. He has further publications on kuduro forthcoming. Garth has produced various forms of electronic music, including kuduro, under the moniker unsoundbwoy. Email: <[email protected]> Dancecult: Journal of Electronic Dance Music Culture 6(1): 83–96 ISSN 1947-5403 ©2014 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2014.06.01.05 84 Dancecult 6(1) Introduction The use of aesthetics has been established since the 1980s as an analytical tool for the discussion of popular music.
    [Show full text]
  • The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics
    THE BEAUTIFUL STRUGGLE: AN ANALYSIS OF HIP-HOP ICONS, ARCHETYPES AND AESTHETICS ________________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ________________________________________________________________________ in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ________________________________________________________________________ by William Edward Boone August, 2008 ii © William Edward Boone 2008 All Rights Reserved iii ABSTRACT The Beautiful Struggle: an Analysis of Hip-Hop Icons, Archetypes and Aesthetics William Edward Boone Doctor of Philosophy Temple University, 2008 Doctoral Advisory Committee Chair: Nathaniel Norment, Ph.D. Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, iconography, and aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop
    [Show full text]
  • Music Technology and the Hip Hop Beat Making Tradition: a History and Typology of Equipment for Music Therapy
    POSITION PAPER | PEER REVIEWED Music Technology and the Hip Hop Beat Making Tradition: A History and Typology of Equipment for Music Therapy Alexander Hew Dale Crooke 1 * 1 University of Melbourne, Australlia *[email protected] Received: 24 March 2018 Accepted: 18 June 2018 Published: 1 July 2018 Editor: Michael Viega Reviewer: Michael Zanders Abstract This article contextualises music technology within the Hip Hop tradition of beat making. While literature exploring music technology in music therapy has proliferat- ed in recent years, much of this has focused on the “assistive” function of technol- ogy, where it is used to facilitate music making for clients who have limited access to playing acoustic – or non-tech-based – instruments. This paper argues for an al- ternate lens that positions music technology within the tradition of beat making and that this is a musicing practice of value in its own right. To do so, a brief historical account of the beat making tradition is provided, which locates its origins within Hip Hop culture and acknowledges the evolution of the myriad beat-based genres that have and continue to emerge around music technology. A basic typology of beat mak- ing equipment is then provided to foster greater understanding of these technolo- gies as instruments in their own right and their role in shaping contemporary mu- sic. To account for the rapid innovation in this area, the typology focuses on pieces with historical significance and the primary functions that remain the building blocks of composition and performance in beat making to this day. Brief accounts of how these instruments can and are integrated into therapeutic practice are also provided.
    [Show full text]