Scholarship
Research Articles
"Therapy was Writing Rhymes": Hip-Hop as Resilient Space for a Queer Rapper of Color
Adam J. Kruse
Kruse, A. J. (2016) "Therapy was writing rhymes": Hip-hop as resilient space for a queer rapper of color. Bulletin of the Council for Research in Music Education, 207-208, 101-122. doi: 10.5406/bulcouresmusedu.207-208.0101
Abstract
This article shares a research study about JJ, an 18-year-old, Black, bisexual, genderqueer rapper who was born in Germany, spent most of childhood in England, and moved to the Southeastern United States as a teenager. While JJ faced challenges based on their many complex and intersecting identities, JJ's story describes hip-hop as a space in which they experienced multiple elements of resilience, including expressing themselves, feeling protected, and experiencing persistence. JJ's experiences and perceptions defy monolithic notions of identity and also confront limited conceptions of hip-hop's relationship to gender and sexuality. Finally, JJ offers insights into their school music experiences focusing on issues of relevance and appropriation. Discussion and reflections offer considerations for music educators and scholars.
Adam J. Kruse
Kruse, A. J. (2016) "Therapy was writing rhymes": Hip-hop as resilient space for a queer rapper of color. Bulletin of the Council for Research in Music Education, 207-208, 101-122. doi: 10.5406/bulcouresmusedu.207-208.0101
Abstract
This article shares a research study about JJ, an 18-year-old, Black, bisexual, genderqueer rapper who was born in Germany, spent most of childhood in England, and moved to the Southeastern United States as a teenager. While JJ faced challenges based on their many complex and intersecting identities, JJ's story describes hip-hop as a space in which they experienced multiple elements of resilience, including expressing themselves, feeling protected, and experiencing persistence. JJ's experiences and perceptions defy monolithic notions of identity and also confront limited conceptions of hip-hop's relationship to gender and sexuality. Finally, JJ offers insights into their school music experiences focusing on issues of relevance and appropriation. Discussion and reflections offer considerations for music educators and scholars.
"They Wasn't Making My Kinda Music": A Hip-Hop Musician's Perspective on School, Schooling, and School Music
Adam J. Kruse
Kruse, A. J. (2016) "They wasn't makin' my kinda music": A hip-hop musician's perspective on school, schooling, and school music. Music Education Research, 18(3), 240-253. doi: 10.1080/14613808.2015.1060954
Abstract
This article focuses on a hip-hop perspective of school, schooling, and school music. The study involves applications of ethnographic (including autoethnographic) techniques within the framework of a holistic multiple case study. One case is an adult amateur hip-hop musician named Terrence (pseudonym), and the other is myself (a traditionally trained American music educator and scholar). My history as a professional educator and scholar juxtaposed with Terrence's perspective as a high school dropout offers a valuable contrast of beliefs, values, and assumptions about school and education. Exploring Terrence's experiences and perceptions helps us to understand him as a musician and learner and also allows for a critical investigation of my own perspectives. Recognising my assumption-laden perspectives offers meaningful layers of nuance towards complicating the relationships between schools, those who school, and those who are schooled. Implications for teachers and researchers include expanding considerations of vernacular music in school settings and encouraging critical self-reflection.
Adam J. Kruse
Kruse, A. J. (2016) "They wasn't makin' my kinda music": A hip-hop musician's perspective on school, schooling, and school music. Music Education Research, 18(3), 240-253. doi: 10.1080/14613808.2015.1060954
Abstract
This article focuses on a hip-hop perspective of school, schooling, and school music. The study involves applications of ethnographic (including autoethnographic) techniques within the framework of a holistic multiple case study. One case is an adult amateur hip-hop musician named Terrence (pseudonym), and the other is myself (a traditionally trained American music educator and scholar). My history as a professional educator and scholar juxtaposed with Terrence's perspective as a high school dropout offers a valuable contrast of beliefs, values, and assumptions about school and education. Exploring Terrence's experiences and perceptions helps us to understand him as a musician and learner and also allows for a critical investigation of my own perspectives. Recognising my assumption-laden perspectives offers meaningful layers of nuance towards complicating the relationships between schools, those who school, and those who are schooled. Implications for teachers and researchers include expanding considerations of vernacular music in school settings and encouraging critical self-reflection.
Hip-Hop – What's in it for the Academy? Self-Understanding, Pedagogy and Aesthetical Learning Processes in Everyday Cultural Praxis
Johan Söderman & Ove Sernhede
Söderman, J., & Sernhede, O. (2015). Hip-hop – What's in it for the academy? Self-understanding, pedagogy and aesthetical learning processes in everyday cultural Praxis. Music Education Research. Advance online publication. doi: 10.1080/14613808.2015.1049257
Abstract
Since hip-hop first appeared in New York over 35 years ago, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop. In this article, we will highlight the ‘hip-hop academisation’ and map out a new direction in a dialog between hip-hop and the academic world. By investigating the relation between hip-hop and pedagogy through interviews with prominent members of the hip-hop community in New York City as well as an analysis of ‘universal’, collective, and aesthetic learning processes in a local, Swedish youth-based hip-hop collective, we intend to open up a theoretical discourse on hip-hop and emancipatory pedagogy. Our empirical data are collected through ethnographical methods.
Johan Söderman & Ove Sernhede
Söderman, J., & Sernhede, O. (2015). Hip-hop – What's in it for the academy? Self-understanding, pedagogy and aesthetical learning processes in everyday cultural Praxis. Music Education Research. Advance online publication. doi: 10.1080/14613808.2015.1049257
Abstract
Since hip-hop first appeared in New York over 35 years ago, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop. In this article, we will highlight the ‘hip-hop academisation’ and map out a new direction in a dialog between hip-hop and the academic world. By investigating the relation between hip-hop and pedagogy through interviews with prominent members of the hip-hop community in New York City as well as an analysis of ‘universal’, collective, and aesthetic learning processes in a local, Swedish youth-based hip-hop collective, we intend to open up a theoretical discourse on hip-hop and emancipatory pedagogy. Our empirical data are collected through ethnographical methods.
Towards Cultural Responsiveness in Music Instruction with Black Detained Youth: An Analytic Autoethnography
Jason D. Thompson
Thompson, J. D. (2015) Towards cultural responsiveness in music instruction with black detained youth: an analytic autoethnography. Music Education Research, 17(4), 421–436.
Abstract
There is an increased interest in music instruction and research with incarcerated populations. Amid this attention is a need to learn more about how music teachers develop competencies for working with juvenile offenders and navigate this unfamiliar context, how they come to learn more about culturally diverse music, and how they become aware of cultural influences. Although the body of literature on music instruction within correctional settings continues to grow, more examples of a teacher's personal journey towards cultural responsiveness in correctional facilities is warranted. Using a framework for cultural responsiveness attributed to Ladson-Billings, this analytic autoethnographic research highlights the author's personal journey towards becoming culturally responsive to Black youth detained in the criminal court system in Chicago, IL. Qualitative data collected for two years were analysed for emergent themes related to achieving musical success, validating cultural competence, and developing critical consciousness. Findings support previous research about the influence that culture may have on music teaching and learning.
Jason D. Thompson
Thompson, J. D. (2015) Towards cultural responsiveness in music instruction with black detained youth: an analytic autoethnography. Music Education Research, 17(4), 421–436.
Abstract
There is an increased interest in music instruction and research with incarcerated populations. Amid this attention is a need to learn more about how music teachers develop competencies for working with juvenile offenders and navigate this unfamiliar context, how they come to learn more about culturally diverse music, and how they become aware of cultural influences. Although the body of literature on music instruction within correctional settings continues to grow, more examples of a teacher's personal journey towards cultural responsiveness in correctional facilities is warranted. Using a framework for cultural responsiveness attributed to Ladson-Billings, this analytic autoethnographic research highlights the author's personal journey towards becoming culturally responsive to Black youth detained in the criminal court system in Chicago, IL. Qualitative data collected for two years were analysed for emergent themes related to achieving musical success, validating cultural competence, and developing critical consciousness. Findings support previous research about the influence that culture may have on music teaching and learning.
The Formation of ‘Hip-Hop Academicus’ – How American Scholars Talk About the Academisation of Hip-Hop
Johan Söderman
Söderman, J. (2013). The formation of 'Hip-Hop Academicus' - How American scholars talk about the academisation of hip-hop. British Journal of Music Education, 30(3), 369-381. doi: 10.1017/S0265051713000089
Abstract
Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The results demonstrate themes of hip-hop as an attractive label, a door opener, a form of ‘low-culture’, a trap and an educational tool.
Johan Söderman
Söderman, J. (2013). The formation of 'Hip-Hop Academicus' - How American scholars talk about the academisation of hip-hop. British Journal of Music Education, 30(3), 369-381. doi: 10.1017/S0265051713000089
Abstract
Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The results demonstrate themes of hip-hop as an attractive label, a door opener, a form of ‘low-culture’, a trap and an educational tool.
Exploring The Distinct Hip-Hop Culture Of Urban Students
Leslie J. Ward
Ward, L. J. (2013). Exploring the distinct hip-hop culture of urban students. Gender, Education, Music, and Society, 6(3). doi: http://dx.doi.org/10.5561/5065
Abstract
Despite Hip-Hop culture's transition from urban ghettos to the mainstream, it is often viewed as deficient or deviant and not appreciated as a formal culture. This view on the part of educators has resulted in an unwillingness to deliver culturally relevant pedagogy to this distinct culture, contributing to the academic achievement gap between urban students and their peers. Effective urban teachers recognize this distinct culture and overcome dominant cultural assumptions in order to understand the communities in which they teach. This article focuses on a qualitative study designed to provide urban educators with a description of the Hip Hop culture, as well as identify skills and competencies associated with cultural competence. Findings from this study highlight the need for recognition, acceptance, understanding, and respect for Hip Hop culture, and the significance of building relationships by penetrating urban students' "street tough" persona (often mistaken for lack of interest).
Leslie J. Ward
Ward, L. J. (2013). Exploring the distinct hip-hop culture of urban students. Gender, Education, Music, and Society, 6(3). doi: http://dx.doi.org/10.5561/5065
Abstract
Despite Hip-Hop culture's transition from urban ghettos to the mainstream, it is often viewed as deficient or deviant and not appreciated as a formal culture. This view on the part of educators has resulted in an unwillingness to deliver culturally relevant pedagogy to this distinct culture, contributing to the academic achievement gap between urban students and their peers. Effective urban teachers recognize this distinct culture and overcome dominant cultural assumptions in order to understand the communities in which they teach. This article focuses on a qualitative study designed to provide urban educators with a description of the Hip Hop culture, as well as identify skills and competencies associated with cultural competence. Findings from this study highlight the need for recognition, acceptance, understanding, and respect for Hip Hop culture, and the significance of building relationships by penetrating urban students' "street tough" persona (often mistaken for lack of interest).
Pedagogical Ideas on Sonic, Mediated, and Virtual Musical Landscapes: Teaching Hip Hop in a University Classroom
Niyati Dhokai
Dhokai, N. (2012). Pedagogical ideas on sonic, mediated, and virtual musical landscapes: Teaching hip hop in a university classroom. International Journal of Music Education, 30(2), 111–119. doi: 10.1177/0255761412439925
Abstract
Based on the experience of teaching the history of American hip hop music to a classroom of Canadian university students, the author considers the disjuncture between the cultural orientations of herself and her students. The author considers teaching methods to solve the place-based disjuncture that often occurs when teaching genres such as hip hop, as well as in the teaching of mediated and virtual musics. She draws upon the fields of ethnomusicology and popular music to consider solutions that examine the relationships between the performers and listeners of hip hop music and the mediators that are involved in the process of negotiating the space that is created in the production and consumption of music and who have the greatest influence on how the music is heard by the listeners. This article presents several ideas on how cultural specificity can be dealt with when studying or teaching about a musical system.
Niyati Dhokai
Dhokai, N. (2012). Pedagogical ideas on sonic, mediated, and virtual musical landscapes: Teaching hip hop in a university classroom. International Journal of Music Education, 30(2), 111–119. doi: 10.1177/0255761412439925
Abstract
Based on the experience of teaching the history of American hip hop music to a classroom of Canadian university students, the author considers the disjuncture between the cultural orientations of herself and her students. The author considers teaching methods to solve the place-based disjuncture that often occurs when teaching genres such as hip hop, as well as in the teaching of mediated and virtual musics. She draws upon the fields of ethnomusicology and popular music to consider solutions that examine the relationships between the performers and listeners of hip hop music and the mediators that are involved in the process of negotiating the space that is created in the production and consumption of music and who have the greatest influence on how the music is heard by the listeners. This article presents several ideas on how cultural specificity can be dealt with when studying or teaching about a musical system.
An Empirical Study Into the Learning Practices and Enculturation of DJs, Turntablists, Hip Hop and Dance Music Producers
Paul Thompson
Thompson, P. (2012). An empirical study into the learning practices and enculturation of DJs, turntablists, hip hop, and dance music producers. Journal of Music, Technology & Education, 5(1), 43–58.
Abstract
This study explores the music practices and learning strategies of nine popular electronic musicians (DJs, turntablists, hip hop and dance music producers) through the consideration of current literature in empirical music studies, trends in music education and the theme of musical enculturation as a key component of a popular electronic musician's development. Following the investigation into the learning practices employed by the musicians, as they gather the necessary skills and knowledge to compose, arrange, produce and perform dance and hip hop genres of electronic music, the article goes on to consider whether the learning practices and values expressed by the musicians could be realistically adapted or included within formal music education.
Paul Thompson
Thompson, P. (2012). An empirical study into the learning practices and enculturation of DJs, turntablists, hip hop, and dance music producers. Journal of Music, Technology & Education, 5(1), 43–58.
Abstract
This study explores the music practices and learning strategies of nine popular electronic musicians (DJs, turntablists, hip hop and dance music producers) through the consideration of current literature in empirical music studies, trends in music education and the theme of musical enculturation as a key component of a popular electronic musician's development. Following the investigation into the learning practices employed by the musicians, as they gather the necessary skills and knowledge to compose, arrange, produce and perform dance and hip hop genres of electronic music, the article goes on to consider whether the learning practices and values expressed by the musicians could be realistically adapted or included within formal music education.
‘Folkbildning’ Through Hip-Hop: How the Ideals of Three Rappers Parallel a Scandinavian Educational Tradition
Johan Söderman
Söderman, J. (2011). ‘Folkbildning’ through hip-hop: how the ideals of three rappers parallel a Scandinavian educational tradition. Music Education Research, 13(2), 211–225. doi: 10.1080/14613808.2011.577929
Abstract
The purpose of this article is to show how the rappers' talk about hip-hop and its connection to pedagogy and social activism parallel the Scandinavian tradition of folkbildning. Scandinavian folkbildning can be seen as a movement to provide voluntary education for the general population. It can also be the name of the process of learning in which self-education is an important dimension. There has been an educational component to hip-hop culture since hip-hop was placed on the map as a vibrant subculture during the 1970s in New York City. In the same way as the Swedish working class once found a way out of their marginal position through folkbildning, today's immigrant youth, ‘new Swedes’ access Swedish society by articulating their position through hip-hop. In this article, interviews have been conducted with three rappers who follow the pedagogical way presented in hip-hop. Although, semi-structured and conversational, there was a clear focus on hip-hop and learning in the discussions. Each interview lasted for approximately one hour and was subsequently transcribed. The quotes of the rappers have been analysed and categorised into four themes. These themes are hip-hop as a political tool, marginalisation and exclusion, a voice for the weak, and the power of knowledge. The results show that the rappers can be seen as both culturally radical and culturally conservative, which is in line with the old tradition of Scandinavian folkbildning. The work of the rappers might be seen as not only as a barometer of our time and development of society in general, but also as a well-established practice of musical learning outside school. Finally, hip-hop has the potential to contribute valuable knowledge to teachers implementing what might be described as out-of-school musical activities in school.
Johan Söderman
Söderman, J. (2011). ‘Folkbildning’ through hip-hop: how the ideals of three rappers parallel a Scandinavian educational tradition. Music Education Research, 13(2), 211–225. doi: 10.1080/14613808.2011.577929
Abstract
The purpose of this article is to show how the rappers' talk about hip-hop and its connection to pedagogy and social activism parallel the Scandinavian tradition of folkbildning. Scandinavian folkbildning can be seen as a movement to provide voluntary education for the general population. It can also be the name of the process of learning in which self-education is an important dimension. There has been an educational component to hip-hop culture since hip-hop was placed on the map as a vibrant subculture during the 1970s in New York City. In the same way as the Swedish working class once found a way out of their marginal position through folkbildning, today's immigrant youth, ‘new Swedes’ access Swedish society by articulating their position through hip-hop. In this article, interviews have been conducted with three rappers who follow the pedagogical way presented in hip-hop. Although, semi-structured and conversational, there was a clear focus on hip-hop and learning in the discussions. Each interview lasted for approximately one hour and was subsequently transcribed. The quotes of the rappers have been analysed and categorised into four themes. These themes are hip-hop as a political tool, marginalisation and exclusion, a voice for the weak, and the power of knowledge. The results show that the rappers can be seen as both culturally radical and culturally conservative, which is in line with the old tradition of Scandinavian folkbildning. The work of the rappers might be seen as not only as a barometer of our time and development of society in general, but also as a well-established practice of musical learning outside school. Finally, hip-hop has the potential to contribute valuable knowledge to teachers implementing what might be described as out-of-school musical activities in school.
How Hip-Hop Musicians Learn: Strategies in Informal Creative Music Making
Johan Söderman & Göran Folkestad
Söderman, J., & Folkestad, G. (2004). How hip-hop musicians learn: Strategies in informal creative music making. Music Education Research, 6(3), 313–326. doi: 10.1080/1461380042000281758
Abstract
The study of informal musical learning outside institutional settings, such as schools, has proved to contribute important knowledge to aspects of music education. Hip-hop, as an example of informal musical learning, has so far been quite an unexplored field for research. The present study investigates music creation within two hip-hop groups (communes) in Sweden. The focus is on the creative learning process and the meeting between music and lyrics (the texts). The groups were given a beat/background, composed by a 'beatmaker', on the basis of which they were asked to create a hip-hop tune. The process, which took place in a recording studio with a sound engineer, was observed and videotaped. After the recording sessions, both groups watched the videotape and made comments on their working processes (stimulated recall). Pre-interviews were carried out with both groups, and in addition, the 'beatmaker' was interviewed. The results show that in the creative process, which is collective in character, the lyrics are superior to the music. Although the groups use the same ready-made music backgrounds, the lyrics are different and very personal. The text, which includes music and lyrics, is cyclical and is made using a 'collage' method. It is full of intertextuality, i.e. references to other lyrics, movies and commercials.
Johan Söderman & Göran Folkestad
Söderman, J., & Folkestad, G. (2004). How hip-hop musicians learn: Strategies in informal creative music making. Music Education Research, 6(3), 313–326. doi: 10.1080/1461380042000281758
Abstract
The study of informal musical learning outside institutional settings, such as schools, has proved to contribute important knowledge to aspects of music education. Hip-hop, as an example of informal musical learning, has so far been quite an unexplored field for research. The present study investigates music creation within two hip-hop groups (communes) in Sweden. The focus is on the creative learning process and the meeting between music and lyrics (the texts). The groups were given a beat/background, composed by a 'beatmaker', on the basis of which they were asked to create a hip-hop tune. The process, which took place in a recording studio with a sound engineer, was observed and videotaped. After the recording sessions, both groups watched the videotape and made comments on their working processes (stimulated recall). Pre-interviews were carried out with both groups, and in addition, the 'beatmaker' was interviewed. The results show that in the creative process, which is collective in character, the lyrics are superior to the music. Although the groups use the same ready-made music backgrounds, the lyrics are different and very personal. The text, which includes music and lyrics, is cyclical and is made using a 'collage' method. It is full of intertextuality, i.e. references to other lyrics, movies and commercials.
