PROSODIC and INTONATIONAL CONSIDERATIONS of RAP MUSIC Presented by TAMARA KELLOGG As Senior Paper for the Program in Linguistics
PROSODIC AND INTONATIONAL CONSIDERATIONS OF RAP MUSIC Presented by TAMARA KELLOGG As Senior Paper for the Program in Linguistics, Swarthmore College April 30, 1991 Many many thanks to: The Power, Paul, who kept me going, my family: Morn, Cliff, Jeff, Momma Libby and Daddy Bob, Yolanda, my friends: Anna, Kamilla, Kelly, and others who listened to my complaints, The Sugar Hill Gang, who I enjoyed at age 12, Public Enemy, M.C. Hammer, Nikki D, Monie Love, Queen Latifah, who inspires me, and those who influenced them, The Hip Hop Education Project: Juan Martinez and Michael Costonis, Cheapo Records, Cambridge, MA, Newbury Comics, Boston, MA, Mystery Train Records, Boston, MA, Wee Three Records, Springfield, PA S.J. Hannahs, Ann McNamee, Donna Jo Napoli, Janet Bing, Irene Vogel, Marina Nespor, John Goldsmith, Noam Chomsky, the Ling. majors: Theresa, for leaving great messages, Jen, Sue, Will, Bic, Burt Leading Edge, Inc., The Wordperfect Corporation Microsoft, Inc., Lotus Development Corporation, and again, Paul. TABLE OF CONTENTS 1 . Introduction . 1 2. A Brief History of Rap Music 3 3. Prosodic Considerations 3.0 ~ntroduction 8 3.1 >lusical Concepts and Notation 9 3.2 :" rosodic Considerations on the Word Level 13 3.3 .'rosodic Considerations on the Phrasal Level 20 4. Intonational Considerations 4.0 .ntroduction 27 4.1 :ntonational Contours in Bing (1979) 28 4.2 :ntonational Contours of the Five Songs 31 5. Concluding Remarks . 51 Appendix A : Statistical Analyses Music II Length of One-Syllable Words ii Numbe- of Multi-Syllable Words iii Appendix B: Rhythm and Intontational Analyses of the Five Songs Under Consideration "Rapp.-;r's Delight," The Sugar Hill Gang vi "Loude r Than a Bomb," Public Enemy.
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