Blog #4 – Adam Krims and Rap

Adam Krims' Rap music and the poetics of identity was a very insightful book. He provides new ways of analyzing hip hop and more specifically, rap; contests the notions of music theory; emphasizes the importance of cross-discipline analysis involving the humanities, communications, media studies and other fields; highlights the importance of close reading of music; promotes the conduct of music analysis involving cultural and social implications; and creates new terminology and systems of analyzing different than Western European modes of analysis.

Krims outlines new perspectives on previous case studies of rap music and in general, on musicology as a whole. His new-age school of thought when it comes to analysis of pop-culture music is well-needed to off-set the out-dated modes. Rap music was not designed so that it could be analyzed by a European-taught scholar, neither was folk music, but this European school has adapted a method that complies with the musical demands of folk music more so than it does with rap music. Because of technology, the creation of music no longer requires scores or musical notation. It can all be done electronically with synthesizers and sequences. Since the form of notation has changed we must also change our way of analyzing. Krims provides systems of analysis within his book, but also heeds the reader that his way is only a preliminary way and is not the definitive form of analysis.

I appreciate his initial effort but, maybe due to my classical training, find for example, his Figure 2.1 (pg 59) that analyzes KRS-One's "MCs Act Like They Don't Know" slightly confusing at first. The division of the beat-classes as 0-3 rather than the typical 1-4 (and similarly the subdivision of the beat) is hard to adjust to when the majority of music and even a lot of pop-culture music is counted from 1-4. Unlike musical notation where the words are directly under the notes, the separation of the syllables marked by an 'x' and the lyrics written below made it difficult to read both at the same time. Obviously this is only a minor detail that I am picking upon, but when showing the figure to both music readers and non-music readers, they all had difficulty discerning how to read the figure. Krims figure however insinuates a valuable point, that since (for the most part) rap is not expressed through tone-distinguishable notes, there is no need to represent it on a musical staff. The rhythm is more significant and needs be signified in a manner that saves space yet gets the point across. I did on the other hand get used to the layering graph and details of cells figures. They did require some work to understand, but so does any new way of interpretation. I do feel though that Krims system needs some refining, but believe he is on the right track.

Krims musical analysis is only one valuable aspect of the book. His studies on Ice Cube's "The Nigga Yah Love to Hate" and geographic-specific hip hop of the Netherlands and Alberta highlight the importance rap music has in forming identities for the artist and audience alike. His in-depth analysis of Ice Cube's song solidifies the argument that rap music is a viable form of art and expression with connotations and meanings as deep as any other art form. One might even call the genre the Shakespeare of our day. This notion of rap and musical poetics, as Krims outlines, is very much associated with cultural identity. The notion of culture being not a static past, but rather an ongoing process of revision and creation in the present and future is something I very much respond with. Thus identity is in no way static, but something that is ever-changing due to the flux within culture.

In regards to my research, I am not completely 100% sold on notating rhythms as outlined by Krims. However, I may adapt his method to suit my needs. Likewise, whether or not I need layering graphs or details of cells is dependent upon each song and whether or not the analysis of the layers contributes to a better understanding of the song. I find his use of specific terms, such as how to categorize the sub-genres within rap, very useful. His perspectives on identity and rap music are intriguing and I will include this in my approach such as questioning the relationship between the artists and the music he/she creates; whether they may identify with it personally; and how the music influences the individual and vice versa.

One thing I wonder is how would Krims book fair with an individual that does not have musical training? Would they understand his modes of analysis much easier because they do not have preconceived notions of how to analyze? Or would they be similarly puzzled? I need to consider these questions for myself while compiling my research and writing. Do I gear it towards a musically-inclined audience or do I expect the audience to know as little as possible? For one thing, I know that a general audience will have little knowledge about the Baha'i Faith and rap music, so initial presentations/papers would be geared in a way that would define terms both religious and musical. But a presentation at a Baha'i conference would require little background info on the religion, but more emphasis would be needed on musical terms.

 

Questions

Questions:

General questions: name, residence, heritage

1) What does hip-hop music mean to you?

2) When did you first get into the genre?

3) Who is/was your favorite artist? Why?

4) Do you have any musical training?

5) Did you go to school for production?

6) How did you get into emcee'ing/production/recording?

7) How long have you been a Baha'i?

8) What is the importance of creating Baha'I inspired hip hop music?

9) Why do you do it? What is it like for you?

10) How do you use rap as a tool in expressing the ideals of a particular indiviual/group/religion?

11) Why do you use hip hop to portray the principles of the Baha'I faith?

12) What topics do you rap about? (history/principles/laws)

13) Why do you think Baha'I youth/young adults need music that pertains to their religion?

14) Do you find that mainstream hip hop is contrary to the ideals you present? How so?

15) Do you have any cultural ties back to hip hop?

16) Why is hip hop your choice of genre? Why not pop/rock/country/classical?

17) How do you relate to such a genre even though it does not stem from your cultural heritage?

18) Do you find it a global language that resonates with the diversity within the religion?

19) How does targeting such a small demographic shape the way you create music?

20) Do you find your music accessible by other groups?

21) Do you see a future in Baha'I inspired hip hop music?

22) As an established artists/producer, how does being a Baha'I and your work affect each other? Or even contradict one another?

23) As an emerging artists/producer, do you feel you can make a career catering just to the Baha'I music audience? If so, how come? If not, what other ways would you go about establishing your career.

24) How does being a Baha'I influence your understanding of the use of music?

25) How many female Baha'I rappers do you know of? How about female hiphop producers/singers?

26) If perhaps you were still in the country from where you originated, would hip hop still be as important as it is to you today?

27) Do you identify with the music you make? Does it represent you? Does it gives us, the audience, insight into who you are as an individual?

28) How would you qualify your music? As realistic rap, conscious/knowledge rap, gansta rap, etc?

29) What does the audience take away from your music? Is it meant to be a spiritual experience? Create a mood? Or spark insight?

30) Do you collaborate with non-Baha'I artists?

31) How does that affect your ability to express your own Baha'I views?

32) Do you notice first-hand effects of your music on the people who listen to it?

33) What positive outcomes do you expect from your music?

34) Do you do live performances? Coffee houses? Conferences?

35) How does living in Canada affect the dissemination of your music? Is there a demand for it in the U.S? Does the U.S. (Baha'i) audience have different tastes? And vice versa?

36) How do you circulate your music? Cd's? Mixtapes? Facebook? Online sales?

 

Specific songs:

"Man of Two Vision" Mixtape Volume One – Karim, JC, Nabil and Dialektika

1. When I Breathe
   
2. Hold On
   
3. 2am
   

 

Individual Songs off Facebook – Nabil and Karim http://www.facebook.com/pages/Nabil-and-Karim/52106492176?sid=b5a9f14fc8b72dfdc0d731e08a9e903c&refurl=http%3A%2F%2Fwww.facebook.com%2Fs.php%3Fref%3Dsearch%26init%3Dq%26q%3Dnabil%2Band%2Bkarim%26sid%3Db5a9f14fc8b72dfdc0d731e08a9e903c&ref=s

1. Mona
   
2. Another Day
   
3. Whither feat. Ashraf
   

 

"The Dawbreaker Collective" – Various Artists/ Produced by Benny Cassette

1. Army of Light Intro
   
2. Set It Off
   

5.    Interlude 1
8. Broken Winged Bird
11. Wake Up
12. My Refuge
14. Hush

Blog #3

I was very much impressed with this presentation. It was well delivered, the topic was intriguing and the use of visual aid was stimulating.

Kip Pegley's presentation on Music and Ideology at the Canadian War Museum involved many unperceived notions about music. The "use" of music as secondary to the visual materials in the museum was in no way a matter of just background music. A strategic "use" of the music was used to encode the visual material with meanings that would perhaps not be decoded the same way if the music were different.

The strategic use of music is not new within the context of media. As pointed out, the U.S utilizes music to promote its ideologies, especially within the context of war. To have music composed before a war has been brought to the attention of the public, in order to shape how one should feel towards the onset of war is one form of hegemony. The people are subjugated to the ideals of the government in accepting that war is appropriate because the music deems it so. It is unfortunate to see how power and money will sway someone to compose music in favor of war! Or perhaps they were in favor of the war to begin with.

Either way, such strategic use to control the understanding of an event/situation is even prevalent in Canada, but maybe not so noticeable. Commercials are the most common example. Jingles are composed in order to stimulate the viewer/listener to buy the product in question. Its function and meaning is not hidden but at the same time its effectiveness is subliminal.

In the War Museum and the "use" of music in that context, what rights are impended by having your thoughts controlled or influenced? To have your understanding of history re-shaped because of the sounds associated with a picture of First Nations people or artillery is baffling to think of. How would my understanding of history be changed if I were to walk through the museum with my ipod on? Would the meaning differ from what the government would have me believe or perhaps I can create a better relationship with these pictures because the meaning is no longer being dictated to me?

What was interesting is the total absence of music associated with the display of the enemies. Is the lack of music supposed to represent a lack of affection towards the enemy? Am I to remain emotionless around them? Are they not also human? I very much wonder what a War museum would look like from the enemies perspective and what types of sounds/music would be associated with Canada, or if there would similarly be a lack of music.

What I have taken away from this presentation is the understanding of everyday music and its use. Music is more than just a pretty sound in the background; it can have a powerful influence over how the listener interprets a product, a meaning or even an ideal. We are not in control of the meaning infused into the music we listen to, but we can at least choose what we listen to (or even don't listen to!). And if we are conscious enough, we can even decode the meaning embedded within the music we chose to listen to.

In regards to my research, there are several questions I can ask the artists around music and meaning:

• What meanings/ideals are you trying to get across through your music?
  
• Do you think Baha'is will easily understand?
  
• Do you think the general public will have a harder time to understand the meaning infused into your music?
  
• Is music just another tool of influence to propagate the ideals of your religion or is it a sincere form of expression for you?
  

Blog #2 – Review of Beverly Diamonds Research Approaches and Methods

Beverly Diamonds book Native American Music in Eastern North America discusses issues surrounding the music through a cultural context. The importance of placing her study in relation to the originating culture provides a succinct explication of the topic, whereas a study of the music alone would fail to highlight the important background, growth and influences the music contains in relation to its culture. It is evident through her analysis that ethnomusicologists must abide by a certain rule of ethic that allows for the most just representation of a topic; especially when a culture's sensitivity to outsiders and the lack of proper representation in the past have skewed the present image. Diamond outlines 4 challenges she encountered: to present the culture not as monolithic but as distinctive various cultures; speaking as an outsider; language barriers; and the preconceived stereotypes and underrepresented indigenous modernities.

Indigenous culture has previously been generalized as monolithic. Diamond clearly outlines this mistake and throughout her analysis, focuses on the differences within the respective cultures. An obvious challenge yet advantage for Diamond is her own cultural heritage. This difference allows her to take on objective approach when analyzing the music and culture, but the loom of over generalization is a challenge, which Diamond is clearly aware of. Language is another culturally based difference and with many dialects and variances between communities the challenge is heightened. A translator helps in these situations, but in most cases, the essence of the language is not retained. As Diamond explains, languages such as English are noun-based, causing problems when trying to translate from verb-based indigenous languages. The last challenge of stereotypes and modernities is overcome by presenting different examples of music, artists and cultural practices of the various indigenous communities. One example is how Traditional Indigenous Knowledge is fused and adapted with modern techniques and practices to create indigenous modernities.

Diamond utilizes various methods and approaches while compiling her research: personal correspondence and interviews, an advisory committee of elders and respectable individuals, electronic resources, books and media. Rather than basing her research on previous studies, Diamond makes personal contact with the communities and artists in order to formulate an accurate description. What can I learn from Diamonds approaches and methods in relation to my research? What types of challenges will I have to overcome?

By analyzing Diamonds modes of research, I am learning techniques in which to apply to my research. Since the intended area of research has yet to be studied, primary sources such as interviews and personal correspondence will play an important role. Similarly to the advisory committee, there is a group of individuals I can consult regarding Baha'i-related issues/sensitivities called the Local Spiritual Assembly. Made of nine individuals from the Baha'i community of Regina, this assembly oversees the spiritual and administrative needs of the community at a local level. This assembly is also formed at the National and International level. Other sources to consult include books on hip-hop/rap culture like Adam Krimms "Rap music and the poetics of identity" and Baha'i books such as compilations issued by the Universal House of Justice on Baha'i-inspired music. Recorded media will play a major role, as the rap lyrics will be analyzed for its Baha'i-related content. Other resources to be consulted include online fan-based sources, such as MySpace and Facebook. Since online-social networks are growing to be an important aspect of global culture, it is interesting to see how such sites can create communities around artists that may not have been able to break through the international scene otherwise.

A challenge I foresee for myself is how to present Baha'i-inspired hip-hop music in a non-biased approach. Being a Baha'i myself, I have grown up in the religion. I am also a hip-hop enthusiast and some of the individuals to be interviewed are social friends whom I have performed with in the past. I will need to learn how to step back and present the study from an objective view, rather than a subjective one. I would like to assume that my diversity as an individual and musician would allow to me undertake such a project with little challenges, but I realize that my own preconceived notions of what Baha'i-inspired hip-hop music is may distract the issue at hand; that is to present the topic in a scholarly manner to an audience that has little or no information about the study without glorifying or depreciating it.

Blog #1 – Scott Lab

I have had the great privilege to work with some amazing youth these past few weeks. Every Tuesday and Thursday morning from about 9:00-11:00am anywhere between 7-12 youth from Regina's high school Scott Collegiate nonchalantly stroll into class. The class focuses on providing these youth with an education on hip-hop culture through various demonstrations, workshops and guests speakers. Inadvertently it is also a way to encourage them to attend school. For some of these youth, this is the only class they attend during the week, thus it is very important to ensure they have a positive experience.

 

So far I have seen them work with DJ Quartz on how to DJ, DJ Murky Waters on how to use MPC's (beat-making machines), Emcee's Info Red and Def 3 on how to write a rhyme and Ryan Stinson on how to use Reason (music production software). The exposure to Regina and surrounding artists provides them with the confidence that yes, hip-hop is a live and viable genre that has more to do with then money, drugs and hoes. It can be used as a social tool to voice the opinion of the underdog, the message of the oppressed, the feelings of the stressed. When Danny aka Def 3 spoke on how swearing is considered to be tasteless, the response in the kids was evoking. For some it will be a challenge to write rhymes without swears. To be able to write a rhyme that conveys the same message without swears is actually the more righteous and applauded conduct. As stated by Danny, in some freestyle competitions, if the rapper swears he is automatically disqualified.

 

It is important to note that the majority of the students in the class and at the high school are of Indigenous or minority background. Their social circumstance, family life and personality attribute to their willingness to learn and grow. Coming from Regina's North Central is not the easiest life. Poverty, crime and overall uneasiness make it hard for a youth to focus on school when they have not had anything to eat for breakfast or when the pressure of drugs and alcohol are tempting them. Each of them come with their own stories to share whether they verbally say it or evoke it through their gestures and mannerisms. Over three weeks, I have been able to see some of these characters grow in a sense of opening up and trying new things. For example, Raven, one of the girls in the class has taken an interest to playing with the MPC and creating a beat. However, when other schoolgirls are present, her eagerness to create something becomes overshadowed by social responsibilities. On her own, she shows creativity and confidence in asking questions on how to work with the machine. With the right support and direction, I think she can have fun and learn while creating a beat. Brandon, for example, is very talented at writing rhymes. He seems more comfortable with a pen in hand rather than at the MPC or turn-tables. His character is very serene and calm yet when he gets up to rap, he suggests a subdued sense of anger in his rhymes drawing back on his own experiences in life. By encouraging the students to write about their experiences, thoughts and fears they are opening up and learning how to better confront situations and problems they may deal with on a daily basis. Allowing them to voice themselves publicly in a peaceful manner creates a sense of community within the class that they can transfer over into their social community.

I am excited to see what avenue and aspect of hip-hop each student pursues for the final presentation. They all have the ability to be creative, but with a little push in the right direction I think they can take what they are learning here one step further, both socially and educationally, and apply it to their other subjects in school and their relations and interactions within society.