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1981
1-2: Hip Hop Atlas
  • ISSN: 2632-6825
  • E-ISSN: 2632-6833

Abstract

The contribution shows how rap music in Chile is related to the changes in music production and the relationship between cultural industries and self-management processes due to technological advancements. Based on Howard Becker’s concept of art worlds, it analyses the collaborative networks in the rap music scene, including musicians, record labels and media. The contribution also examines the impact of technology, musical instruments, and spaces on music production, consumption and distribution. Lastly, it emphasizes the importance of different meeting points in Santiago, the capital city and the center of the country’s hip hop scene, from 1983 to the present day.

Funding
This study was supported by the:
  • Agencia Nacional de Investigación y Desarrollo de Chile (Award 3220141)
  • Núcleo Milenio en Culturas Musicales y Sonoras (CMUS) (Award NCS2022_016)
This article is Open Access under the terms of the Creative Commons Attribution-NonCommercial 4.0 International licence (CC BY-NC), which allows users to copy, distribute, transmit and adapt the article, as long as the author is attributed and the article is not used for commercial purposes. To view a copy of the licence, visit https://creativecommons.org/licenses/by-nc/4.0/
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/content/journals/10.1386/ghhs_00059_1
2023-12-20
2024-05-02
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