Aesthetic Analysis: Slaughterhouse Music Group - Case Study Example

First Sur Number 11 September Slaughterhouse music group Slaughterhouse (2008) is a hip hop group that was formed in late 2008. This was after Royce da 5’9”, Crooked I and Joell Ortiz performed on the “Slaughterhouse” song from Joe Budden’s album known as the Halfway (Krumhansl 53--80) House and they got these names from this song. This group consists of rappers such as Royce da 5’9” Joell Ortiz, Crooked I and Joe Budden (Krumhansl 53--80). On 11th August 2009, “Slaughterhouse” the groups self-titled debut album was released on E1 Music. In early June, the album was reportedly put into recording for a period of six days. This album features production from Focus, Street Runner, DJ Khalil, the Alchemist, and D12’s Mr. Porter (Krumhansl 53--80). Through Joe Budden’s twitter, first street single track “Hop “which was formerly known as “Woodstock” was released. This took place on 18th June 2009 and it featured M.O.P. on the hook (Krumhansl 53--80). “The One” will be first official single of the group from the album and a video that has been directed by Rik been shot already. Due to the clearance of the sample, an announcement was made concerning “Woodstock” not appearing on the last cut of the album (Krumhansl 53--80). All the members in the Slaughterhouse song share some controversy degree in the music industry from their past (Krumhansl 53--80). From 1999-2003, Crooked I was signed to the Suge Knight’s label on the Death Row which he immediately left when his projects were among the label disintegration as a result of Knights problems with the law which was unending (Krumhansl 53--80). Another member of the group, Joe Budden had original achievement in the early 2000s when he signed to Def Jam. For some unknown reasons he fell out of Jay-Z’s favor when crooked I was signed head of the label. Eventually Budden left Def Jam and produced a rivalry track to Jay-Z which was entitled “Talk To ‘Em.” From New York (Krumhansl 53--80), Joell Ortiz was signed to Dr. Dre’s Aftermath label. He later left after he discovered that his album could not be released till Dr. Dre and Eminem had both released their projects respectively. Lastly, Royce Da 5’9” (Benward and White) from Detroit is well recognized for his feud and falling out with both D12 and Eminem but the two sides have reconciled since then. All the four men in this song discourse these matters in the Slaughterhouse song known as Move On or rather the Slaughter House Remix which informs all the interviewers everywhere that they should comprehend that their pasts are behind them and that queries relating to these events are not appropriate. The group later released this song in March 2009 (Benward and White). Currently, slaughterhouse is working towards the release of welcome to: Our House a Shady Records debut on June 12th (Krumhansl 53--80). When the four group of men was interviewed by Bootleg Kev, the group got a confirmation that Eminem was going to produce on the album and that DJ Premier, who had promised to work with them would not (Benward and White). After the slaughterhouse group overcame difficulties been solo on various journeys, their paths as well met. The quartet blessed a track which they titled it “Slaughterhouse,” along with Nino bless (Benward and White). At first it appeared like a one-off on who had the best verse but eventually the song proved to be more than that. This commenced the beginning of the four group of men. Critical approval shadowed as the group produced free group project as the video came along (Benward and White; Vasquez). Slaughterhouse’s Shady debut turned out to be heavily anticipated as Eminem’s backing as well as fans were excited and so curious about what the result would be. The group’s first album well known as the independent project, was highly appreciated and also well received LP that the Shady record expectations were through the roof (Vasquez). During the dialogue with HipHopDX, Joe Budden and Crooked I spoke about their group’s camaraderie as well as the contribution of Eminem to their album, their failures and successes, “Truth or Truth” (Benward and White) and also “Goodbye.” In the interview they also talk about welcome to: Our House, they also talk about their personalities and also the significance of rhyming concerning their individual lives (Benward and White). . Music theory, analysis, and composition Music theory describes the elements and components of music and it also includes the application and development of means for composing (Vasquez), writing and for music analysis through both musical sound itself and notation. Generally, music theory may be inclusive of any belief, statement (Vasquez), or conception of or concerning music. Some of the well-known music theorists try to explain some of the technique that composers, such as Slaughterhouse, use by determining the rules and the patterns that they use while they compose their music (Vasquez). Some music theorists model the proficiency of performing or listening to music. Although they are extremely different in their commitments and interests, majority of Western music theorists seem to unite in the beliefs that the composing, listening to and performing music may be elucidated to a higher degree due to the details (Vasquez). Generally, music theorists are both prescriptive and descriptive, as they attempt to both define the practice and to also influence later practice. Therefore, music theory seems to lag behind preparations but it also points to the future composition, exploration, and the performance (Vasquez). Musicians ought to study music theory so as to have a better understanding of the structural relationships in music (Benward and White; Vasquez). This band, Slaughterhouse, expresses the understanding of music theory as they express the composition and performance of their music in a well sorted and planed manner although they have not yet achieved the intended iconography (Vasquez). For example in the song ‘Monsters in My Head’ (Krumhansl 53--80) they express their lyrics through the way they perform the song. They broadly speak and express the music theory as they focus on the counterpoint and harmony of the composed songs and they largely try to use these to explain and express the structure and creation of melody (Benward and White). Music psychology and cognition The disciplines, music psychology and cognition, share the intropunitive nature of turfs such as the cognitive linguistics in music (Vasquez). In the case of Slaughter house they use the expression and visual expressions that represent the cognitive discipline in their songs and music videos such as the one from their first album known as ‘Slaughterhouse”. Cognitive musicology (Vasquez) stresses on the application of computational models in music production which is evident in almost all songs by Slaughterhouse as they use super bass, and computational models in their music and music videos to increase (Vasquez) the visual effects and viability of their songs by a great margin. Although the technique is not unique to them they have a special way of expression this cognitive musicology in music videos such as in “Funkmaster Flex Freestyle 2011” Performance practice and research Performance practice lure many tools of historical musicology to aid in the answering of some specific question regarding how music used to be performed in different places at different times in history (Vasquez). Though formerly restrained to early music, recent studies in the practices of performance have encompassed questions (Benward and White). In the documentation and certification of musicology, performance practice is used to stress the synthesis of evidence concerning how music ought to be performed. In the band that is being discussed in this article does not show the use of music psychology and cognition as they imply only the modern styles of music and use of modern instruments (Benward and White). Works cited Benward, Bruce and Gary White. "Music in theory and practice." Brown \& Benchmark, (1993): Print. Krumhansl, Carol L. "Music psychology and music theory: Problems and prospects." Music Theory Spectrum, 17. 1 (1995): 53--80. Print. Tagg, Philip. "Analysing popular music: theory, method and practice." Popular Music, 2. (1982): 37--67. Print. Vasquez, Andres. "Slaughterhouse Says Eminem Was "Big Difference" On "welcome to: Our House," Share Stories Behind "Goodbye" & "Truth Or Truth" | Rappers Talk Hip Hop Beef & Old School Hip Hop | HipHop DX." Hiphopdx.com, 2014. Web. 7 Apr 2014. . Read More