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An Intertextual Analysis of Songs from 'To Pimp a Butterfly'

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An Intertextual Analysis of Songs from 'To Pimp a Butterfly' Edith Cowan University Research Online Theses : Honours Theses 2020 “You crossed my mind … before?”: An intertextual analysis of songs from 'To Pimp A Butterfly' Colin Outhwaite Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Ethnomusicology Commons, and the Music Performance Commons Recommended Citation Outhwaite, C. (2020). “You crossed my mind … before?”: An intertextual analysis of songs from 'To Pimp A Butterfly'. https://ro.ecu.edu.au/theses_hons/1547 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1547 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. Youe ar reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. “You Crossed My Mind… Before?”: An Intertextual Analysis of songs from To Pimp A Butterfly This thesis is presented in partial fulfilment of the Bachelor of Music (Honours) Colin Outhwaite Western Academy of Performing Arts (WAAPA) Edith Cowan University 2020 Table of Contents Declaration......................................................................................................................... i Abstract .............................................................................................................................. ii Acknowledgments ............................................................................................................. iii List of Figures .................................................................................................................... iv Chapter 1: Introduction ................................................................................................... 1 1.1 Purpose of this Study ............................................................................................... 2 1.2 Background .............................................................................................................. 3 1.2.1 Intertextuality ................................................................................................... 4 1.2.2 Nostalgia ........................................................................................................... 6 1.2.3 Authenticity ...................................................................................................... 7 1.3 Rationale .................................................................................................................. 8 1.4 Methodology ............................................................................................................ 9 Chapter 2: Wesley’s Theory ............................................................................................ 11 2.1 Introduction .............................................................................................................. 11 2.2 ‘Every N*gger Is A Star’ Sample ............................................................................ 11 2.3 Hit Me!. .................................................................................................................... 13 2.4 ‘Every N*gger Is A Star/Wesley’s Theory Musical Analysis ................................. 14 2.5 Chapter Summary ..................................................................................................... 16 Chapter 3: For Free? - Interlude ..................................................................................... 17 3.1 Introduction .............................................................................................................. 17 3.2 Jazz Genre Conventions ........................................................................................... 17 3.3 Aligning Contexts .................................................................................................... 18 3.4 Jazz Harmony and Harmonic Tension ..................................................................... 18 3.5 Rhythm and Tempo .................................................................................................. 19 3.6 Vocal Delivery ......................................................................................................... 19 3.7 Chapter Summary ..................................................................................................... 20 Chapter 4: King Kunta ..................................................................................................... 22 4.1 Introduction .............................................................................................................. 22 4.2 Sample Manipulation ............................................................................................... 24 4.3 Stylistic Borrowings ................................................................................................. 23 4.4 Structural Elements .................................................................................................. 25 4.5 Funk Throwback ...................................................................................................... 26 4.6 Chapter Summary ..................................................................................................... 28 Chapter 5. Conclusion ...................................................................................................... 29 5.1 Conceptualising Lamar’s Practice............................................................................ 29 5.2 Contribution to Ethnomusicology ............................................................................ 29 5.3 Shortcomings and Future Research .......................................................................... 30 References .......................................................................................................................... 31 6.1 References Cited ...................................................................................................... 31 6.2 Music Cited .............................................................................................................. 37 Appendices ......................................................................................................................... 39 A.1 Music Analysis Charts ................................................................................................. 39 i Copyright Declaration I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgment any material previously submitted for a degree or diploma in any institution of higher degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text of this thesis; (iii) contain any defamatory material; (iv) contain any data that has not been collected in a manner consistent with ethics approval. Signed: Date: 08/11/19 ii Abstract Popular music often refers to, evokes and includes elements of other music from the past. This kind of intertextuality in popular music provides artists and audiences with short-cuts to making and interpreting meaning. It draws on nostalgia, past listening experiences and idealised perceptions of the past. Artists engaging in this practice risk criticism for being too derivative. Conversely, artists who are too innovative and forward-looking run the risk of not connecting to listeners. Kendrick Lamar’s hip-hop album of 2015 To Pimp A Butterfly is lauded as being simultaneously innovative and steeped in the recent history of African American music. Lamar accesses a broad range of styles and creative approaches to pay tribute to African American culture, borrowing and transforming references from past musical predecessors and recontextualising them to make meaningful statements for contemporary audiences. Through the identification and analysis of the network of intertextual references embedded within the first three tracks of To Pimp A Butterfly, this study aims to understand the significance of Lamar’s use and manipulation of intertextuality. In doing so, it will discuss the effectiveness of intertextuality as an increasingly prevalent creative practice in popular music. iii Acknowledgements: I would first of all like to thank my supervisor Clint Bracknell for his energy and ideas and helping me produce work beyond what I thought I was capable of at the start of the year. Thanks also to Matt Styles for his guidance throughout the year, and for always being available to give advice and support when I needed it. I would also like to thank my family and my
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