Rapejar: diferència entre les revisions

'''Rapejar''' (or '''rhyming''', '''spitting''',<ref>{{Cite book|title=The Urban Ethnography Reader|last=Duneier, Kasinitz, Murphy|first=|publisher=Oxford University Press|year=2014|isbn=0199743576|location=|pages=}}</ref> '''emceeing''',{{sfn|Edwards|2009|p=xii}} '''MCing'''{{sfn|Edwards|2009|p=xii}}{{sfn|Edwards|2009|p=81}}) is a musical form of vocal delivery that incorporates "rhyme, rhythmic speech, and street vernacular",<ref name=":0">{{Cite book|title=Rap Music and Street Consciousness|last=Lynette Keyes|first=Cheryl|publisher=University of Illinois Press|year=2004|isbn=|location=|pages=1}}</ref> which is performed or chanted in a variety of ways, usually over a backbeat or musical accompaniment.<ref name=":0" /> The components of rap include "content" (what is being said), "flow" ([[rhythm]], [[rhyme]]), and "delivery" ([[cadence (music)|cadence,]] tone).{{sfn|Edwards|2009|p=x}} Rap differs from [[spoken-word poetry]] in that rap is usually performed in time to an instrumental track.<ref>{{Cite book|title=From Def Jam to Super Rich|last=Golus|first=Carrie|publisher=Twenty First Century Books|year=2012|isbn=0761381570|location=|pages=22}}</ref> Rap is often associated with, and is a primary ingredient of [[hip-hop music]], but the origins of the phenomenon predate [[hip-hop]] culture. The earliest precursor to the modern rap is the West African [[griot]] tradition, in which "oral historians",<ref name=":1">{{Cite book|title=Hip Hop Africa: New African Music in a Globalizing World|last=Charry|first=Eric|publisher=Indiana University Press|year=2012|isbn=978-0-253-00575-5|location=|pages=79–80}}</ref> or "praise-singers",<ref name=":1" /> would disseminate oral traditions and genealogies, or use their formidable rhetorical techniques for gossip or to "praise or critique individuals."<ref name=":1" /> Griot traditions connect to rap along a lineage of Black verbal reverence that goes back to [[ancient Egypt]]ian practices, through [[James Brown]] interacting with the crowd and the band between songs, to [[Muhammad Ali]]'s quick-witted verbal taunts and the palpitating poems of [[the Last Poets]].<ref name=":3">{{Cite journal|last=N.|first=Kopano, Baruti|date=2002-12-22|title=Rap Music as an Extension of the Black Rhetorical Tradition: "Keepin' It Real"|url=https://www.questia.com/library/journal/1G1-101173271/rap-music-as-an-extension-of-the-black-rhetorical|journal=The Western Journal of Black Studies|language=en|volume=26|issue=4|issn=0197-4327}}</ref> Therefore, rap lyrics and music are part of the "Black rhetorical continuum",<ref name=":3" /> and aim to reuse elements of past traditions while expanding upon them through "creative use of language and rhetorical styles and strategies.<ref name=":3" /> The person credited with originating the style of "delivering rhymes over extensive music",<ref name=":2">{{Cite book|title=Rhythm and Blues, Rap, and Hip-Hop (American Popular Music)|last=Hoffmann|first=Frank|publisher=Checkmark Books|year=2007|isbn=0816073414|location=|pages=63}}</ref> that would become known as rap, was Anthony "[[DJ Hollywood]]" Holloway from [[Harlem]], New York.<ref name=":2" />▼