British Forum for Ethnomusicology

Back Matter
Source: British Journal of Ethnomusicology, Vol. 12, No. 2 (2003)
Published by: British Forum for Ethnomusicology
Stable URL: http://www.jstor.org/stable/30036861
Accessed: 06/01/2009 19:59
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Keyes traces rap music's history from its roots in West African bardic tradi-
tions, the Jamaican dance hall tradition, and African American vernacular
expressions to its permeation of the cultural mainstream as a major tenet of
hip-hop lifestyle and culture. Keyes understands rap music as a forum that
addresses the political and economic disfranchisement of black youths, fos-
ters ethnic pride, and displays culture values and aesthetics. Drawing on the
music, lives, politics, and interests of figures including Afrika Bambaataa, the
"godfather of hip-hop," and his Zulu Nation, George Clinton and Parliament-
Funkadelic, Grandmaster Flash, Kool "DJ" Herc, MC Lyte, LL Cool J, De La
Soul, Public Enemy, Ice-T, DJ Jazzy Jeff and the Fresh Prince, and The Last
Poets, Keyes challenges outsider views of the genre.
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Notes for contributors
Submissions should be sent to the Editors:
Dr Caroline Bithell, School of Music, University of Wales, Bangor, Gwynedd, LL57 2DG; e-mail:
c.bithell @bangor.ac.uk
Dr Janet Topp Fargion, British Library Sound Archive, 96 Euston Road, London NW1 2DB; e-mail:
janet.topp-fargion@bl.uk
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* Blacking, John, and Keali'inohomoku, Joann W., eds. 1979. The performing arts: music and dance.
The Hague: Mouton.
* Jairazbhoy, Nazir. 1977. "The 'objective' and subjective view in music transcription."
Ethnomusicology 21.2:263-73.
* Keali'inohomoku, Joann W. 1979. "Culture change: functional and dysfunctional expressions of
dance, a form of affective culture." In The performing arts: music and dance, ed. J. Blacking and
J. W. Keali'inohomoku, 47-64. The Hague: Mouton.