“Chinese ruqin, local kouyin”: complexifying the hybridization of Chengdu rap music 用數位方法分析中國說唱的文化混雜 En Zh

Résumé En Zh

The hybridization of Chinese rap music has often been tackled as a unidirectional process where a music style emanating from the United States is simply being localized within China. This article aims at complexifying this binary approach by refining the geographical scales adopted and by seizing a concrete corpus analysis: the almost-exhaustive discography of the CDC Rap House. Through ten years of musical productions, the Chengdu rappers demonstrated a strong polycentric anchorage, mobilizing cultural references from the extreme local to the extreme global, thus challenging previous studies on hybridity. Their songs are thus dissected through different angles: illustrations, remixes, languages, as well as a computed semantic analysis of the lyrics. To enrich the quantitative analysis, testimonies retrieved from personal interviews conducted with actors from the Chengdu music scene are also mobilized. Eventually, the results argue that Chengdu rappers have cultivated a rich and complex cultural hybridity in which American influences only represent a node among many other cultural resources.

中國說唱音樂的混雜化通常被視為一個單向的過程，即源自美國的音樂風格在中國的 簡單本土化。本文旨在通過改進所採用的地理尺度，並抓住一個具體的語料庫進行分 析:成都說唱會館幾乎詳盡無遺的唱片，從而將這種二元方法複雜化。通過十年的音 樂創作，成都說唱歌手展示了強大的多中心錨定，調動了從極端本地到極端全球的文 化參照，從而挑戰了以往關於混雜性的研究。因此，我們從不同角度對他們的歌曲進 行了剖析:插圖、混音、語言以及歌詞的計算語義分析。為了豐富定量分析的內容， 我們還對成都音樂界的參與者進行了個人訪談。最終，分析結果表明，成都說唱歌手 創造了一種豐富而復雜的文化混合體，其中美國的影響只是眾多文化資源中的一個節 點。