Titlebook: Collective Participation and Audience Engagement in Rap Music; David Diallo Book 2019 The Editor(s) (if applicable) and The Author(s), und

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Oafishness

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An Example of an Early STAPP Interviewmer/audience relationship. Crowd involvement and cooperation being instrumental to creating and building intensity and unity, can the rap performance still work as a cooperative venture with non-black fans singing black rappers’ unaltered lyrics?

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https://doi.org/10.1007/978-1-4899-0843-8 that creates a situation. And it’s what it’s always been. It’s been a call-and-response, an answer, because you connect with the audience, it’s a connection. You’ve got to make a connection with the crowd. That’s what every MC’s goal is. To connect with the crowd.

細(xì)頸瓶

Vincent M. Liguori,Marsha L. Landoltt reflects on call-and-response as a longstanding rhetorical and musical practice that is unquestionably prominent in the sociocultural practices of some black communities in the US, but not, as many scholars contend, a uniquely ‘black’ feature. It first revisits the prevalent discourse on the Afric

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Short-Term Dynamic Psychotherapy seminal years exerted a significant influence over rap lyricism, especially in terms of its focus on call-and-response strategies and its emphasis on collective participation. The performance philosophy of the early days, in which the individual and group are affirmed simultaneously, survived the t

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