Swing Rhythm in Classic Drum Breaks From Hip-Hop’s Breakbeat Canon

2017 ◽  
Vol 34 (3) ◽  
pp. 291-302 ◽  
Author(s):  
Andrew V. Frane

Certain recorded drum breaks, i.e., drum patterns played without other instrumentation, have achieved iconic status, largely as a result of being frequently “sampled” in other recordings. Although these highly influential drum breaks (sometimes called breakbeats) have been integral to much of the hip-hop and other music produced in recent decades, there has been little scholarly investigation of their rhythmic features. To that end, this study examined 30 classic drum breaks from the “breakbeat canon,” focusing primarily on sixteenth-note swing (a systematic delay of even-numbered sixteenth-note divisions of the pulse). Such swing was common among the examined drum breaks, though the magnitude of swing was often fairly subtle (median swing ratio = 1.2:1). In contrast to some findings regarding jazz drumming, the magnitude of swing was uncorrelated with tempo, though the ranges of both variables were somewhat constrained. Backbeat delay (a systematic delay of snare drum at even-numbered beats) was found to be frequently present at beat 2, but not at beat 4. Additionally, this study introduces a quantity called “swing density,” defined as the proportion of even-numbered divisions (at the swing level) that contain events. The importance of this quantity to the perceptual effect of swing is discussed.

Popular Music ◽  
2003 ◽  
Vol 22 (2) ◽  
pp. 241-245
Author(s):  
Inez H. Templeton
Keyword(s):  
Hip Hop ◽  

2009 ◽  
Author(s):  
Debangshu Roychoudhury ◽  
Aaron B. Ross

Author(s):  
Tammy L. Anderson ◽  
Philip R. Kavanaugh ◽  
Ronet Bachman ◽  
Lana D. Harrison

2015 ◽  
Author(s):  
Katie Rose Hejtmanek
Keyword(s):  

2020 ◽  
Vol 22 ◽  
Author(s):  
Chadwick Auriol Gaspard

Hip Hop is a cultural phenomenon that is constantly evolving and has made a worldwide impact in a short time. While it continues to change Hip Hop at its core remains the same. Victor Quijada artistic director of the Rubberband Dance company posed the question of “What more could Hip Hop be”. With those words in mind the focus of my research is to examine the movement and concepts/ideologies of the breakdancing subculture of Hip Hop; to create a fusion with contemporary dance. As such a brand-new system of movement with its own concepts and life could be created. The dance world is continuously shifting, and different skill sets, as well as ideologies, have been valued at different times and places. This exploration will challenge the mainstream ideals of what is currently considered “technique” and “foundation”


2019 ◽  
Vol 3 (2) ◽  
pp. 109-122
Author(s):  
Cita Mustika Kusumah

This research aims to describe and give an overview of the use of sexual euphemism in pop and hip hop lyric songs to avoid taboo words which are usually unfreely to mention in public. The researcher uses qualitative method and descriptive method to analyze the data. The researcher uses forty songs consist of twenty pop songs and twenty hip hop songs to be analysed. From forty songs, the researcher finds ninety seven data. Researcher believes the data are found to contain sexual euphemism in the utterance that included in pragmatic study.Researcher describes and analyzes every single of data that are included the theory of Allan and Buridge (1991). From the research data, the researcher found that there is a differential usage of sexual euphemism in pop and hip hop which is sexual euphemism in sexual activity appears more frequently in pop songs and sexual euphemism in sexual body parts appears more frequently in hip hop songs. Both pop and hip hop songs use representative speech act more frequently than directive speech act. Euphemism was used in the lyrics to avoid words that are considered taboo in some communities.Keywords: speech act, sexual euphemismINTRODUCTIONIn


2014 ◽  
Vol 76 ◽  
pp. 25-28
Author(s):  
D.R. Stevens ◽  
J.P. Garden

The Central Otago region, with its cold winters and hot summers, and valley floors with uplift mountains is definitely "a world of difference". At the NZGA conference in Alexandra in 1966 John Hercus stated "Central Otago has a lure which sets it apart from the rest of New Zealand. Its characteristics of geology, topography and climate, its history of occupation and exploitation, its scenery at once forbidding and yet strangely fascinating - these features combine to cast a spell which few who have been exposed, can ever fully escape" (Hercus 1966). The region and its high country have an iconic status epitomised by the "Southern Man" stereotype. This places Central Otago deep in the psyche of the nation. With this goes a unique and significant set of conditions under which farming must take place. Not only does the region have the biophysical challenges of soils, water and climate to contend with, but a wider set of values, often imposed from elsewhere. Fifty years after that first conference we remain challenged. What are the opportunities in front of us and how should we best accommodate the challenge of maintaining a viable enterprise and at the same time, respecting the intense public and customer interest in our use of land and livestock? Central Otago and the associated high country of the Lakes district and McKenzie basin can be divided into three farming types. These are the valley floor irrigable type, the flat and downland dryland regions, and the high country. Each of these has challenges that are at times unique, but often overlap with problems faced in other regions.


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