A rappin' rhetoric: A multi-modal analysis of North American rap music

David Caldwell University of Sydney, Australia dcal4935@mail.usyd.edu.au Abstract Background to the research or performance/installation Systemic Functional Linguistics (e.g. Halliday 1978) is a theory of language as social practice. Of particular interest to Systemic Functional Linguists has been the application of their social semiotic model of language to other modes of communication. In line with this tradition, this paper presents some preliminary findings from a multi-modal analysis of 10 North American rap songs. Interdisciplinary issues "...analysing lyrics is not enoughany more than is formalist musical analysis, or sociological analysis ... We need to begin to hear not only what these rappers are saying, but also what these musicians are composinghow they are using rhythm, rhyme, and rhetoric to enact survival and celebration, clamor and community" (Walser 1995: 212). Within a Systemic Functional model of social semiotics, this paper presents a mulit-modal analysis of rap music so as to integrate discourse analysis and music semiotics. The issue/hypothesis under investigation The lyrics of the rap songs will be analysed for their interpersonal meanings, in particular, emotive language or affect. For Martin and White (2005), expressions of affect provide insight into the ways in which language is used rhetorically to negotiate social relationships. The analysis of music will follow the social semiotic perspectives offered by van Leeuwen (1999) and McDonald (in preparation). Following van Leeuwen (1999), sound resources such as melody, rhythm and tempo will be analysed as sound acts that have the meaning potential (in a given social context) to express affect. It is the aim of this paper to explore the relationship between expressions of affect as realised in both linguistic and music form so as to investigate the relationship between these modes of meaning, and ultimately, better describe the rhetorical tactics employed by rappers and their collaborators. Findings/description The findings reveal a complimentarity between the AFFECT expressed in the rap lyrics and the AFFECT expressed in the music. Moreover, it is found that in order to interpret the rhetorical impact of these meanings, they must be read within the social context in which they are realised. Conclusions/future directions These preliminary findings will continue to be substantiated with the ultimate aim of contributing to the constuction of a model of music as a social semiotic system. References: Halliday, M.A.K. 1978. Language as Social Semiotic: The social interpretation of language and meaning. London: Edward Arnold.; Martin, J.R. and White, P.R.R. 2005: The Language of Evaluation: Appraisal in English. New York: Palgrave Macmillan.; McDonald, E. 2005. 'Through a Glass Darkly: A Critique of the Influence of Linguistics on Theories of Music' Lingusitics and the Human Sciences. 1(3): 463-488.; McDonald, E. in preparation. Sound as Embodied Meaningful Behaviour: Towards a Model of Music as a Social Semiotic System.; van Leeuwen, T. 1999: Speech, Music, Sound. London: Macmillan.; Walser, R. 1995: Rhythm, rhyme, and rhetoric in the music of public enemy. Ethnomusicology 39(2): 193-218.