Almost two decades after its birth, trap music is now a worldwide phenomenon. Nevertheless, despite its popularity - or better, precisely because of it - in the past years trap music has been heavily criticized over and over again, being depicted as an evil force that is gradually wiping out musical diversity from the world. But is trap music really always the same? To answer this question, this Master Thesis analyzed the Italian trap music case, one of the many examples of trap music glocalization. This Thesis had a dual approach: first, descriptive, and then quantitative, in order to present the most objective evaluation possible. The descriptive analysis compared our global music form - namely, American trap music - and of our glocal music form - namely, Italian trap music. Then, the findings of the aforementioned analysis were used to better specify the similarities and differences of the two music forms, both in terms of sound and of feelings. Finally, the findings were tested using some of the so-called Spotify audio features. The quantitative analysis confirmed the two main hypotheses of the Thesis: Italian trap music sound very similar to American trap music, but ultimately feels quite different from it.
|Educations||MSocSc in Management of Creative Business Processes , (Graduate Programme) Final Thesis|
|Number of pages||78|