Paper 1: TRADITIONAL ABSTRACT VS THE RAP ABSTRACT
Toward Equity in Accepted Forms of Scholarly Communication
I introduce a conceptual basis for putting traditional and alternative scholarly communication formats on equal footing: cognitive compression. Cognitive compression refers to the ways in which humans alter the structure of information to ease or enhance cognitive processing. We do this unconsciously whenever our brains encode lived experiences as mental representations, and we do this consciously whenever we invent formats/technologies that restructure information for eased/enhanced cognitive processing. For example, the investigation that led to my dissertation took 3. 5 years of lived experience to complete. The dissertation, and all other scholarly communications derived from my investigation are compressed forms of that lived experience, and can be compared in terms of their unique ways of making scientific findings accessible to audiences.
Paper 2: SPEECH PERCEPTION AS A FUNCTION OF RAP EXPERTISE
This study sought to determine whether rap expertise is associated with enhanced knowledge of psychoacoustic similarity. Using a stimulus composed of pseudo-word assonantal half-rhyme triplets (e.g., freet/speet//yeek), expert improvisational rap lyricists were compared to laypersons (non-lyricists) in their judgments of half-rhyme acceptability. According to both a perception-based and a linguistic feature-based measure of psychoacoustic similarity, lyricists were distinct from non-lyricists in the rates at which they found half-rhymes acceptable, and in how group responses were correlated with the similarity measures. Data indicate that, compared to non-lyricists, lyricists’ half-rhyme acceptance rates are more highly correlated with linguistic features that have more robust perceptual cues. Evidence suggests that lyricists and non-lyricists employ different strategies for determining the acceptability of half-rhymes, and that lyricists might be more sensitive or attuned to similar aspects of speech sounds.
How do we maximize the ways in which Hip-Hop education (or our conception thereof) is informed by the exploration of perception, cognition and learning in expert Hip Hoppaz’ practice?
How might we ensure that insights from the investigation of Hip-Hop expertise optimally benefit the Hip Hop community and Kulture, and do so in ways that insulate it from exploitation by institutions (including the record industry and even the academy)?