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Transcript of Sneider MusicalBorrowingandHipHop
Elliot Sneider MTC598 Final Paper December 12th, 2011
MUSICAL BORROWING AND HIP-HOP: A META-COMPOSITION
INTRODUCTION: HIP-HOP AS FOLK MUSIC
I became interested in hip-hop while growing up in an urban high school environment in
Syracuse, NY, where hip-hop was the cultural music of the students. In the 1980s, most American folk
music was from an earlier time or was associated with a mainly white hippy movement. Rock and roll
had become commercialized (even The Rolling Stones had tried disco and electronics), and blues and
soul music were associated with a different generation. Hip-hop arose as both a musical expression of
urban social consciousness as well as a new American folk music. For this project, I have decided to
compose a piece of music based on hip-hop sources which themselves may or may not contain musical
borrowing. I will look at hip-hop as a new American folk music, and will discuss my use of influence
from Charles Ives and Milton Babbitt’s techniques of musical borrowing.
The ethnomusicologist Bruno Nettl says that for music to be considered a folk music it must
contain certain characteristics. It is generally not written down, most often created by untrained
musicians, frequently old or based on an archaic style, serves many purposes but always in some way
servers as entertainment, and must be performed and accepted in order to remain alive (Nettl: 14-15).
Most importantly I believe, the music must be a part of the general culture in order to be considered
important by the members of the culture. In other words, “a new song must be acceptable to others in
order to live” (Nettl 1973: 3). Hip-hop music satisfies all of these requirements. It is generally not
written down, as it is a recorded music which is not transmitted through the written page. It is most
often created by untrained musicians, as the musicians involved, rappers and producers, are untrained
by any academic program (although producers do often use trained musicians and many rappers have
academic backgrounds in verbal arts such as poetry and creative writing). Hip-hop is frequently old or
Sneider, 2
based on an archaic style, since the building blocks of hip-hop are older musical recordings, and
rapping can be said to be an extension of talking blues or storytelling. It is clear that it serves primarily
as an entertainment form, as hip-hop has become a huge part of the modern entertainment industry.
Finally, as a music that is represented sparigly if at all in music schools or in the traditional awards
shows, hip-hop is kept alive not by scholarship or by canonization, but by being played (on the radio, in
clubs, by fans) or, as we will see, referenced by new hip-hop. In keeping with the theme of hip-hop as
folk music, I am only going to reference popular songs by popular artists in this paper.
HISTORICAL CONTEXT
Hip-hop was started when a DJ would begin adding his own rhymes to the records he was
playing, and creating new beats by “scratching” the record back and forth in rhythmic breaks. You
could say that the music was “borrowed” from what ever the DJ was playing, and the words and
scratching were added on top. In this sense, the building blocks of hip-hop are recordings from the past.
At its core, hip-hop is defined by combining a beat with rap. Where the beat comes from and what it
meant in a previous incarnation is not important to the new song. Due to this fact, it is helpful to
separate the beats from discussions of musical borrowing in hip-hop, in the same way we removed
“plagal cadence” or “alberti bass” from discussions on borrowing in “classical” music. For instance,
saying that Dr. Dre borrowed funk music as the underlying music for his hop-hop is as irrelevant as
saying Beethoven borrowed the V-I cadence from the classical era. Also, not all hip-hop is created
from samples. One piece I will be discussing is “La-di-da-di” by Slick Rick and Doug E. Fresh. This
song has been referenced numerous times by subsequent songs since its release in 1985, and is still
played today, marking it as a classic of the genre. Interestingly, the only music on the recording is
made from Slick Rick’s rapping and Doug E. Fresh beat boxing (creating the sound of a drum beat with
your voice). A melodic hook near the end of the song has been referenced by many artists since, and
will be the basis for one of the melodies I used in my composition. Although the beat box was probably
Sneider, 3
a version of a funk beat, I would not say that the beat was borrowed from funk music. In the same way,
many samples used in hip-hop are only used to create a beat, not as musical borrowing.
Even by ignoring the base samples from most hip-hop music, we can see that musical
borrowing as we have been studying it is still used extensively in hip-hop. Quoting is the most common
form of borrowing found in hip-hop. Quoting is most often found when a recognizable part of an old
song is reworked into a new song. For instance, artists often quote song lyrics from popular songs from
many different genres of music. They also might sample a small part of an old recording, or re-record a
complete chorus from an old song with rewritten lyrics. Some artists have even taken hooks from
children’s songs. For example, A Tribe Called Quest quoted Peter Paul and Mary’s “Leaving on a Jet
Plane” in their song “Rap Promoter”. The rapper Notorious B.I.G. quoted the Crystals “Da Doo Ron
Ron” in his song “Hypnotize”, but changed the lyrics to “Crew Run Run Run, ya Crew Run Run.” A
lyrical hook from the Pharcyde’s “Passin' Me By” is sampled by Joe in the song “Stutter”. Coolio
rewrote the chorus from Stevie Wonder’s “Pastime Paradise” as “Gangsta's Paradise”, and Nas rewrote
the chorus of The Eurythmic’s “Sweet Dreams” as “Street Dreams. Another famous example is the
group Black Sheep quoting the children’s song “Engine Engine #9” in their hit “The Choice Is Yours”.
Some artists have created crossover hip-hop by intentionally using samples from non-traditional
sources to create a fusion of styles. Run DMC famously worked with Aerosmith on a version of their
rock hit “Walk This Way”. The group US3 sampled exclusively jazz recordings for their first album,
specifically from the Blue Note catalog. They had a hit sampling Herbie Hancock’s “Cantaloupe
Island” and the jazz label Blue Note released their first album. Jazzmatazz was a series of albums by
Guru, formerly of the group Gang Starr, in which he sampled jazz sources almost exclusively. I
consider these recordings crossover because the samples are meant to have more implicit meaning than
the typical samples used in hip-hop. Other artists use jazz or rock samples not as an attempt to
consciously fuse two styles, but as their natural sources for hip-hop beats. These artists include Digable
Planets, The Roots, A Tribe Called Quest, and The Neptunes.
Sneider, 4
Pastiche has also been a part of hip-hop. Merrian Webster dictionary defines pastiche as “a
literary, artistic, musical, or architectural work that imitates the style of previous work.” The Biz
Markie song Alone Again can be considered pastiche because it combines two musical styles in an
ironic way. In Jay Z’s “Hard Knock Life” he samples the song of the same name from the musical
“Annie”, which is stylistically in another universe from hip-hop. Outcast’s song Rosa Parks
incorporates an interlude that sounds like an old south hoedown. The Fat Boys recorded a version of
The Sufaris’ “Wipeout” (with some of the Beach Boys singing backup) in which they playfully
modernize the song and ironically replace handsome surfers with, well, the Fat Boys.
FOUND DISSONANCE
One interesting phenomenon about hip-hop is that it has embraced dissonance in a way that no
other popular music has, by combining disparate elements to create a unique whole. I call this
phenomenon “found dissonance”. By combining samples from various sources, producers have created
harmonies that would not ordinarily be heard in popular music, in that same way Charles Ives would
overlay folk melodies with different harmony to create polytonality. Also, although rappers are
essentially speaking in rhythm, all rappers are using pitch in their voice either to match the music or
create dramatic effect. There was also a distinct movement in the late 1990’s to early 2000’s to have a
vocal “hook” which was purposefully in a different key than the rest of the music. I used four songs as
borrowed sources in my composition, all classics in the hip-hop genre, all of which contain and
emphasize some aspect of found dissonance. In describing each song, I will first show the significance
of the song in the history of hip-hop, and then will analyze the music and explain how I used it in my
composition.
The first song I sourced is “Hypnotize” by The Notorious B.I.G. The song was produced by The
Notorious B.I.G., Deric Angelettie and Sean Combs (aka Puff Daddy), and was released in 1996 on the
Sneider, 5
album “Life After Death”1. The Notorious B.I.G., aka Biggie Smalls, whose given name was
Christopher Wallace, was killed in a drive-by shooting (still unsolved) before the release of this album,
and this song reached #1 on the billboard charts posthumously. It has since been used in many popular
movies such as “10 Things I Hate About You”, and was featured prominently in the biopic about The
Notorious B.I.G. “Notorious”, in which it was played throughout the film and used in the film’s
advertisements. In keeping with the folk music theme, it is still very much a part of the vernacular of
hip-hop today.
The melody used for the chorus of “Hypnotize” is a quote from the Slick Rick song “La Di Da
Di” (fig. 1). In “Hypnotize”, the vocal was re-recorded with a female voice, and instead of “Ricky,
Ricky, Ricky, can’t you see…” the words are changed to “Biggie, Biggie, Biggie, can’t you see…”. It
is sung in the same key as the Slick Rick version, which would traditionally be called Eb minor. The
song also features a bass and drum sample from the track “Rise” by Herb Alpert. The bass line from
“Rise” is playing E and D, strongly implying an E7 or E minor7 chord. The melody is sung over the
“Rise” sample, juxtaposing Eb minor with E7 (or E minor7) (fig. 2). This juxtaposition could be
interpreted as upper-structure tonality, with the Eb minor chord adding upper color to the E and D in
the bass. It could also be interpreted as bi-tonality, as described before. I used the pitches to create a
hexachord and used this hexachord in the composition to enhance the semitones between D, D# and E.
By overlaying these two tonal centers, the sonic implication is something like an E Lydian with the
added b7 (E, F#, G#, A#, D, D#), creating a 6 note scale without a scale degree 6 and with a cluster of
D, D# E (fig. 3). This is perhaps similar to the way Babbitt created his 12-tone row for “All Set”, in
which the tritone, an important interval in jazz and blues music, is emphasized.
The second song I used is “The World Is Yours” by Nas and produced by Pete Rock. It was
released in 1994 on Nas’ first album Illmatic. Illmatic was chosen as the 25th best album of the past 25
1 Due to the lack of scholarly sources, all of the factual statements about production and historical relevance have come from online sources, including Wikipedia, Allmusic.com, Spin.com, and others.
Sneider, 6
years by Spin magazine, and About.com ranked the song “The World Is Yours” the 7th greatest rap
song of all time. The unreliable but unarguably colloquial Wikipedia says, “It is considered by some
music critics one of the greatest hip-hop songs ever recorded”. The song incorporates a sample from “I
Love Music” by the Ahmad Jamal Trio, a piano based trio that has been active and popular since the
1950s (their 1958 album “At The Pershing: But Not For Me” has sold more than a million copies).
The sample incorporates four different harmonically complex chords: Dm9, Db7(#9), Em9 and
Gm9. A melodic hook is sung, not sampled, containing the pitches A, G and F, implying F-major or
maybe D-minor (fig. 4). The only pitch of the chromatic scale not used in these 2 measures is the pitch
Eb. Using the 11 pitches in the music, and linking Eb to the spoken part of the hook, I created a 12-tone
row that expounds the pitches in more or less the order they are played (fig. 5).
The third song I sourced is “Got Your Money” by Ol’ Dirty Bastard, produced by The
Neptunes. Ol’ Dirty Bastard was a member of the popular group Wu Tang Clan, and this single has
become a staple on radio and in clubs. It was also one of the first big hits for the production duo The
Neptunes. In 2009 Billboard ranked The Neptunes No. 1 on their list of Top 10 producers of the
decade, and readers of Vibe Magazine named The Neptunes as the 3rd greatest hip-hop producers of all
time. The bass and vocal line were both recorded for the song, so it is not based upon samples. The
bass line uses the notes C, F and Gb. The vocal starts on G, and uses the notes G, Ab, and F (fig. 6).
From this piece, similar to the way I used the content from Hypnotize, I created a hexachord, adding
the pitch Db (fig. 7) and used the hexachord as a set of pitches. This set emphasizes 4 semi-tones, 2
perfect fourths, and two tritones. This piece is filtered throughout the composition in various
permutations.
The fourth piece I sourced is “Midnight in a Perfect World” produced by DJ Shadow from his
debut album Endtroducing. Endtroducing, which was released in 1996, was created entirely from
sampling, and incorporates very little rap. It is primarily an instrumental hip-hop album. It was released
to wide critical success, which continues to this day. In a review of the album, “Pitchfork
Sneider, 7
awarded Endtroducing...the maximum score of 10/10…it swims so easily that it established an entire
genre of instrumental hip-hop" (Pitchfork). Spin magazine has ranked it as the fifteenth best album of
the 90’s.
The song "Midnight in a Perfect World" is one of the more popular songs from this album, and
samples a variety of artists. I am focusing on two samples used throughout, a keyboard part from “The
Human Abstract" by David Axelrod, and a vocal line from “Dolmen Music" by Meredith Monk.
“Dolmen Music” was a landmark recording by Meredith Monk and ensemble, released in 1978. The
piece is still popular today, and has had a recent revival by Ms. Monk’s group M6. It is a piece for 6
vocalists, percussion and cello, but the sample used in "Midnight in a Perfect World" is a short section
of solo female voice, presumably Ms. Monk’s. The pitch A is sung, and then to D, which holds with a
little waver up to Eb for a split second. The David Axelrod sample is in G-minor, although the last
chord is C/D, adding the E natural (fig. 8). I used this content as the functional base of the interlude
near the end of the piece. In order to create a contrast to the rest of the piece, I used the harmonic and
melodic content from “Midnight in a Perfect World” verbatim.
LES MONSIEURS DE HIP-HOP: CONCEPT
In my piece “Les Monsieurs de Hip-Hop”, I use borrowing in many different ways. Using
Burkholder’s vocabulary for borrowing, I primarily use stylistic allusion, collage, patchwork, and
cumulative setting. The piece is written for a wind ensemble, made up of flute, oboe, clarinet (Bb), alto
saxophone, tenor saxophone, baritone saxophone, bassoon, contrabassoon, horn (F), trumpet (Bb),
trombone, tuba, and percussion. The percussion part is played entirely on a snare drum. I earlier used
“La-di-da-di” as an example of the bare-bones of hip-hop, simply voice and percussion (in that case
also created by voice). By choosing an ensemble with only wind instruments and percussion I am
modeling it after this concept.
Sneider, 8
The choice of snare drum as the only percussion instrument is to represent all percussion from
one source, and also to mimic what I used to hear in my elementary classrooms. The students would
create drum patterns on their desks with two pencils (we weren't allowed to use pens in elementary
school). The most basic and popular pattern that was heard was the pattern outlined in mm. 8-9 in the
percussion part. The two different pitches are the alternating hands. This drum pattern is the part of the
piece that can be called stylistic allusion. It is not trying to sound like hip-hop, but is alluding to the
style through the percussion part.
Using inspiration from Babbitt’s All Set, I wanted the overall rhythmic language to reflect
something about the style and sentiment of hip-hop without relying on a repetitive pattern. In hip-hop,
the part that contains the most rhythmic variation is the rapping part. In order to capture this variation, I
transcribed the rhythm of Nas’ first verse in “The World Is Yours” and used this as the basis rhythm for
the two verses, mm 18-50 and mm. 64-96. This is played verbatim in the snare drum. In keeping with
the simplistic percussion, I only used two “pitches”, one which is the overall pitch, and one which is
used for beats when Nas accented or inflected the pitch. These inflected beats are notated with a
percussive note head positioned on the top line of the percussion staff. These inflections are also
accented by the wind ensemble.
I also wanted to incorporate the social aspect of hip-hop in some way. Nelson George begins his
book Hip Hop America by linking modern day hip-hop to the battle royals of 1930s American south
(1998: vii). These battles, which were described powerfully in Ralph Ellison's Invisible Man, were
contests of strength and will, fought by black youths in front of mostly white audiences. The history of
hip-hop has a culture of MCs, or rappers, facing off against each other, vying for the biggest cheer from
the audience, the chance to out-do the other. This has bled over into fighting in lyrics on recording,
where one rapper will call out another. In order to incorporate this concept in my piece, I thought about
splitting the wind ensemble into two parts, and having the brass “fight” the woodwinds. However, I
realized that this didn't feel right, as it implied a gang mentality I do not believe is actually a part of
Sneider, 9
hip-hop. I chose instead to treat the ensemble as a fluid group of cohorts, constantly working with and
against each other. I believe this is more true to the meaning of battling in hip-hop. The music is
(ideally) a safe place to explore he competitive nature in all of us.
LES MONSIEURS DE HIP-HOP: FORM AND ANALYSIS
The melodic and harmonic language of my composition is based upon the four songs noted
above. I modeled the form after the typical hip-hop song form, and used a different piece as the primary
melodic and harmonic content for each section (fig 9), although multiple melodic and harmonic sources
are used concurrently throughout. The stylistic allusion is primarily a result of the snare drum playing a
basic hip-hop type beat. Collage and patchwork are used by combining phrases and harmonic content
from the various sources throughout the piece. Cumulative setting is a structural element where the
sources are gradually exposed throughout the piece, until the sources at the end are portrayed more
clearly and coherently than at the beginning. Burkholder describes this technique:
Cumulative setting: a complex form in which the theme, either a borrowed tune or a melody paraphrased from one or more existing tunes, is presented complete only near the end of a movement, preceded by development of motives from the theme, fragmentary or altered presentation of the theme, and exposition of important countermelodies. (1994: 854)
I used this concept to structure the four times “Hypnotize” is used throughout. Each time the melodic
conent from the original source is portrayed with more clarity, until the end of the piece when it is fully
exposed.
Section 1 is based on “Hypnotize”. The harmony is slowly built up beginning with the
contrabassoon until all six pitches of the hexachord are sustained. The snare drum plays the basic hip-
hop beat, and the trumpet then plays a figure from the melody of “Hypnotize”. This figure is cut short
by a chord in the high winds which is repeated while diminishing in volume, like an echo effect. This
effect is used throughout the piece. The “Got Your Money” hexachord is hinted at in low winds,
followed by another echo effect transitioning into Setion 2.
Sneider, 10
Section 2 is built upon the rhythm of Nas’s first verse in “The World is Yours”, and uses the
Nas Row for melodic content. The first row used is P9, which is the original row built off of the
sample. The accents in the snare drum are accented by chords from “Got Your Money”. The ensemble
expounds the row matching the rhythm of the snare drum, and using various combinations of
intruments throughout the ensemble. It reaches a slight climax at m. 39, after which the ensemble
rotates through 5 retrograde versions of the row as they are read down the right side of the matrix, as a
transition to R6, which contains the first 3 notes of the “Got Your Money” content, which will be the
section following a return of “Hypnotize”.
Section 3, functioning as a chorus return, is based on the harmonic language of “Hypnotize”
again. This differs from section 1 in that the orchestration is sparser, and the melody is played in
fragments of triplet half notes in the high winds and contrabasoon. This leads to an octave displaced
fragment in the clarinet, followed by another echo effect leading to section 4.
Section 4 also features the Nas rhythm in the snare drum, but the wind ensemble plays a a freer
rhythm, built upon the harmony from “Got Your Money”. This builds to m. 75, when the ensemble
locks in with the snare drum again and plays through R0, I0, RI1 and I2 of the Nas row. That leads to
m. 83, when the “Got Your Money” harmony returns. This builds harmonically until it locks in agin
with the snare drum at m. 90 and continues through the end of the verse. An echo effect leads in to
section 5, the return of the chorus “Hypnotize.
Section 5 combines the bass from “Hypnotize” with a rising harmony from “Got Your Money”,
leading to another echo effect to transition into section 6. Section 6 is acting as a contrasting interlude,
built off of the harmony from “Midnight In A Perfect World”. Mm. 112-126 is played without
percussion, which creates a contrast with the rest of the piece. The harmony and Meredith Monk vocal
line are spread throughout the ensemble, combined with phrases from the other 3 pieces played
melodically. The percussion returns in m. 127 and builds to m. 135, which begins section 7.
Section 7 is a return of the chorus, acting as a coda. The harmony builds similar to the opening,
Sneider, 11
and the melody returns in quarter note triplets. The full ensemble plays together at the end,
harmonizing the “Hypnotize” melody with the full hexachord as the percussion builds. The piece ends
with the entire ensemble playing the echo effect as the drums continue a snare drum roll until it ends in
a solitary triple-fortissimo hit.
CONCLUSION
In writing this piece, I tried to think about the ways that Charles Ives and Milton Babbitt used
borrowing in their music. I chose to emphasize dissonance as found naturally in hip-hop music. I also
chose to use the rhythm from rap which provides a fluid rhythm full of variation. Although words and
meaning are important in hip-hop, I have chosen to write a piece and an analysis based solely on
musical aspects of hip-hop, and not open the proverbial “can of worms” by initiating a discussion of the
meaning of these songs. My composition is a kind of meta-borrowing, using sources which themselves
were created in someway by borrowing. I see this piece as kind of a cubist interpretation of hip-hop,
where elements which are usually distinct – harmonies, rhythms, melodic content – are presented
concurrently.
Works Cited:
Burkholder, Peter 1994 “The Uses of Existing Music: Musical Borrowing as a Field”. Notes, Second Series, Vol. 50, No. 3 (Mar., 1994), pp. 851-870 George, Nelson 1998 Hip Hop America. New York, New York: Viking Penguin, a member of Penguin Putnam Inc. Nettl, Bruno 1973 Folk And Traditional Music Of The Western Continents. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. .
Sneider, 12
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