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Collective Participation and Audience Engagement in Rap Music
“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978)
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Author(s):
David Diallo
Publication date
(Online):
August 29 2019
Publisher:
Springer International Publishing
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Gangstas, Thugs, and Hustlas: Identity and the Code of the Street in Rap Music
CHARIS KUBRIN
(2005)
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Sociology in Question
P. BOURDIEU
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P Bourdieu
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Bourdieu Pierre
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(1993)
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Can’t stop, won’t stop: A history of the hip hop generation
J CHANG
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J Chang
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Jeff Chang
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(2005)
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Book Chapter
Publication date (Print):
2019
Publication date (Online):
August 29 2019
Pages
: 25-45
DOI:
10.1007/978-3-030-25377-6_3
SO-VID:
2e3a55f9-6fb4-439f-8e4a-0d327d69acbb
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Book chapters
pp. 1
Introduction
pp. 5
Call-and-Response in Rap Music
pp. 25
“Rock the House:” Emceeing and Collective Participation in Rap Music’s Formative Years (1974–1978)
pp. 47
“Keeping It Real Live!” Maintaining Collective Participation on Records
pp. 65
“Coming to You Live and Direct!”: Performing Liveness and Immediacy on Record
pp. 85
Intertextuality in Rap Lyrics
pp. 103
From the Stage to the Booth to the Stage: Sustaining Collective Engagement During Live Performance
pp. 121
Rap Music and Singing Along to the N-word
pp. 137
Discussing Collective Participation and Audience Engagement with Sugarhill Gang’s Master Gee
pp. 145
Conclusion
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