Vocal Pitch in Rap Music Dr. Robert Komaniecki Society for Music Theory, 2019 Rhythm/Rhyme

Adams, Kyle. 2008. “Aspects of the Music/Text Relationship in Rap.” Music Theory Online 14 (2). Sampling —————. 2009. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15 (5). Fink, Robert. 2005. "The Story of ORCH5, Or, the Classical Ghost in the Hip-Hop Machine." Popular Music 24, no. 3: 339-56. Condit-Schultz, Nathaniel. 2016. “MCFlow: A Digital Corpus of Rap Transcriptions.” Empirical Musicology Review 11 (2). Berry, Sewell, Amanda. 2013. “A Typology of Sampling in Hip-Hop.” PhD Diss., Michael. 2018. Listening to Rap: An Introduction. Routledge. Indiana University.

Bradley, Adam. 2009. Book of Rhymes: The Poetics of Hip Hop. New —————.2014. "How copyright affected the musical style and critical York, NY: Basic Civitas Books. reception of sample-based hip-hop." Journal of Popular Music Studies 26, no. 2-3: 295-320. Edwards, Paul. 2009. How to Rap: The Art and Science of the Hip-Hop MC. Chicago Review Press. Williams, Justin. 2013. Rhymin’ and Stealin’: Musical Borrowing in Hip- Hop. University of Michigan Press. —————. 2013. How to Rap 2: Advanced Flow and Delivery Techniques. Chicago Review Press.

Race/Culture

Chang, Jeff. 2006. Can't Stop, Won't Stop: A History of the Hip-Hop Generation. New York: Picador.

Henderson, Errol A. 1996. "Black Nationalism and Rap Music." Journal of Black Studies 26, no. 3: 308-39.

Keyes, Cheryl L. 1996. "At the Crossroads: Rap Music and Its African Nexus." Ethnomusicology 40, no. 2: 223-48.

—————. 2002. Rap Music and Street Consciousness. Urbana, IL: University of Illinois Press.

Orejuela, Fernando. 2014. Rap and Hip-Hop Culture. Oxford University Press. Mitchell Ohriner, “Analysing the pitch content of the rapping voice.” Journal of New Music Research, 2019. Queen Latifah, “Ladies First” (1989) DJ Khaled, “I’m The One” feat. Quavo, Chance the Rapper, Lil Wayne, and Justin Bieber (2017)

in DJ Khaled, “I’m The One” feat. Quavo, Chance the Rapper, Lil Wayne, and Justin Bieber (2017) Katy Perry, “Bon Appétit” feat. Migos (2017) Outline

1. Introduction 2. Literature/Methodology 3. Five Vocal Pitch Techniques in Rap 4. Conclusion George List, “The Boundaries of Speech and Song” (1963) Rhyme Strengthening

Eminem, “The Ringer” (2018)

Rhyme Strengthening Cardi B, “Bodak Yellow” (2017) Exaggerated Declamation

“The deliberate distortion or magnification of naturally-occurring speech patterns in rap flows.” Exaggerated Declamation

Brazil D., Coulthard M. and Johns C. 1980. Discourse Intonation And Language Teaching. London: Longman

Çelik, M. 2003. Learning intonation and stress. Ankara: Gazi

Ladefoged, P. 2001. A course in phonetics. San Diego: Harcourt Brace

Martha C. P. 1996. Phonology In English Language Teaching. London: Longman

Roach P. 1983. English Phonetics And Phonology. Cambridge: Cambridge University Press Exaggerated Declamation

Jay Rock, “Vice City” feat. Kendrick Lamar and Schoolboy Q (2015) Exaggerated Declamation

Snow Tha Product, “Get Down Low” (2016) Pitched Rhythmic Layers

“Moments when rappers deliberately and markedly alter the pitch of their voice at specific points of their flow to create a separate rhythmic layer that is interwoven with the composite rhythm of the flow.” Pitched Rhythmic Layers

Eminem, “The Ringer” (2018) Pitched Rhythmic Layers

Dr. Dre, “Deep Water” feat. Kendrick Lamar (2015) Pitched Rhythmic Layers

Dr. Dre, “Deep Water” feat. Kendrick Lamar (2015) Sung Interjection

“A moment in which a rapper interrupts the tonally imprecise and speech-like pitch of their flow and sings a segment of lyrics.” Sung Interjection

Lizzo, “Good as Hell” (2016) Sung Interjection

Dr. Dre, “Darkside/Gone” feat. King Mez (2015) Sung Interjection

Dr. Dre, “Darkside/Gone” feat. King Mez (2015) Sung/Chanted Verses

A completely tonal and (usually) syllabic vocal performance of a rap verse. Sung/Chanted Verses Sung/Chanted Verses

Bone Thugs-n-Harmony, “Tha Crossroads” (1996) [email protected]

Bibliography Adams, Kyle. 2008. “Aspects of the Music/Text Relationship in Rap.” Music Theory Online 14 (2). —————. 2009. “On the Metrical Techniques of Flow in Rap Music.” Music Theory Online 15 (5). Berry, Michael. 2018. Listening to Rap: An Introduction. Routledge. Condit-Schultz, Nathaniel. 2016. “MCFlow: A Digital Corpus of Rap Transcriptions.” Empirical Musicology Review 11 (2). Deutsch, Diana. 1995. “Speech to Song Illusion.” http://deutsch.ucsd.edu/psychology/pages.php?i=212. Edwards, Paul. 2009. How to Rap: The Art and Science of the Hip-Hop MC. Chicago Review Press. —————. 2013. How to Rap 2: Advanced Flow and Delivery Techniques. Chicago Review Press Fery, Caroline. 2016. Intonation and Prosodic Structure. Cambridge University Press. Keyes, Cheryl L. 1996. "At the Crossroads: Rap Music and Its African Nexus." Ethnomusicology 40, no. 2: 223- 48. Komaniecki, Robert. 2017. “Analyzing Collaborative Flow in Rap Music.” Music Theory Online 23 (4). Krims, Adam. 2000. Rap Music and the Poetics of Identity. Cambridge University Press.\ List, George. 1963. "The Boundaries of Speech and Song." Ethnomusicology 7, no. 1: 1-16. Ohriner, Mitchell. 2016. “Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast's ‘Mainstream’ (1996).” Empirical Musicology Review 11 (2). Sewell, Amanda. 2013. “A Typology of Sampling in Hip-Hop.” PhD Diss., Indiana University. Williams, Justin A. 2009. “Beats and Flows: A Response to Kyle Adams, ‘Aspects of the Music/Text Relationship in Rap’” Music Theory Online 15 (2). —————. 2013. Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop. University of Michigan Press. —————. Editor. 2015. The Cambridge Companion to Hip-Hop. Cambridge, United Kingdom: Cambridge University Press.