Linear mixed-effect models showed that the total number of words and the use of self-reference in popular music lyrics changed significantly as a function of musicians’ gender distribution over time, and particularly around the three critical inflection points identified. The most critical inflection points leading to changes in the prevalence of female musicians were in 1968, 1976, and 1984. However, the presence of female musicians increased significantly over the time span. Results showed a significant inequality in gender representation on the charts.
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DICTION software facilitated a computerised analysis of the lyrics, measuring a total of 36 lyrical variables per song.
Using data mining and machine learning techniques, we analysed all songs that reached the UK weekly top 5 sales charts from 1960 to 2015 (4,222 songs).
The present study investigated how the gender distribution of the United Kingdom’s most popular artists has changed over time and the extent to which these changes might relate to popular music lyrics. However, today rap is fairly linked to an almost obsessive quest for money and success, having freedom and revolution ideals been nearly erased from its lyrics. As a consequence, new musical styles were set up, till the most current – rap –, which originated as a music to express social protest and wishes to change, to freedom for the black population. With the passing of time, a blend between African and American cultures derived in what we know as African-American culture. Following that, there will be a discussion about whether the latter had any influence on the music of slaves in order for this to survive. After that, a study will be done about the ways that this kind of music lived with the one that predominated at that time among the inhabitants of the emerging United States of America – the majority of them being whites –, as it was deeply bound to religion. For this, characteristics of African music will be first reviewed. That is to say, if rap directly comes from the music that the first slaves to arrive in North American soil brought with them. The purpose of this thesis is to demonstrate, if possible, whether there is any relation between rap and African-American music. A special thanks goes to professor Patricia Irwin (Swarthmore) for their insight on language stigmatization models and her course LING 41 Dialects of American English, as well professor Jane Chandlee (Haverford), Clare Hanlon (Swarthmore), and Jackson Ramsey (Swarthmore) for their outstanding feedback over the course of this thesis S completion. Ultimately, the unfair stigmatization of these artists will be made clear. Additionally, I will question the importance of intelligibility in hip-hop music by offering different means of extracting semantic value from an utterance. By using language stigmatization models, explanations for the misguided usage of the term and the criticisms of naysayers will be offered. I will show that Mumble Rap is not used to describe any sort of linguistic property and that this perception of so-called mumbling is simply a phonetic phenomenon that is fairly common throughout any given language. In doing so, I will attempt to refute the unfair criticisms of those that do not care for this new wave of hip-hop. 1 In this thesis I will argue that the term "Mumble Rap" fails to function as an accurate descriptor ofa new generation of mainstream American hip-hop artists, instead being used to mainly disparage its artists, sounds, and ideologies.
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