[This is an assignment for Source Study, Paleography and Editorial Practices 2021]
In my quest to understand the best ways to analyze Russian Hip-Hop, understanding the network and inner-workings of the musical fabric as it unfolds in time, I cannot help but think that much of the dilemma revolves around the non-notational nature of the genre, and the inability to systematically reduce the musical material to a two-dimensional constitution. Nevertheless, using Sonic Visualizer and its Spectrogram function (along with its tempo graph function which, unfortunately, does involve a margin of error in its processes) at least one theoretical way to delineate the musical textures as play can be achieved. If it's the most effect manner of analysis is up for debate but many interesting things can be seen when using the Spectrogram functionality, everything from texture to timbre to sonic density.
Due to the theoretical nature of this attempt at analysis I have created headers and points therein instead of a one narratival structure, as it was easier to mark observations that way. Pictures of the Spectrogram are provided at the bottom of this post if you're interested in seeing them. In the first photo, five points are circled and I explain what they show below.
Melody, Ostinato, Vocal Line
D Bb D Bb A G# D
[C# A C# A G# G C#]
4 measure phrasal construction
In the track, the pitch of the notes is somewhat destabilized (dirtied with wave-form editing) and this then offsets a feeling of tonality or observable modality
He uses a insatiable tonality between the two options listed, to the point where I am not quite sure which is being used and a clear idea of tonality is eschewed
C to C#
slow minor second
He hugs the ostinato into the track’s genetics, placing it forward at the beginning before shifting it backwards
C then spoken/sung
The vocal line remains more or less a single note which then oscillated with spoken-qua-sung lyrics which have a musicality to it, although not yet singing
Textural Constitution
Sheet Music Functionality
Timbral Consistency
Instrumental Delineation
Psychological Instigators
One Problem
In the first photo where there are five circles present, all which signify three aspects of the musical material. The first large circle on the left corresponds (roughly) to the main melody which first sounds in the song. Although not being the main notes (I think), they are the overtones to the melody which helps to pinpoint the rhythmic structure of the melody. The second smaller circle is the beginning of the minor second ostinato that circulates throughout the entire track, although taking on different affects when placed in either the foreground or background of the track. Like I had said, those psychological modifiers that lie outside our realm of thought can be (in a way) seen using the Spectrogram. The smaller two circles signify sound effects placed on the high points of the first instance of melody in the introduction of the song. Notice how, in the first iteration, the form of the disturbance is set and in the second iteration, that same form is then repeated three times. It's interesting to note that it takes the shape of a circle with a line through it, and how this shape (and its pitch) is conveyed through sound. The final large circle to the right marks the beginning of the vocal line once Husky begins the main chorus. Notice the density of the vocal texture!
I hope you enjoy this brief (and very incomplete) usage of Sonic Visualizer in the rap genre!
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