This dissertation analyzes the production discography of hip-hop producer James Yancey, known dur... more This dissertation analyzes the production discography of hip-hop producer James Yancey, known during his lifetime as Jay Dee or J Dilla, through the lens of African diasporic forms of Signifyin(g). This is based on the definitions by scholars such as Henry Louis Gates, Jr. and Samuel Floyd, applying the concept of Signifyin(g), or the act of artists obscuring or providing multiple meanings to their audience, as a basis for analysis. The dissertation is presented in two parts. Part one analyzes several hip-hop music production techniques that J Dilla was well known for that make up his “signature sound” as a producer, such as unique rhythmic patterns and digital sampling. Part two then observes these techniques as musical signifiers and considers how they have been reinterpreted and commodified by other producers in both online and live spaces, viewing online hip-hop beat- making communities as what Henry Jenkins calls “participatory cultures.” Through these two parts, I will highlight how J Dilla’s production discography has influenced hip-hop production since his death in 2006, as well as how the act of Signifyin(g) functions and is crucial to hip-hop production. By observing the function and meanings within acts of Signifyin(g) in this analysis, we will be able to have a better understanding of how hip-hop producers approach the composition of their productions by connecting it with Afrodiasporic cultural forms and practices. The seven chapters of this dissertation use aspects of music theory, ethnomusicology, and cultural studies to analyze various facets of music production, hip-hop history, internet platforms, and live electronic music performance, all in relation to the music and legacy of J Dilla. Musical details and figures are given and are heavily informed by my own experience as a hip-hop producer. These together make up both a valuable analysis of how J Dilla has influenced hip-hop production after 2006 as well as provide a new framework for future analysis of hip-hop production.
The late James Yancey, known by his producer name of Jay Dee or J Dilla, is considered by many hi... more The late James Yancey, known by his producer name of Jay Dee or J Dilla, is considered by many hip-hop scholars and musicians to be one of the most influential producers of the genre. His techniques of sampling are some of the most creative and intricate in the world of hip-hop beat making and are viewed as virtuosic in their own right. By analyzing his compositional process through selected tracks on his seminal (and final) album Donuts, I will be exploring how Dilla used over seventy-five samples from a variety of music genres and artists to create a sonic collage that is one of the most influential instrumental works of hip-hop genre. This analysis will demonstrate the sampling techniques of J Dilla, illustrating methodologies for analyzing specific sampling techniques. Out of the thirty-one tracks on the album Donuts, I will be analyzing several tracks within the three main chapters of the thesis: “Workinonit,” “Mash,” “Time: Donut of the Heart,” “Glazed,” and “Don’t Cry.” By applying specific methodologies of analysis to specific tracks on Donuts, I highlight the complexities and nuances involved in transforming the original sampled audio into an entirely new piece of music.
This dissertation analyzes the production discography of hip-hop producer James Yancey, known dur... more This dissertation analyzes the production discography of hip-hop producer James Yancey, known during his lifetime as Jay Dee or J Dilla, through the lens of African diasporic forms of Signifyin(g). This is based on the definitions by scholars such as Henry Louis Gates, Jr. and Samuel Floyd, applying the concept of Signifyin(g), or the act of artists obscuring or providing multiple meanings to their audience, as a basis for analysis. The dissertation is presented in two parts. Part one analyzes several hip-hop music production techniques that J Dilla was well known for that make up his “signature sound” as a producer, such as unique rhythmic patterns and digital sampling. Part two then observes these techniques as musical signifiers and considers how they have been reinterpreted and commodified by other producers in both online and live spaces, viewing online hip-hop beat- making communities as what Henry Jenkins calls “participatory cultures.” Through these two parts, I will highlight how J Dilla’s production discography has influenced hip-hop production since his death in 2006, as well as how the act of Signifyin(g) functions and is crucial to hip-hop production. By observing the function and meanings within acts of Signifyin(g) in this analysis, we will be able to have a better understanding of how hip-hop producers approach the composition of their productions by connecting it with Afrodiasporic cultural forms and practices. The seven chapters of this dissertation use aspects of music theory, ethnomusicology, and cultural studies to analyze various facets of music production, hip-hop history, internet platforms, and live electronic music performance, all in relation to the music and legacy of J Dilla. Musical details and figures are given and are heavily informed by my own experience as a hip-hop producer. These together make up both a valuable analysis of how J Dilla has influenced hip-hop production after 2006 as well as provide a new framework for future analysis of hip-hop production.
The late James Yancey, known by his producer name of Jay Dee or J Dilla, is considered by many hi... more The late James Yancey, known by his producer name of Jay Dee or J Dilla, is considered by many hip-hop scholars and musicians to be one of the most influential producers of the genre. His techniques of sampling are some of the most creative and intricate in the world of hip-hop beat making and are viewed as virtuosic in their own right. By analyzing his compositional process through selected tracks on his seminal (and final) album Donuts, I will be exploring how Dilla used over seventy-five samples from a variety of music genres and artists to create a sonic collage that is one of the most influential instrumental works of hip-hop genre. This analysis will demonstrate the sampling techniques of J Dilla, illustrating methodologies for analyzing specific sampling techniques. Out of the thirty-one tracks on the album Donuts, I will be analyzing several tracks within the three main chapters of the thesis: “Workinonit,” “Mash,” “Time: Donut of the Heart,” “Glazed,” and “Don’t Cry.” By applying specific methodologies of analysis to specific tracks on Donuts, I highlight the complexities and nuances involved in transforming the original sampled audio into an entirely new piece of music.
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The seven chapters of this dissertation use aspects of music theory, ethnomusicology, and cultural studies to analyze various facets of music production, hip-hop history, internet platforms, and live electronic music performance, all in relation to the music and legacy of J Dilla. Musical details and figures are given and are heavily informed by my own experience as a hip-hop producer. These together make up both a valuable analysis of how J Dilla has influenced hip-hop production after 2006 as well as provide a new framework for future analysis of hip-hop production.
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk
The seven chapters of this dissertation use aspects of music theory, ethnomusicology, and cultural studies to analyze various facets of music production, hip-hop history, internet platforms, and live electronic music performance, all in relation to the music and legacy of J Dilla. Musical details and figures are given and are heavily informed by my own experience as a hip-hop producer. These together make up both a valuable analysis of how J Dilla has influenced hip-hop production after 2006 as well as provide a new framework for future analysis of hip-hop production.
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk