From Soul to Hip Hop

Tom Perchard is Senior Lecturer in the Department of Music at Goldsmiths, University of London, UK.

Contents: Introduction. Part I Style and Genre: The Stax sound: a musicological analysis, Rob Bowman; Questions of genre in black popular music, David Brackett; Turntablature: notation, legitimization, and the art of the hip-hop DJ, Felicia M. Miyakawa; A vision of love: an etiquette of vocal ornamentation in African-American popular ballads of the early 1990s, Richard Rischar; ’Funky drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music, Alexander Stewart; The construction of jazz rap as high art in hip-hop music, Justin A. Williams. Part II Theory, Analysis and Historiography: ’That ill, tight sound’: telepresence and biopolitics in post-Timbaland rap production, Dale Chapman; Goal-directed soul? Analyzing rhythmic teleology in African American popular music, Robert Fink; Accidents, hooks, and theory, Charles Kronengold; Soul music: its sociological significance and political significance in American popular culture, Portia K. Maultsby; Doin’ damage in my native language: the use of ’resistance vernaculars’ in hip hop in France, Italy, and Aotearoa/New Zealand, Tony Mitchell; Rap, soul, and the vortex at 33.3 rpm: hip-hop’s implements and African American modernisms, Ed Pavlic; Who hears here? Black music, critical bias, and the musicological skin trade, Guthrie P. Ramsey Jr. Part III Identity: ’She’s the next one’: Aretha Franklin’s Unforgettable: A Tribute to Dinah Washington and the black women’s vocal legacy, Michael Awkward; Sounds authentic: black music, ethnicity, and the challenge of a changing same, Paul Gilroy; Eminem’s ’My Name Is’: signifying whiteness, rearticulating race, Loren Kajikawa; Men, women, and turntables: gender and the DJ battle, Mark Katz; ’Like old folk songs handed down from generation to generation’: history, canon, and community in B-boy culture, Joseph G. Schloss. Name index.