Award Date
5-1-2022
Degree Type
Doctoral Project
Degree Name
Doctor of Musical Arts (DMA)
Department
Music
First Committee Member
Andrew Smith
Second Committee Member
Thomas Leslie
Third Committee Member
Jonathan Lee
Fourth Committee Member
David Loeb
Fifth Committee Member
Louis Kavouras
Number of Pages
105
Abstract
This document presents a study on a musical fusion that I term “jazz/hip hop.” The study presents a historical overview of jazz/hip hop origins beginning with 1960s beat poets to jazz/hip hop artists emerging in the early 2000s. Modeled after Phillip Tagg’s and John Fiske’s semiotic methodology and William C. Banfield’s African American Cultural Theory and Heritage Model, the methodology defines the musical and cultural aesthetics of jazz/hip hop. Interviews from jazz/hip hop artists are presented; justifying the use of hip-hop aesthetics and countering the argument that commercial elements are added for mainstream recognition. I examine that samples musically interact with live rhythm section performers, giving transcriptions to aid the development of relevant drum set and bass performance techniques. Finally, the document serves as an introduction to jazz hip hop for musicians and scholars alike.
Keywords
Hip Hop; Jazz; Rap; Samples
Disciplines
African American Studies | American Studies | Music | Other Music | Race and Ethnicity
File Format
File Size
1915 KB
Degree Grantor
University of Nevada, Las Vegas
Language
English
snippets of sheet music
Repository Citation
Redfield, Molly Kaylynn, "Jazz Sampling Hip Hop: A View of the Expanded Rhythm Section and the Musical Interactions Between Musicians and Machines" (2022). UNLV Theses, Dissertations, Professional Papers, and Capstones. 4456.
http://dx.doi.org/10.34917/31813348
Rights
IN COPYRIGHT. For more information about this rights statement, please visit http://rightsstatements.org/vocab/InC/1.0/
Included in
African American Studies Commons, American Studies Commons, Other Music Commons, Race and Ethnicity Commons