Degree Year

2013

Document Type

Thesis

Degree Name

Bachelor of Arts

Department

Musicology

Advisor(s)

Jennifer Fraser

Keywords

Genre, Authenticity, Semiotics, Country music, Hip-hop, Country-rap, Hick-hop, Colt Tord, The Lacs, Cowboy Troy, Lenny Cooper, Jason Aldean

Abstract

Within the United States, few genres incite as vehement of a reaction as Country and Hip-Hop music, and both of these genres have faced a history of marginalization by the mainstream media corporations and by the broader population of the US. The reason for this marginalization often stems from the racial and class associations of the communities that produce this music, and the relationship between these genres and the broader population is well documented. What remains under-discussed is the relationship between these two communities. This study explores this relationship through an analysis of Country-Rap music, a sub-genre of Country music that is largely unrecognized by the Hip-Hop community, and which has reached mainstream radio only within the past few years.

Using a semiotic-based analysis of the lyrics, music, and performance practices of Country-Rap artists, as well as the online community that consumes Country-Rap music, this study explores the ways in which the Country community is simultaneously tolerant and ignorant of the young, black, urban culture embodied by the Hip-Hop genre. Incorporating discussion of the language invoked by such an analysis, such as "genre" and "authenticity," I explore the ways in which Country-Rap music is a reflection of the race and class considerations that have plagued both communities. I ultimately aim to provoke further discussion of how our reaction to a community's music can be seen as a reflection of our opinion towards the culture and people of that same community.

Included in

Musicology Commons

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