This dissertation is a study of the Deaf hip hop movement in the United States. It examines the trajectories of major figures in the development of this movement who have been brought together by way of their expression of music from a Deaf view of the world -- one that builds on the foundation of hip hop to create a new style based on Deaf aesthetics that expand notions of music to other sensory realms of the body. While this view is informed both by an experience of deafness as well as Deaf culture (a linguistic minority that uses sign language as its primary form of communication), music in Deaf culture is, and has been, in constant dialogue with the larger society in which the Deaf live, one that emphasizes the use of aural elements in expressions of music. Through the formation of the dip hop movement, dip hop artists strengthen a sense of Deafhood and address challenges presented by mainstream constructions of music that have affected the development of music in Deaf culture. Often realized as a cultural product of the hearing, music has not always been recognized or accepted in the Deaf community. After all, with cultural products like headphones with which to listen to music and concepts like "tone deaf," mainstream constructions of music emphasize aural elements that are not valued in the same way in the Deaf community. For those that are culturally Deaf, musical expression and reception is experienced and conceived through other realms of the body, which, in turn, create entirely different realizations of music based on a Deaf view of the world. Despite this, since Deaf culture exists within the context of a larger culture, hearing-centric constructions of music have permeated perceptions of music in Deaf culture, which limit what music is, and can be, for the Deaf based on hegemonic ideologies that ultimately delegitimize Deaf expressions of music and, by extension, Deaf culture. Yet through the work of dip hop artists, this research explores the ways in which the dip hop movement creates a space for artists to express music from a culturally Deaf perspective, breaks down stereotypes of deafness in society, and bridges divides between the hearing and Deaf community. In order to analyze the agency of the dip hop movement in the United States, and the ways artists negotiate a space in mainstream society for the recognition of music in Deaf culture, I employ post structuralist, deconstructionist, and Marxist theories that also function to open new spheres of discourse about music in Deaf culture. Through these and other theoretical perspectives, this work investigates the complex ways Deaf culture exists in society, examines the influence hegemonic productions of music have on Deaf culture, and explores the ways dip hop artists build on foundational elements and the culture of hip hop to create a new style of music that subverts mainstream ideologies of music while providing an outlet of expression for Deaf culture to be heard. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2015. / April 7, 2015. / Deaf, dip hop, hearing-centrism, hip hop, linguistic minority, music / Includes bibliographical references. / Frank Gunderson, Professor Directing Dissertation; Michael Uzendoski, University Representative; Michael B. Bakan, Committee Member; Alice-Ann Darrow, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_253438 |
| Contributors | Best, Katelyn E. (authoraut), Gunderson, Frank D. (professor directing dissertation), Uzendoski, Michael (university representative), Bakan, Michael B. (committee member), Darrow, Alice-Ann (committee member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University, Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text |
| Format | 1 online resource (258 pages), computer, application/pdf |
| Rights | This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). The copyright in theses and dissertations completed at Florida State University is held by the students who author them. |
Page generated in 0.002 seconds