Et Studie Af Dansk Rapmusik

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Et Studie Af Dansk Rapmusik Danish University Colleges Et studie af dansk rap musik Boysen, Mikkel Snorre Wilms Publication date: 2002 Link to publication Citation for pulished version (APA): Boysen, M. S. W. (2002). Et studie af dansk rap musik. Københavns Universitet. 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Oct. 2021 Mikkel Snorre Wilms Boysen Et studie af dansk rapmusik August 2002 Speciale ved Musikvidenskabeligt Institut Københavns Universitet Vejleder: Jesper Juellund Jensen 1 Kapitel 1 Indledning Opgavens formål: At studere dansk rapmusik ud fra en sammenligning med amerikansk rapmusik, og således redegøre for, hvilke bud man finder på en dansk bearbejdning af den amerikanske genre. 1.1 Opgavens disposition Opgaven er inddelt i otte kapitler. I nærværende kapitel tages der stilling til en række grundlæggende problemstillinger vedrørende studiet af dansk rapmusik. Der gøres i denne sammenhæng rede for opgavens metodiske udgangspunkt og empiriske afgrænsninger. I kapitel 2 skitseres en række hovedtræk ved dansk og amerikansk rapmusik. Ligeledes introduceres en række autenticitets- og race-relaterede problematikker, der har betydning for produktion og reception af amerikansk og dansk rapmusik. I kapitel 3 undersøges det, hvorledes spørgsmålet om dansk rapmusiks berettigelse som en selvstændig genre diskuteres blandt rapmusikere og rapskribenter1. I de følgende fire kapitler undersøges dansk rapmusik med udgangspunkt i en række af de centrale elementer i rapgenren, og der foretages en sammenligning med amerikansk rapmusik. Således undersøges rapflow2 i kapitel 4, referencer og samples3 undersøges i kapitel 6, og det instrumentale fundament4 undersøges i kapitel 7. Kapitel 5 er forbeholdt en diskussion af brug og betydning af samples og referencer i amerikansk rapmusik. Afslutningsvist foretages en sammenfatning i kapitel 8. I kapitlerne indgår - med varierende vægt - en teoretisk diskussion med henblik på at introducere og udarbejde en række metoder til at analysere rapmusik. Kapitlerne 6 og 7 er til en hvis grad sammenfaldende, idet begge berører brugen af samples. Forskellen er, at der i kapitel 6 fokuseres på samples betydning som eksplicitte referencer, hvorimod der i kapitel 7 lægges vægt på samples betydning i forbindelse med musikkens struktur5. 1.2 Indgangsvinkler til rapmusik Inden for studier af populærmusik er en sociologisk indgangsvinkel dominerende i forhold til en musikalsk indholdsanalyse6. Denne tendens ses i samme grad inden for studier af rapmusik, hvor genrens oprindelse i ghettoer i Bronx, samt dens delvise tilknytning til afroamerikanske 1 I nærværende opgave henviser termen rapskribenter til personer, der i varierende omfang skriver om rapmusik. Ordet forstås således meget bredt og dækker eksempelvis journalister, anmeldere og teoretikere, der skriver om rapmusik. 2 Med rapflow menes rapteksters strukturelle karakter og rapperens behandling af sådanne tekster. Se afsnit 1.4 og kapitel 4 for yderligere informationer om rapflow. 3 Se eventuelt ordforklaring (bilag 1) vedrørende ordet sample. 4 Udtrykket instrumentalt fundament dækker i nærværende opgave de musikalske elementer – med undtagelse af rapflow - der har en gennemgående og central rolle i forbindelse med musikkens klang, tonalitet, melodik, metrik og rytmik. Ordet instrumental forstås således i en bred betydning, hvor der ikke alene sigtes til lyd fremkommet vha. traditionelle instrumenter som elguitar og klaver, men ligeledes lyd, der er fremkommet på anden vis – fx via digital sampling (se eventuelt sample og sampler i ordforklaring, bilag 1). 5 Med musikalsk struktur menes tonale, melodiske, rytmiske, metriske og dynamiske bevægelser/konstruktioner. 6 For en nærmere diskussion af sådanne forhold se fx Tagg (1982), Frith (1987), Björnberg (1991: 13-14). 2 marginaliserede samfundsgrupper i USA inviterer til sociologiske, antropologiske og etnologiske indfaldsvinkler. Sådanne indgangsvinkler ses fx i studier af Costello (1990), Rose (1994), Decker (1994) og Kelly (1997). Ligeledes ses sådanne indfaldsvinkel i de tre væsentligste studier af dansk rapmusik – Jensen (1992), Hygum (1996) og Sørensen et al. (1997) – hvor dansk rapmusik som udgangspunkt forsøges beskrevet som en del af hip hop-kulturen, hvilket i disse studier medfører et begrænset fokus på musikken. Inden for studier af populærmusik ses ligeledes ofte en ubalanceret stor interesse for tekstindhold. Dette bunder bl.a. i traditioner og teknikker, der gør det mindre problematisk at tolke litterære tekster end at diskutere et musikalsk indhold. Først og fremmest er der her tale om en affinitet mellem tekstindhold og analytikerens væsentligste kommunikationsredskab, sproget7. I studier af rapmusik ses denne tendens i forstærket grad8, hvilket der er flere årsager til: 1) rapteksters relativt store omfang, hvilket inviterer til mangfoldige litterære overvejelser, 2) en manglende evne blandt musikologer til at beskrive den musikalske tekst i rapmusik, hvor det i særlig grad er problematisk at anvende konservatorietraditionens fokus på melodi og harmonik9, 3) en manglende evne/metode til at beskrive rapflow, og 4) en manglende interesse blandt akademikere til at anerkende rapmusik som værende musik10. Tekstindhold optager en relativt stor plads og betydning i rapgenrens univers – bl.a. som følge af teksternes omfang og den sproglige tilknytning til afroamerikanske sproglige former, som signifyin’, ”dissin”, the dozens osv. (se fx Gates [1988] og Keyes [1996a]). Alligevel pointerer flere danske og amerikanske rappere, (1) at rapflowet ofte er vigtigere end tekstindholdet (se fx Pedersen: 28.04.1998 JP)11, og (2) at musikken betyder mere for det samlede udtryk end tekstindholdet (se fx Keyes: 1991). Det er således symptomatisk for rapgenren, at en ”budskabsorienteret” amerikansk rapper som Michael Franti, der i flere sammenhænge har understreget tekstindholdets vigtighed (se fx Toop 2000: xxiii), alligevel pointerer, at ”[m]usikken kommer i første række” (Hygum: 24.11.1996 P). I år 2000 udkom bogen Rap music and the poetics of identity af Adam Krims. Bogen er på flere områder et væsentligt bidrag til diskussionen af rapmusik. For det første indeholder den det til dato mest omfangsrige forsøg på at inddrage musikalsk analyse i en bredere forståelse af rapmusik. For det andet indeholder den et forsøg på at opbygge et genresystem over amerikansk rapmusik. For det tredje introduceres en række nye metoder og termer specielt designet til analyse af rapmusik - herunder en metode til at beskrive og analysere rapflow. Af øvrige interessante studier af rapmusik, der omfatter en nærlæsning af den musikalske tekst, må primært nævnes Walser (1995) 7 Se fx McClary/Walser (1990: 285) og Walser (1993: 39-41). 8 Denne pointe ses ligeledes formuleret hos Walser (1995) og Keyes (1996a). 9 Her tænkes der på det delvise fravær af traditionel tonalitet og melodik, der ofte ses i rapmusik. 10 Sidstnævnte problematik er bl.a. diskuteret i de fire væsentlige studier af rapmusik - Rose (1994), Brennan (1994), Walser (1995) og Keyes (1996a). 11 I det følgende anføres dagblade, ugeaviser og musikmagasiner i forkortet form. JP er således en forkortelse for Jyllands-Posten. Se i øvrigt bilag 1 for forkortelser og ordforklaring. 3 og Keyes (1996a) og i øvrigt de to danske upublicerede specialer Jensen (1992) og Hammer (1995). På baggrund af de opsummerede tilstande indenfor studier af rapmusik lægges vægten i nærværende opgave på en nærlæsning af musikken. Således undgås overvejende diskussioner af sociologisk, antropologisk og etnologisk karakter. Tilsvarende undgås en omfattende særskilt behandling af tekstindhold12. Sidstnævnte område inddrages dog i diverse diskussioner og indgår på denne måde i opgavens forløb og argumentation. 1.3 Indgangsvinkler til ikke-amerikansk rapmusik Der eksisterer relativt få publicerede undersøgelser af ikke-amerikansk rapmusik. To af de væsentligste redegørelser er leveret af Mitchell (1996) og Krims (2000) og fælles for disse projekter er, at de begge forsøger at gøre op med den såkaldte ”cultural imperialism thesis”. Tesen om den kulturelle imperialisme forudsiger, at den kulturelle dominans - primært fra USA - medfører en global envejskommunikation, der resulterer i en global ensretning og kulturel homogenisering. Således skriver Tunstall: ”The cultural imperialism thesis claims that authentic, traditional and local culture in many parts of the world is being battered out of existence by the indiscriminate dumping of large quantities of slick commercial and media products, mainly from the United States” (Tunstall 1977: 57). I stedet betragter Mitchell og Krims rapmusik som et område, hvor lokale og globale (dvs. primært amerikanske) elementer mødes i et fælles originalt udtryk. Mitchell påpeger således, hvordan alle eksempler i hans bog Popular
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