Many of the Beatles’ most memorable ideas are variations on boilerplate riffs from rock, country, blues or R&B. The riff from “Day Tripper” derives from boogie-woogie. John Lennon cited Bobby Parker’s 1961 song “Watch Your Step” as the inspiration for both “Day Tripper” and “I Feel Fine.”
I’m continuing to gather materials for my upcoming ISMIR 2016 presentation on Why Hip-Hop Is Interesting. One of my big themes is the melodic content of rap. Emcees are deliberate in their use of pitch, whether they’re singing or rapping or some combination of the two. In the post, I’ll analyze segments of three great emcees’ flow. I made the graphics by loading acapella tracks into Melodyne, and then added the lyric annotations by hand using Omnigraffle. The selection of these tracks represents the intersection of “songs that I like” and “acapellas that are available to me.”
Emcee: Rakim Allah
Rakim Allah stands out among eighties rappers for the complexity and subtlety of his flow. Here’s an excerpt from verse one:
Update: I’ve turned this post into an academic article. Here’s a draft.
The title of this post is also the title of a tutorial I’m giving at ISMIR 2016 with Jan Van Balen and Dan Brown. Here are the slides:
The conference is organized by the International Society for Music Information Retrieval, and it’s the fanciest of its kind. You may well be wondering what Music Information Retrieval is. MIR is a specialized field in computer science devoted to teaching computers to understand music, so they can transcribe it, organize it, find connections and similarities, and, maybe, eventually, create it.
So why are we going to talk to the MIR community about hip-hop? So far, the field has mostly studied music using the tools of Western classical music theory, which emphasizes melody and harmony. Hip-hop songs don’t tend to have much going on in either of those areas, which makes the genre seem like it’s either too difficult to study, or just too boring. But the MIR community needs to find ways to engage this music, if for no other reason than the fact that hip-hop is the most-listened to genre in the world, at least among Spotify listeners.
Hip-hop has been getting plenty of scholarly attention lately, but most of it has been coming from cultural studies. Which is fine! Hip-hop is culturally interesting. When humanities people do engage with hip-hop as an art form, they tend to focus entirely on the lyrics, treating them as a subgenre of African-American literature that just happens to be performed over beats. And again, that’s cool! Hip-hop lyrics have significant literary interest. (If you’re interested in the lyrical side, we recommend this video analyzing the rhyming techniques of several iconic emcees.) But what we want to discuss is why hip-hop is musically interesting, a subject which academics have given approximately zero attention to.
In a previous post, I used the Groove Pizza to visualize some classic hip-hop beats. But the kids are all about trap beats right now, which work differently from the funk-based boom-bap of my era.
Continue reading “Visualizing trap beats with the Groove Pizza”
The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.
Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab‘s own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.
The Ed Sullivan Fellows program is an initiative by the NYU MusEDLab connecting up-and-coming hip-hop musicians to mentors, studio time, and creative and technical guidance. Our session this past Saturday got off to an intense start, talking about the role of young musicians of color in a world of the police brutality and Black Lives Matter. The Fellows are looking to Kendrick Lamar and Chance The Rapper to speak social and emotional truths through music. It’s a brave and difficult job they’ve taken on.
Eventually, we moved from heavy conversation into working on the Fellows’ projects, which this week involved branding and image. I was at kind of a loose end in this context, so I set up the MusEDLab’s Push controller and started playing around with it. Rohan, one of the Fellows, immediately gravitated to it, and understandably so.
The same Disquiet Junto project that spawned this wildly recursive remix also involved a few more people remixing my remix. Here’s a family tree of the three first generation source tracks, the seven second generation remixes of those tracks, and the three third generation remixes of the second generation remixes.
You can hear the three third-generation metaremixes below.
Here’s a strange and interesting thing that happened to me. The assignment for Disquiet Junto project 233 was to remix three tracks. The assignment for Junto project 234 was to metaremix one of the remixes from project 233. One of the people whose remix I metaremixed was listening to my track and accidentally had it playing in two different browser tabs simultaneously. He liked how it sounded, so he did a metametaremix with two copies of my metaremix offset by a few beats. It came out amazing!
