This also refers to ideological and colonial hegemonies and perceived racial and cultural prejudice that has been a major motivating force in this form of artistic expression. This can be linked to theories of ideological hegemony that are seen as pivotal aspect in the development of Black consciousness and consequently in the musical expression of that consciousness. According to theorists like Gramsci, ideological hegemony functions by control and domination not only through force but also through cultural forms of persuasion. In other words, the best way to achieve control over a subordinate group is by "...means of cultural domination among all sectors in society" (Kopano). However, these attempts at cultural domination by one group bring about a concomitant reaction for those who are being oppressed. This is in turn related to forms of political and cultural "action," such as new forms of musical and artistic expression. These forms of cultural resistance can be seen in popularity of Rap styles and lyrics. Kopano (2005) expresses this important aspect as follows.

Blacks in the African diaspora have used language and music as a form of cultural resistance.... rap music was created and continues to be used as a form of cultural resistance. In doing so, Blacks have used sounds different from their oppressors and often tap into a Black rhetorical and cultural tradition to effectuate this resistance.

Kopano)

These factors in the development of Rap music are evident in the more recent form of this musical style. For instance, in the 1970s African - American composers such as Gil Scott-Heron and George Clinton began to use lyrics that were politically inclined. They also began to use rhythmic poetry that was sung or spoken over a simple but powerful background track. An example of this is the 1976 song, "The Revolution Will Not Be Televised," which include a sermon about political revolution in the country. (Wood 129). These...

The first is the African cultural traditions of oral story telling, vocalization and other cultural aspect that were retained by the slaves who went to America. Coupled with this aspect is the more political and social desire for freedom from oppression which has also shaped many of the characteristics of Rap music. The issue of cultural domination in the United States as well as in many other countries brought about a movement of resistance which, to a large extent, is voiced and expressed in the contrary and unconventional styles and lyrics of Rap music,
Works Cited

KEYES C.L. (2002) Rap Music and Street Consciousness. Urbana and Chicago: University of Illinois Press.

A www.questiaschool.com/PM.qst?a=o&d=5001926756

Kopano, Baruti N. "Rap Music as an Extension of the Black Rhetorical Tradition: "Keepin' it Real." The Western Journal of Black Studies 26.4 (2002): 204+. Questia. 31 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=5001926756.

A www.questiaschool.com/PM.qst?a=o&d=5009435925

Marino, Michael. "Rap Music and Street Consciousness." Popular Music and Society 28.2 (2005): 271+. Questia. 31 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=5009435925.

A www.questiaschool.com/PM.qst?a=o&d=105683086

Ramsey, Guthrie P. Race Music: Black Cultures from Bebop to Hip-Hop. Berkeley, CA: University of California Press, 2003. Questia. 31 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=105683091.

A www.questiaschool.com/PM.qst?a=o&d=5001869554

Wood, Brent. "Understanding Rap as Rhetorical Folk-Poetry." Mosaic (Winnipeg) 32.4 (1999): 129. Questia. 31 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=5001869554.