Hip-Hop within and without the Academy

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop’s educational potential more fully while maintaining hip-hop’s authenticity and appealing to young people. Ultimately, this book reveals how hip-hop’s universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth.

Table of Contents:
Acknowledgments Part 1 Ethnographic Hip-Hop Studies 1. Introduction 2. Young Hip-Hop Musicians Talk About Their Learning and Creative Strategies 3. Towards a Swedish Professional Hip-Hop Identity 4. The Musical Personhood of Three Canadian Turntablists: Implications for Transformative Collaborative Practice in Music Education 5. First Nations Hip-Hop Artists’ Identity and Voice Part 2 Academization of Hip-Hop 6. Introduction to Part 2 7. The Formation of a Scientific Field: Hip-Hop Academicus 8. What is at Stake? How Hip-Hop is Legitimized and Discussed within University 9. Turntablism: A Vehicle for Connecting Community and School Music Making and Learning Part 3 Educational and Artistic Implications of Hip-Hop 10. Introduction to Part 3 11. Jean Grae and Toni Blackman: An Educational and Aesthetical Conversation with two Female Emcees 12. Folkbildning through Hip-Hop: A Presentation of two Rappers and one Swedish Hip-Hop Organization 13. How Critical Pedagogy and Democratic Theory can Inform Teaching Music, and Especially, Teaching Hip-Hop 14. The Informal Learning Practices of Hip-Hop Musicians 15. Outroduction: Implications for Music and Music Education Glossary of Terms Bibliography Index About the Authors

About the Author :
Karen Snell has taught both graduate and undergraduate level music education courses at Boston University and the Eastman School of Music. John Söderman is associate professor of music education at Malmö University.

Review :
Snell and Söderman, both of whom teach music education, explore how hip-hop music has come to be used 'by many artists throughout the world to articulate their unique sense of marginality.' The music has become the chosen mode of expression for young people—whether First Nations youth in the US and Canada or communities in Britain, Norway, and Sweden—who have experienced a sense of exclusion or disenfranchisement. Populations around the world borrow from hip-hop and blend it with their own traditions. In addition to discussing this, the authors explore efforts to add courses on hip-hop to college curricula and to music education coursework in secondary schools. And they examine the tension between scholars who write about and critique hip-hop and practitioners who create the music: Who is qualified to 'speak' for or about hip-hop? Whose voice is 'authentic'? Though it is dense, technical, and abstract—and marked by specialized jargon—the book offers significant theoretical insights. Intrepid readers will find this study valuable and worth the effort. Summing Up: Recommended. All readers. The section on the ‘academization of hip-hop’ – what the book’s title describes as ‘hip-hop within the academy’ – was promising as it is an area that is rarely well covered compared to the more common emphasis on the convergences of youth, politics and hip-hop. . . .Snell and Söderman are appropriately attuned to the ways in which public education is increasingly inflected by the demands and agendas of the neoliberal state. Music educators will not be the only ones who benefit from this rounded, wide-ranging and yet focused study on the background, uses, meanings, and educational potential of hip-hop. This very readable account has the rare gift of being both entertaining and scholarly. It gives much food for thought as well as practical advice for teachers, and it represents a much-needed addition to the literature on both hip-hop and music education. Snell and Söderman’s book is a welcome and timely text that draws attention to hip-hop beyond its most visible, commodified forms in popular culture and that challenges the bases of assumptions made surrounding hip-hop scholarship. The authors approach their subject matter with humility, and in doing so, provide a thought-provoking and valuable collection of essays that will surely appeal to scholars in a range of fields, including popular music studies, ethnomusicology, applied ethnomusicology, music education, and music teacher education. A block party of a book—Snell and Söderman mix and remix educational orthodoxies into a whole new sound.