Lyricism

Matt Altstiel
11/14/06
GLOS 3900

Lyricism and the Lyricist Response Paper

After witnessing the lyricism workshop presented by Ill Chemistry, one can clearly see the correlation between theory and practice. The study of lyricism and actually producing lyrics, while mutually exclusive, provides a stronger basis for the development of both aspects. Obviously, if one listens to radio rap or Crunk, one cannot gain the same appreciation for the music as a lyrical form as one would by listening to rappers such as Mos Def or Rakim. While the practice leads to the development of a personal voice and increasingly lyrical complexity, learning about lyrical forms and studying paramount lyricists provides a format for lyrical experimentation. For instance, after one can successfully duplicate a certain MC’s flow, one can incorporate new styles within his or her lyrical arsenal. Furthermore, rap music, if done correctly follows an apprenticeship system in which the teacher passes down lyrical knowledge and the art of performance. This paper intends to provide a definition for lyricism, a discussion of both elements (theory and practice) separately, and emphasis on the correlation between the two.

Lyricism as a defined by the Dictionary is “the character or quality of subjectivity and sensuality of expression, especially in the arts.”[1] Rap lyricism, however; requires a different definition. Based on the workshop and by what this writer has learned through the years as both a rap music listener and practitioner, lyricism involves six distinct components.[2] The first of these components focuses on communication with the listener. This element refers with what type of message is being conveyed and how it is told. The second involves the story line, or narrative element of the lyrics. Does the MC present a fully developed song linking verses or choruses, or does each stand unattached without a coherent theme? The third element focuses on how the lyrics and their delivery hooks the listener. Various vocal styles, pneumonic devices, and lyrical twists are used to grab attention and focus the listener. Closely related to the hook, patterns and word play add complexity and emphasis towards selected lyrical segments. Another key element of lyricism requires that the lyrics must be able to transcend the accompanying music.[3] As the highest form of poetry, rap lyrics are firmly grounded within the tradition of not only the oral, but also the written. Lastly, the intention of the lyrics, that is, the reason while the rapper feels the need to express certain words, thematic elements, or convictions, is paramount to lyricism as an artistic form.[4]

Rap lyrics differ from traditional poetry forms on several levels. Maulpoix agrees, saying “Lyricism challenges, it is the most obscure part of the process of poetic creation and may be of our intimate relationship to language which it compels us to examine.”[5] While learning about lyricism and rap music, one can quickly gauge that rappers have much more creatively liberty than poets who follow traditional forms of rhyme and meter. For instance, internal rhyme schemes, the use of inarticulate sounds and line length can vary greatly within the sequence of a single verse. By the same token, while content is crucial to the lyrics themselves, the rhythm and tone follows a longer line of oral tradition. To sum up the former, Rose comments, “rap lyrics are oral performances that display written (literate) forms of thought and communication.”[6] Just as any good literature seeks to communicate with the reader, rap lyricists invoke intense lyrical imagery to convey messages, albeit at a much more rapid rate.

The process of learning about Hip Hop, and its best lyricists involves a number of processes on the part of the learner. The first is to gain an ample appreciation and understanding for the music and the lyricism contained within the music, just as a novice reader will not recognize the difference between good and bad literature. Rose explains, “rap is a process of cultural literacy and intertextual reference.”[7] If one only listens to the standard radio rap, often devoid of meaning, it is likely the actual practice (attempt at producing lyrics) will yield meaningless lyrical results. Furthermore, without sufficient exposure to rap music and lyricism, one cannot hope to create meaningful or coherent raps because they lack the knowledge. To give an example, one could not write a haiku if one had never read one or understood its form. As in any type of writing, the development of an ample vocabulary, familiarity with differing styles and experimentation using existing parameters leads to the formation of an individual narrative (personal style).

The studied analysis of lyrical content provides insight into the intention of any rap song, album and artist. Certain lyricists have the power “to move, to help relate, and change minds” and viewpoints.[8] Thematic elements of lyrics serve as entertainment and propaganda in a way similar any good position paper would. As an example, “8 Mile is Eminem’s originary political symbol: it represents the root cause of American working-class political weakness and suffering: the endurance of white supremacy.”[9] That is, lyrics portray a certain viewpoint and attempt to move the listener/reader to accept their position. Great lyricists can be catalysts for social change and invention. Studying individual lyrics gives the reader/listener often unparalleled access into an individual set of realities that can aid in the formation of one’s own identity or of a larger collective group identity. Lyrics and the way they are delivered allows for an instantaneous and memorable connection between artist and listener, nearly impossible to replicate in any other form of written/lyrical expression.

The workshop included a list of various lyricists who all have shaped artistic development and lyrical expression in some form. By studying and incorporating these elements, one can absorb these elements to their advantage as a potential lyricist/MC. The theatrical storytelling of Rakim, the word tricks and rapid fire delivery of Eminem, and the awe inspiring command (presence) of Brother Ali; combine together to form a cohesive guide for successful lyricism.[10]
The practice of lyricism, (the art of rhyme) involves a much more personal investment with lyricism since one intends to produce rather than simply absorb lyrics. Using the definition provided for lyricism, one attempts to convey a unique set of realities and expression. Just as it is important to familiarize oneself with the art of lyricism, it is vital to first replicate and move beyond in practice. Many listeners will often find themselves rapping along to the original lyrics of a rap song. This practice then leads to the conscious step of producing individual, uniquely original lyrics. As with any artistic process, it is a process of trial and error. According to Rehn and Skold, the production of lyrics, “represents a very clear pattern where organizing discourse that doesn’t merely represent a ‘way into’ phenomenon, but a case where organization discourse quite explicitly stands as the creation of value – not metaphorically, really keeping it real.”[11] Finding a personal style means experimentation, finding which lyrical patterns and expressions are more successful than others leads to a unique form.

Lyrical content can dictate the lyrical form. It is from the knowledge provided by life experience and the lessons one has learned that helps determine the subjects that are important to the MC. Developing these thematic elements allows the MC to execute the elements of lyricism. Namely, how the MC communicates, hooks, and tells a story to the listener. The passion, or lack of passion one feels for a certain subject becomes manifest in the production of lyricism. If a thematic element matters to the MC, the production of lyrics becomes much easier and helps eliminate bad writing. Carnage explained that the lyrical content and intention for writing helpz answer the questions: why do I rap, why do I feel compelled to perform, and what makes my message and viewpoint unique?[12] Rose comments on the production of lyrics as a “critical part of a rappers identity, strongly suggesting the importance of authorship and individuality in rap.”[13] Once again, lyrical content and self identification are often subject to trial and error. The participation between listener (learner) and lyricist (producer) is a crucial reciprocal relationship. The give and take, accepting change and criticism allows the MC to further hone their style and narrative voice. In theory, the more one practices and performs, the better lyricist they will be.

Lyrical form can add and transform lyrical content. The parameters of the beat allow for different types of flow, rhyme and meter. The beat also compliments (or should) complement the lyrical content being expressed by the MC. Experimentation with form can keep lyrical content organic and fresh. Internal rhymes and increasingly intricate rhythmic patterns can be learned from the study of rap music, but can only be successfully employed through the actual production and practice. Desdamona reflected that free form accapella performance loosens the form and can reveal new patterns and word play.[14] At the same time, even thinking about the form will create lyrics within the mind of the MC. A beat or sound will trigger certain emotions, compelling the production of lyrics.

As previously alluded to, the apprenticeship involved in Hop Hop in all its forms, links theory with application. From learning about lyricism and rap music, one gains the curiosity to produce lyrical content and perform those lyrics. The apprenticeship means that one must have ample knowledge learned about its history, (paying dues, enduring artistic struggle) in order to gain access to the knowledge accumulated by a Hip Hop elder. Given the resources and attention of the apprenticeship, one takes learned knowledge and expands upon it creating new knowledge. Thus while the theory and practice of lyricism remains distinct elements, the give and take between the two makes them closely related and cohesive components.

Bibliography

Free Dictionary by Farlex. Lyricism. 2000, 2003. 10 Nov. 2006.

Ill Chemistry. Lyricism and the Lyricist. Carlson School of Business Management, University of Minnesota – Twin Cities, Minneapolis, MN. 7 Nov. 2006.

Maulpoix, Jean Michel. About Lyricism. March 2000. Jean Michel Maulpoix and Cie. 14 Nov. 2006.

Rehn, Alf and Skold, David. Makin it and Keepin it Real. Stockholm, Sweden: INDEK Royal Institute of Technology Press, 2005.

Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, CT: Wesleyan University Press, 1994.

Scott, Jonathan. The Staying Power of Rap. 21 Oct. 2005. Chicken Bones: A Journal. 13 Nov. 2006.

[1] http://www.thefreedictionary.com/lyricism
[2]
[3] Ill Chemistry 7 Nov. 2006
[4] Ill Chemistry 7 Nov. 2006
[5] Maulpoix, :www.maulpoix.net/lyrismea.htm
[6] Rose pg. 88
[7] Rose pg. 86
[8] Ill Chemistry 7 Nov. 2006
[9] Scott, http://www.nathanielturner.com/stayingpowerofrap.htm
[10] Ill Chemistry 7 Nov. 2006.
[11] Rehn and Skold pg. 5
[12] Ill Chemistry 7 Nov. 2006.
[13] Rose pg. 95
[14] Ill Chemistry 7 Nov. 2006