Performance of gran can you rap

What is Rap? You can rap about the ceiling, you can rap about the floor, You can rap about the window, write a rap on the door. You can rap about a mystery hidden in a box, The rhythm keeps the tap on a regular beat You can rap about a pair of smelly old socks. And the rhyme helps to wrap your rap up neat. Tony Mittom. Gran, Can You Rap? Gran was in her chair she was taking a nap When I tapped her on the shoulder to see if she could rap Gran, can you rap?

Can you Gran? Rap Starters The disco sheep danced down the street He stomped his feet to a disco beat Can you do a rap? Both corpora arrived at similar results. Both found a preponderance of end rhymes occurring on or near successive fourth beats of the measure clinching a minor assertion about style made by Adams in his article.

Whereas Condit-Schulz's application of the corpus was aimed at diagnosing historical trends, Ohriner's article ends with a close reading of one of his oddest outliers; emcee T-Mo Goodie's first verse from "Mainstream" by Outkast. In this verse, the drums articulate common meter while the rapping is more neatly understood with triple groupings.

This is an example of the kind of rhythmic play that these corpora should draw to our attention, highlighting the peculiarity of a given passage with respect to a wider corpus.

Ohriner's corpus proves that it can empirically identify critically salient passages of flow and highlight the specific ways in which outlying passages deviate from stylistic norms. Although I began the commentary by commending the author's approach to rap as music, I feel that both authors might have benefitted from including a brief discussion of the performativity of rap and the unique problems faced by a corpus approach to a basically performative musical tradition.

By encoding recordings, we take as our analytical object something with fixed internal relationships, and it is not necessarily the case that the complete meaning of the term "flow" would be captured by such an approach. In addition, a discussion of performativity would reinforce the overarching distinction between rap as poetry and rap as music i. It is this demonstration of the musicality of rap that I take to be these essays' most important contributions to the study of their repertoire.

Submitted July 15; accepted October Music Theory Online, 15 5. Condit-Schultz, N. Empirical Musicology Review 11 2 , — The Rapper's Flow Encyclopedia [blog post]. Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press. Ohriner, M. Empty reply does not make any sense for the end user. Would also love a powerpoint or google slide version and can't open notebooks either. As I'm working from home I can't open the notebooks.

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