En1010 Research Paper: Rap
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Tucker, Linda. "Holler If Ya Hear Me": Black Men, (Bad) Raps, And Resistance." Canadian Review Of American Studies 31.2 (2001): 57. Academic Search Complete. Web. 21 Feb. 2014.
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the author analyzes Tupac's songs and tattoos and shows how they reflect African american religious and cultural traditions. He thinks of rap as a way to accurately represent their socio-economical views and feels that critics of rap often misinterpret and stereotype.
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Seoane, Nora Salas. ""Welcome To The Eccentric Circus". Youth, Rap Music And The Appropriation Of Power In Malabo (Equatorial Guinea)." Scientific Journal Of Humanistic Studies 3.5 (2011): 12-21. Academic Search Complete. Web. 21 Feb. 2014.
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This article examines the movement of rap and it's various forms in Malabo (equatorial Guinea). it also interprets how rap relates to the appropriation of power.
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WAHL, GREG. "`I Fought The Law (And I Cold Won!)': Hip-Hop In The Mainstream." College Literature 26.1 (1999): 98. Academic Search Complete. Web. 21 Feb. 2014.
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Investigates the development of hip-hop music within the context of the larger cultural climate in the United States. Connection between the artist and the consumer; Background of the *****z With Attitude music group; Music recordings of the Run-DMC group.
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Nielson, Erik. ""My President Is Black, My Lambo's Blue": The Obamafication Of Rap?." Journal Of Popular Music Studies 21.4 (2009): 344-363. Academic Search Complete. Web. 21 Feb. 2014.
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The article discusses the obamification of rap as a trend in the music industry specifically on the genre of rap music among Black Americans in the U.S. It mentions of the shift of interest among rappers inspired upon the election of Barack Obama as President of the U.S., as they start to talk about Obama in replacement to the redundancy of themes in music including cars, women, and wine. Moreover, the use of Obama is seen as a first step to relive the tired images and themes of commercial rap.
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REBOLLO-GIL, GUILLERMO, and AMANDA MORAS. "Black Women And Black Men In Hip Hop Music: Misogyny, Violence And The Negotiation Of (White-Owned) Space." Journal Of Popular Culture 45.1 (2012): 118-132. Academic Search Complete. Web. 21 Feb. 2014.
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The article discusses rap and Hip Hop music, focusing on the existence of the theme of misogyny within the genre's lyrics. Topics including the representation of black men and women within the music as well as the impact of violent lyrics on white people's interpretations of black culture are examined. The article also presents a brief history of rap music in the U.S. and explores how the genre has been homogenized in order to appeal to mass audiences. Social aspects of musical genres, black male and female rappers, and Hip Hop culture are highlighted.
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Oware, Matthew. "Brotherly Love: Homosociality And Black Masculinity In Gangsta Rap Music." Journal Of African American Studies 15.1 (2011): 22-39. Academic Search Complete. Web. 21 Feb. 2014.
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Author explores the progressive ways that male rappers express themselves towards others considered comrades or 'homies.' Homosociality (Bird ; Sedgwick ), non-sexual positive social bonds, exists in gangsta rap music between men. This study explores the notion of homosociality in this genre of music, analyzing the lyrics of male rap artists who have sold one million or more of their compact discs, for a total of 478 songs. examines the idea of hegemonic black masculinity, presenting an alternative understanding of its deployment and manifestation in this music.
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Richardson, Chris. "'Can't Tell Me Nothing': Symbolic Violence, Education, And Kanye West." Popular Music & Society 34.1 (2011): 97-112. Academic Search Complete. Web. 21 Feb. 2014.
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By examining West's critique of higher education, this paper demonstrates how Bourdieu's concept of symbolic violence, defined as the ability to impose meanings while concealing their underlying power relations, is a valuable tool for analyzing discourses in hip hop and for moving beyond the hype about crime and physical violence that pervades popular debates.
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Herd, Denise. "Changes In Drug Use Prevalence In Rap Music Songs, 1979-1997." Addiction Research & Theory 16.2 (2008): 167-180. Academic Search Complete. Web. 21 Feb. 2014.
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The article examines potential explanations of the increasing focus on drug use rap music which includes the rise of the drug war; changes in the drug use habits of rappers and listeners; rise of gangsta rap and other rap music genres, and changing social images of drugs in American society.
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DAWKINS, MARCIA ALESAN. "Close To The Edge: The Representational Tactics Of Eminem." Journal Of Popular Culture 43.3 (2010): 463-485. Academic Search Complete. Web. 21 Feb. 2014.
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The article discusses the emergence of hip-hop culture and the influence of rapper Eminem. The author reflects on the appropriation of African American and Latino styles of entertainment and the legitimacy of white rappers. Emphasis is given to the ideologies of racial aesthetics and representation within hip-hop music and the use of alter-egos by Eminem in order to manage his own mechanical reproduction in film, music, fashion, and media interviews. Other topics include the relationship of whiteness to social acceptance, racial boundaries within lyrics, and the brand identity of hip-hop.
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Rosen, Ralph M., and Donald R. Marks. "Comedies Of Transgression In Gangsta Rap And Ancient Classical Poetry." New Literary History 30.4 (1999): 897. Academic Search Complete. Web. 21 Feb. 2014.
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Examines the similarity between transgressive styles of ancient classical poetry and gangsta rap. Historical development of gangsta rap; Role of Tupac Shakur, The Notorious B.I.G. and 2 Live Crew on popularity of the genre; Modification on the concept of transgression; Analysis on content, style, audience and authors of both genres.
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Krohn, Franklin B., and Frances L. Suazo. "CONTEMPORARY URBAN MUSIC: Controversial Messages In Hip-Hop And Rap Lyrics." ETC: A Review Of General Semantics 52.2 (1995): 139-154. Academic Search Complete. Web. 21 Feb. 2014.
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Discusses the content of hip-hop and rap lyrics. Definition of hip-hop and rap music; Sexual explicitness; Illegal drug consumption; Gangster attitude. The purpose of this paper is to help familiarize the uninitiated with some of these newer forms of music which have become so controversial.
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Armstrong, Edward G. "Devil Music And Gangsta Rap: A Comparison Of Sexual Violence In Blues And Rap Lyrics." Arkansas Review: A Journal Of Delta Studies 33.3 (2002): 182. Academic Search Complete. Web. 21 Feb. 2014.
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Compares blues and rap music in terms of their lyric content. Presence of sexual violence against women in their lyrics; Origin and development of rap music and blues; Criticism of gangsta rap and blues.
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JACKSON, LEANDRE. "Discourse Methodology In Service Of Narrative Strategy: Nommo Seeking In A Hip Hop Universe, James Spady's Hip Hop Oeuvre." Western Journal Of Black Studies 37.2 (2013): 80-93. Academic Search Complete. Web. 21 Feb. 2014.
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An essay is presented which discusses the cultural theorist James G. Spady's collaborative methodology used in his study of hip hop and African American culture from the 1980s through the early 21st century, through relying on the author's collaboration with Spady in this regard. An overview of Spady's framing of a narrative for hip hop culture, including the role that language plays in this regard, is provided.
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Fitts, Mako. "Drop It Like It's Hot": Culture Industry Laborers And Their Perspectives On Rap Music Video Production." Meridians: Feminism, Race, Transnationalism 8.1 (2008): 211-235. Academic Search Complete. Web. 21 Feb. 2014.
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This paper describes results from a qualitative study of the music video production industry and the creative process in rap music video production and artist marketing. Participant responses are presented in three areas: the music video production process, recent trends in rap music videos, and the music video set as a site of gender exploitation.
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VERSTEGEN, IAN. "Eminem And The Tragedy Of The White Rapper." Journal Of Popular Culture 44.4 (2011): 872-889. Academic Search Complete. Web. 21 Feb. 2014.
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The article focuses on the strict conditions under which white rappers are accepted by the public in American rap music culture. Topics include rapper Eminem's legitimization by widespread acceptance, the segregation between African American rappers and white rappers in the rap community, and how cultural experiences perceived as "black experiences" can affect white people in a similar way.
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Armstrong, Edward G. "Eminem's Construction Of Authenticity." Popular Music & Society 27.3 (2004): 335-355. Academic Search Complete. Web. 21 Feb. 2014.
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Discusses the distinctive elements of the gangsta rap concept of performer Eminem. Musical achievement of Eminem; Views on the lyrics of the rapper's songs; Discussion on the issue of authenticity in the history of popular music; Impact of Eminem's race on the industry; Influence of the Beastie Boys to Eminem.
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Mickel, Elijah, and Christopher Mickel. "Family Therapy In Transition: Choice Theory And Music." International Journal Of Reality Therapy 21.2 (2002): 37. Academic Search Complete. Web. 21 Feb. 2014.
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Describes the relationship between music and choice theory. Role of rap music in family therapy; Correlation of several musical lyrics; Design of healing space used to conduct education, training and development as well as therapy.
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Fields, Ingrid Walker. "Family Values And Feudal Codes: The Social Politics Of America's Twenty-First Century Gangster." Journal Of Popular Culture 37.4 (2004): 611-633. Academic Search Complete. Web. 21 Feb. 2014.
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This article focuses on the social politics of two contemporary gangster/gangsta narratives, David Chase's television series The Sopranos and Jim Jarmusch's film Ghost Dog: The Way of the Samurai. Both contemporary gangster/gangsta narratives reflect social order: the family and class anxieties central to Italian American culture contrast the social alienation and disenfranchisement in African American culture.
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Kitchiner, Lanisa. "From Compton To Cape Town: Black(Faceless)Ness And The Appropriation Of Gangsta Rap In Die Antwoord's "Fok Julle Naaiers." Journal Of Pan African Studies 6.3 (2013): 65-81. Academic Search Complete. Web. 21 Feb. 2014.
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This essay contributes to existing studies by analyzing how Die Antwoord utilizes gangsta rap and represents Black culture in their hit video Fok Julle Naaiers. Using hip hop and literary theories as conceptual frameworks, this essay argues that Die Antwoord's performative gestures involve strategic acts of erasure that effectively reduce gangsta rap and African American culture to negative stereotypes. The origin and intent of gangsta rap, critical responses to the subgenre, and Die Antwoord's appropriation of the art form are discussed at length.
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"From Eunuchs To An Endangered Species: Black Nationalism As A Politics Of Masculine Protest Revisited." Journal Of African American History 90.3 (2005): 286-298. Academic Search Complete. Web. 21 Feb. 2014.
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Analyzes the evolution of black nationalism as a politics of masculine protest in the U.S. Historical development of gangsta rap; Role of women in the hip-hop movement; Context of sexism in rap music.
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ROLLEFSON, J. GRIFFITH. "From Jim Crow To Jay-Z: Race, Rap, And The Performance Of Masculinity." Notes 69.4 (2013): 761-765. Academic Search Complete. Web. 21 Feb. 2014.
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The article reviews the book "From Jim Crow to Jay-Z: Race, Rap and the Performance of Masculinity," by Miles White.
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Edwards, Walter. "From Poetry To Rap: The Lyrics Of Tupac Shakur." Western Journal Of Black Studies 26.2 (2002): 61. Academic Search Complete. Web. 21 Feb. 2014.
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Presents information on the poems and rap lyrics written by Tupac Shakur. Family and career background of Shakur; Comparisons between linguistic and discourse features of Shakur's poetry in 'The Rose that Grew From Concrete' and lyrics of rap from his album '2pacalypse Now'; Literary qualities of Shakur
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Grant, Elizabeth. "Gangsta Rap, The War On Drugs And The Location Of African-American Identity In Los Angeles, 1988-92." European Journal Of American Culture 21.1 (2002): 4. Academic Search Complete. Web. 21 Feb. 2014.
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Examines the possibility that racial identities of popular culture forms such as hip hop are spatialized in the conception, perception and representation of the city and its inhabitants, using Los Angeles (LA) between 1988 and 1992 as a model. Gangsta rap projection of racial and spatial identifications through the figure of a black male gang member; Birth of the gangsta rap industry in south central LA; Struggles of the gangsta rap industry and the LA War on Drugs campaign.
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Jones, Christopher M. "Hip-Hop Quebec: Self And Synthesis." Popular Music & Society 34.2 (2011): 177-202. Academic Search Complete. Web. 21 Feb. 2014.
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This article makes extensive use of primary sources (interviews with artists, concert attendance, lyric analysis) as well as scholarly references to support the notion that hip-hop culture in Quebec serves both to introduce innovative trends from abroad and as a canvas on which to paint the stories of individuals and subcultures unique to Quebec.
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ROSENTHAL, DEBRA J. "'Hoods And The Woods: Rap Music As Environmental Literature." Journal Of Popular Culture 39.4 (2006): 661-676. Academic Search Complete. Web. 21 Feb. 2014.
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The article suggests that juxtaposing rap lyrics to canonical environmental literature can extend ecological literacy. Rap music, with its emphasis on the built environment and humans' relationship to the nonhuman world, can indeed fulfill Lawrence Buell's requirements for ecologically oriented literature. If rap music can be contextualized as not only part of African American literature in general, but as part of a more historicized African American urban writing, then it makes sense to include rap in a discussion of environmental literature.
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Crossley, Scott. "Metaphorical Conceptions In Hip-Hop Music." African American Review 39.4 (2005): 501-512. Academic Search Complete. Web. 21 Feb. 2014.
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This article focuses on the metaphorical conceptions in hip-hop music. The metaphors of rap artists are generally specific to the subculture that either adopts them from the dominant culture or creates them to address their own cultural needs. Scarface uses the metaphor of the block to describe impoverished urban African American neighborhoods. However, hip-hop critics are concerned with the influence of hyper-commercialization of rap music on the aesthetic and political values of hip-hop music.
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Iwamoto, Derek. "Tupac Shakur: Understanding The Identity Formation Of Hyper-Masculinity Of A Popular Hip-Hop Artist." Black Scholar 33.2 (2003): 44-49. Academic Search Complete. Web. 10 Mar. 2014.
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This paper will examine a number of his songs that represent specific aspects of his mentality and value system, including those that express his awareness of and empathy for women, as well as address issues such as racial oppression, and inner-city problems.
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Gana, Nouri. "Rap And Revolt In The Arab World." Social Text 30.4_113 (2012): 25-53. Academic Search Complete. Web. 10 Mar. 2014.
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An essay is presented on rap music and revolts in the Arab countries. It offers a history of the emergence of rap music in communal intelligibility and cultural form and its influence on youth cultural movements and global hip hop. The author relates his approach on Arab and Tunisian rap music and the Arab hip hop culture.
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DAWKINS, MARCIA ALESAN. "Close To The Edge: The Representational Tactics Of Eminem." Journal Of Popular Culture 43.3 (2010): 463-485. Academic Search Complete. Web. 10 Mar. 2014.
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The article discusses the emergence of hip-hop culture and the influence of rapper Eminem. The author reflects on the appropriation of African American and Latino styles of entertainment and the legitimacy of white rappers. Emphasis is given to the ideologies of racial aesthetics and representation within hip-hop music and the use of alter-egos by Eminem in order to manage his own mechanical reproduction in film, music, fashion, and media interviews. Other topics include the relationship of whiteness to social acceptance, racial boundaries within lyrics, and the brand identity of hip-hop.
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REBOLLO-GIL, GUILLERMO, and AMANDA MORAS. "Black Women And Black Men In Hip Hop Music: Misogyny, Violence And The Negotiation Of (White-Owned) Space." Journal Of Popular Culture 45.1 (2012): 118-132. Academic Search Complete. Web. 10 Mar. 2014.
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The article discusses rap and Hip Hop music, focusing on the existence of the theme of misogyny within the genre's lyrics. Topics including the representation of black men and women within the music as well as the impact of violent lyrics on white people's interpretations of black culture are examined. The article also presents a brief history of rap music in the U.S. and explores how the genre has been homogenized in order to appeal to mass audiences
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Anderson Jr., Horace E. "No Bitin' Allowed: A Hip-Hop Copying Paradigm For All Of Us." Texas Intellectual Property Law Journal 20.1 (2011): 115-178. Academic Search Complete. Web. 10 Mar. 2014.
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The article focuses on copyright law in the U.S. and its application on the music industry. Topics include music copyright infringement such as sampling, ghosting, and beat jacking, the U.S. Copyright Act, and intellectual property laws governing the works of music artists. The author explores the internal imitation paradigm of the hip-hop music industry.
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Gosa, Travis L. "Not Another Remix: How Obama Became The First Hip-Hop President." Journal Of Popular Music Studies 22.4 (2010): 389-415. Academic Search Complete. Web. 10 Mar. 2014.
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The article looks at U.S. president Barack Obama, focusing on the role of rap music in his popularity and election. Rap songs and Internet media used to support Obama's presidential campaign are reviewed. The author comments on how Obama's racial identity and political views connected to younger demographics that listen to rap music. Digital music albums which make reference to Obama's politics are discussed.
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King, Lovalerie. "Nuthin' But A "G" Thang: The Culture And Commerce Of Gangsta Rap." African American Review 40.3 (2006): 610-612. Academic Search Complete. Web. 10 Mar. 2014.
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Reviews the book "Nuthin' but a 'G' Thang: The Culture and Commerce of Gangsta Rap," by Eithne Quinn.
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Parmar, Priya, Anthony J. Nocella, and Shykeem. "Poetry Behind The Walls." Peace Review 23.3 (2011): 287-295. Academic Search Complete. Web. 10 Mar. 2014.
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The authors argue that hip hop lyrics are a form of poetry and describe its use to engage the interest of incarcerated youth. It provides information on a journal titled "Poetry Behind Walls," created by the Save the Kids organization that was formed by youth serving sentences at the Hillbrook Youth Detention Center in Syracuse, New York. Engaging incarcerated children in analyzing lyrics is said to help them appropriate their own histories and voices to effect change and control their own lives.
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BAKER, GEOFFREY. "Preachers, Gangsters, Pranksters: MC Solaar And Hip-Hop As Overt And Covert Revolt." Journal Of Popular Culture 44.2 (2011): 233-255. Academic Search Complete. Web. 10 Mar. 2014.
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The article examines political aspects of rap music lyrics and the political implications of hip-hop culture. A tradition of social criticism in rap music lyrics originated in the song "The Message," by Grandmaster Flash, is linked to the naturalism school of literature. A common theme of social marginalization is found between such lyrics and those of the "gangsta rap" rap music genre exemplified by the group N.W.A. The lyrics of Senegalese rap musician MC Solaar are considered as an example of postcolonial political attitudes.
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Brown, Timothy J. "Reaffirming African American Cultural Values: Tupac Shakur's Greatest Hits As A Musical Autobiography." Western Journal Of Black Studies 29.1 (2005): 558-573. Academic Search Complete. Web. 10 Mar. 2014.
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This paper analyzes Tupac Shakur's Greatest Hits (1998) to reveal: 1) Shakur's rhetoric employs three African American cultural values (the oral tradition, a diunital orientation, and spirituality), which further defines the unique characteristics that comprise African American discourse; 2) when interpreting Shakur's message through the lens of African American cultural values, his Greatest Hits functions as a musical autobiography that constructs identity and provides a voice for the Black youth culture.
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MEGHELLI, SAMIR. "Remixing The Historical Record: Revolutions In Hip Hop Historiography." Western Journal Of Black Studies 37.2 (2013): 94-102. Academic Search Complete. Web. 10 Mar. 2014.
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In this article, the author argues that James G. Spady's body of work on Hip Hop, which spans more than two decades, offers one of the most important sources for rethinking and rewriting the history of the cultural movement.
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Clark, Msia Kibona. "Representing Africa! Trends In Contemporary African Hip Hop." Journal Of Pan African Studies 6.3 (2013): 1-4. Academic Search Complete. Web. 10 Mar. 2014.
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The article introduces reports published within the issue, including one on the appropriation of gangsta rap by South African rap-rave group Die Antwoord, another on the influence of mainstream American hip hop on Nigerian hip hop and a report on the influence of hip hop on youth identities in Nigeria.
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YANCY, GEORGE. "Socially Grounded Ontology And Epistemological Agency: James G. Spady's Search For The Marvelous/Imaginative Within The Expansive And Expressive Domain Of Rap Music And Hip Hop Self-Consciousness." Western Journal Of Black Studies 37.2 (2013): 66-79. Academic Search Complete. Web. 10 Mar. 2014.
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The article discusses the scholar and cultural theorist James G. Spady's perspective on rap music and hip hop culture, including their respective self-consciousnesses. An overview of Spady's use of social ontology and epistemological agency to understand black culture is provided. The social aspects of black bodies, including in regard to the putative criminalization of African Americans, are discussed.
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BIGGS-EL, CYNTHIA. "Spreading The Indigenous Gospel Of Rap Music And Spoken Word Poetry: Critical Pedagogy In The Public Sphere As A Stratagem Of Empowerment And Critique." Western Journal Of Black Studies 36.2 (2012): 161-168. Academic Search Complete. Web. 10 Mar. 2014.
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This article discusses rap music and spoken word poetry in contemplation of the implications of an emancipatory discourse correlating indigenous epistemologies and speculations of decolonization with critical pedagogy.
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Mose, Caroline. "Swag' And 'Cred': Representing Hip-Hop In The African City." Journal Of Pan African Studies 6.3 (2013): 106-132. Academic Search Complete. Web. 10 Mar. 2014.
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this paperexamines the ways in which African hip-hop represents itself and the urban space within which it exists. Using the specific example of Kenyan hip-hop in the city of Nairobi, the author analyzes the global hip-hop cultural and identity expressions of swag, and resultant cred, in demonstrating the complex linkages between the global and the local
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Prestholdt, Jeremy. "The Afterlives Of 2Pac: Imagery And Alienation In Sierra Leone And Beyond." Journal Of African Cultural Studies 21.2 (2009): 197-218. Academic Search Complete. Web. 10 Mar. 2014.
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The popularity of slain American hip-hop star Tupac Shakur has become a global barometer of youth malaise. Taking a multidisciplinary approach that weaves social history, cultural studies and globalization studies, this paper highlights the convergence of socioeconomic alienation and media proliferation since the early 1990s
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Koster, Mickie Mwanzia. "The Hip Hop Revolution In Kenya: Ukoo Flani Mau Mau, Youth Politics And Memory, 1990-2012." Journal Of Pan African Studies 6.3 (2013): 82-105. Academic Search Complete. Web. 10 Mar. 2014.
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In Kenya, Hip Hop music has created a new surge of revolutionary energy embraced by many unemployed youth living in the urban slums of Nairobi and Mombasa. This research aims to analyze the relationship between memory, empowerment, and Hip Hop music to treat unresolved economic, social, and political disparities.
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WOLDU, GAIL HILSON. "The Kaleidoscope Of Writing On Hip-Hop Culture." Notes 67.1 (2010): 9-38. Academic Search Complete. Web. 10 Mar. 2014.
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This article distinguishes three categories of writing about hip-hop—works by academics, works by journalists and cultural critics, and works by hip-hop's devotees—and discusses a handful of significant publications written between 1988 and 2008. This twenty-year written history of hip-hop is considered through a variety of lenses, with the hope that the various points of view might illuminate new directions for hip-hop's chronicled future.
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Riley, Alexander. "The Rebirth Of Tragedy Out Of The Spirit Of Hip Hop: A Cultural Sociology Of Gangsta Rap Music." Journal Of Youth Studies 8.3 (2005): 297-311. Academic Search Complete. Web. 11 Mar. 2014.
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This essay endeavors (1) to challenge notions in the existent literature about precisely who/what the 'hip hop community' is by looking at a segment of that 'community' that is rarely effectively examined, i.e., suburban, middle-class, largely white youth, and (2) to suggest a cultural theory that is better suited for understanding gangsta rap. A neo-Durkheimian theoretical perspective is taken
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Peterson, James Braxton. "The Revenge Of Emmett Till: Impudent Aesthetics And The Swagger Narratives Of Hip-Hop Culture." African American Review 45.4 (2012): 617-631. Academic Search Complete. Web. 11 Mar. 2014
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An essay is presented which discusses the representation of the murdered African American Mississippi boy Emmett Till in the boastful narratives of hip-hop culture. An overview of the relationship between the murders of Till and of the gangsta rapper Tupac Amaru Shakur is provided. An overview the depiction of Till's relationship with white women in hip-hop aesthetics, including in regard to Till's putative impudence towards white women, is also provided.
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Hunnicutt, Gwen, and Kristy Humble Andrews. "Tragic Narratives In Popular Culture: Depictions Of Homicide In Rap Music." Sociological Forum 24.3 (2009): 611-630. Academic Search Complete. Web. 11 Mar
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Using content analysis we explore the emergent themes associated with homicide scenarios in rap lyrics. Results show violent death was constructed in glorified ways, incorporated cautionary tales, or used as an analogy for powerful rhyming. The major themes found in these homicide-related rap lyrics were the normalization of killing, respect maintenance, confrontation with the power structure, vengeance, and masculine confrontation.
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HIRJEE, HUSSEIN, and DANIEL G. BROWN. "Using Automated Rhyme Detection To Characterize Rhyming Style In Rap Music." Empirical Musicology Review 5.4 (2010): 121-145. Academic Search Complete. Web. 11 Mar. 2014.
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in this article, researchers develop a method of scoring potential rhymes using a probabilistic model based on phoneme frequencies in rap lyrics. They found that these detected features corresponded to realworld descriptions of rhyming style and were strongly characteristic of different rappers, resulting in potential applications to style-based comparison, music recommendation, and authorship identification.
