Analyzing Vocables in Rap

Abstract

This article examines the structural and semiotic functions of vocables in rap music. Analytical studies of the rapping voice have predominantly focused on lyrics, rhyme, accent, rhythm, and the emergent property of flow. Although timbral aspects of the voice play an important role in rappers’ flow, identity construction, and reception, investigations of timbre and non-lexical expression (e.g., vocables) remain comparatively rare. As a case study, I focus on the signature ad-lib vocable of Houston rapper Megan Thee Stallion—a creaky-voiced [æ] vowel, like the “a” in cat. Analyzing a corpus of all recorded instances of this vocable in her commercially available recordings (699 instances in 101 songs), along with timbral and phonetic close-reading, I claim that vocables can serve both percussive and formal functions in rap music. Synthesizing perspectives from sociolinguistics, gender and sexuality studies, and brand theory, I argue that Megan Thee Stallion uses her vocable as a timbre trademark: a unique, memorable, and immediately recognizable sonic icon of her brand persona. This brand is closely associated with the gendered and racialized social history of vocal fry in representations of female sexual pleasure. I close by suggesting that vocal timbre plays a leading though often invisible role in hip-hop expression and politics.

The First Time I Heard: Black Feminist Approaches to Hip Hop Methodologies

“…Zachary Wallmark (2022) argues that the timbral aspects of our voices play an important role in identity construction and reception. Through an investigation of the signature ad-lib vocable of Megan Thee Stallion—a creaky-voiced [æ] vowel—Wallmark delineates how certain flows and timbre trademarks become “unique, memorable, and immediately recognizable sonic icons of brand persona.” For Wallmark, these vocables are not neutral acoustical techniques; they are “sociophonetic registers,” communicative strategies to signal important information about speaker identities and social positions.…”

“…Zachary Wallmark (2022) argues that the timbral aspects of our voices play an important role in identity construction and reception. Through an investigation of the signature adlib vocable of Megan Thee Stallion-a creaky-voiced [ae] vowel-Wallmark delineates how certain flows and timbre trademarks become "unique, memorable, and immediately recognizable sonic icons of brand persona."…”