音樂不是文學或繪畫，是複雜且肉身無法觸碰的；人類將其用以創造聲響，表達感覺以及與彼此互動。然而，音樂在西方世界時常被視為一封閉系統。每種音樂各有其製作的公式與規則。換言之，音樂會被列入特定的範疇，而其創作的過程受到限制，且形式僵化。但嘻哈音樂全然相反，因它透過取樣與刷碟的技巧供給無限可能性，並將聲音的疆域疊韻去疆域化及再疆域化。這使得嘻哈音樂不滅於時間的考驗，同時持續擴展至其原疆域外，與其他元素連結。
在此論文中，我透過德勒茲與瓜塔里的理論例如組裝、去／再疆域化、疊韻、生成等概念，來探索嘻哈音樂。我以派崔克・尼特的《嘻哈星球筆記》、林－曼努爾・米蘭達的《漢密爾頓》、和傑斯的《解碼》為例，分析這三個文本的獨特性。除了探索這三個文本作為嘻哈的創意組裝外，我也檢視嘻哈的音樂元素，並視察這些具疆域性的響亮疊韻如何開創節奏的能量，以及它們在不同情境如何與各個異類元素互動。

Music is complex and physically intangible, unlike literature and painting; it is a form of art often applied by people to create sounds, express feelings and interact with one another. However, music is often seen as a closed system in western tradition. There are formulas and rules to making a certain type of music respectively. In other words, music is often being categorized, its creation process is limited and forms are rigid. Hip hop specifically is a musical form that is the exact opposite, which provides infinite possibilities through the techniques such as sampling and scratching as it deterritorializes and reterritorializes the territorial refrain of sounds. Furthermore, it grants hip hop music as the sole musical genre to endure the test of time as it constantly functions to expand connectively beyond its original territory with other components.  
In this dissertation, I will explore hip hop music through the theories of Deleuze and Guattari, such as assemblage, deterritorialization, refrain, becoming and so on. I hope to excavate the hidden meanings of hip hop music and see how it sonically functions while interacting with heterogeneous units and moving geographically and conceptually. By bringing the hip hop assemblages into dialogue with Jay-Z’s Decoded, Lin-Manuel Miranda’s Hamilton, and Patrick Neate’s Where You’re At, I discuss how the three texts possess unique rhythmic components that fluidly flow as they join forces or clash against other dynamisms. In addition, I recast the three texts as hip hop creative assemblages so as to bring a new perspective by not only looking into its musical elements, but also the territorial, sonorous refrains that initiate rhythmic forces to interact with numerous different components under various occasions.

Introduction 1
Chapter One 
Deterritorialization in Patrick Neate’s Where You’re At 28
Chapter Two
Rhythmic Refrains in Lin-Manuel Miranda’s Hamilton 60
Chapter Three
Connections and Flow in Jay-Z’s Decoded 107
Conclusion 141
Works Cited 144

50 Cent. “P-I-M-P.” Get Rich or Die Tryin’, Shady, Aftermath, Interscope, Universal, 2003.
Attali, Jacques. Trans. Brian Massumi. Noise: The Political Economy of Music.  Minneapolis: University of Minnesota Press, 1989.
Baranova, Jūratė, et al. Rhythm and Refrain: In Between Philosophy and Arts. Vilnius: Lithuanian University of Educational Sciences, 2016.
Barthes, Roland. Empire of Signs. New York: Hill & Wang, 1982. 
Benjamin, Walter. Trans. Harry Zohn. Ed. Arendt, Hannah. “Franz Kafka.”  Illuminations. New York: Schocken Books, 1969.
Bennett, Andy. Popular Music and Youth Culture: Music, Identity, and Place. New York: Palgrave, 2000. 
Buchanan, Ian, and Marcel Swiboda, eds.  Deleuze and Music.  Edinburgh University Press: Edinburgh, 2004.
Bradley, Adam. Books of Rhymes: The Poetics of Hip Hop. New York: BasicCivitas, 2009.
Busta Rhymes. “Turn It Up (Remix)/Fire It Up.” Flipmode, Elektra, 1998.
Byrne, David. How Music Works. San Francisco: McSweeney’s, 2012.
Chang, Jeff. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. New York: Picador, 2005
Colebrook, Claire. Deleuze: A Guide for the Perplexed. London: Continuum, 2006. 
-----.  Understanding Deleuze. NSW: Allen & Unwin, 2002.
-----.  Deleuze and the Meaning of Life. London: Continuum, 2010.
Coleman, Brian.  Check the Technique: Liner Notes for Hip-Hop Junkies.  New York: Villard Books, 2007.
-----.  Check the Technique Volume 2: More Liner Notes for Hip-Hop Junkies.  Everett: Wax Facts Press, 2014.
Coleman, Julie. Ed. Global English Slang: Methodologies and Perspectives. London: Routledge, 2014.
Condry, Ian. Hip-Hop Japan: Rap and the Paths of Cultural Globalization. Durham: Duke University Press, 2006.
Connell, John, and Chris Gibson. Sound Tracks: Popular Music, Identity and Place.  London: Routledge, 2003.
Darby, Derrick. and Tommie Shelby, eds. Hip Hop and Philosophy: Rhyme 2 Reason.  Chicago: Open Court, 2005.
Deleuze, Gilles. Trans. Anne Boyman. Pure Immanence: Essays on A Life.  New York: Zone Books, 2001.
Deleuze, Gilles, and Felix Guattari. Trans. Dana Polan. Kafka: Toward a Minor Literature. Minneapolis: University of Minnesota Press, 1975.
-----.  Trans. Daniel W. Smith, Michael A. Greco. Essays Critical and Clinical.  Minneapolis: University of Minnesota Press, 1997.
-----.  Trans. Hugh Tomlinson, Graham Burchell. What Is Philosophy?  New York: Columbia University Press, 1994.
-----.  Trans. Massumi Brian. A Thousand Plateaus: Capitalism and Schizophrenia.  London: Continuum, 1987.
Denora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.
Dolphijn, Rick, and Iris van der Tuin. New Materialism: Interviews & Cartographies, Open Humanities Press, 2012, openhumanitiespress.org/books/download/Dolphijn-van-der-Tuin_2013_New-Materialism.pdf. Accessed Sept. 5, 2016. 
Du Bois, W.E.B. The Souls of Black Folk. Ed. Henry Louis Gates, Jr, and Terri Hume Oliver. New York: W. W. Norton & Company, 1999.
Edwards, Paul. How to Rap: The Art and Science of the Hip-Hop MC. Chicago: Chicago Review Press, 2009.
Eminem. “Lose Yourself.” 8 Mile: Music from and Inspired by the Motion Picture, Shady, Aftermath, Interscope, 2002.
Frith, Simon. Performing Rites: on the Value of Popular Music. Cambridge: Havard University Press, 1998.
Farber, Jim. “Chris Kelly dead at 34: Jermaine Dupri calls Kris Kross rapper ‘the son I never had’.” New York Daily News. 2 May. 2013. Web. 8 December. 2015.
Forman, Murray, and Mark Anthony Neal, eds. That’s The Joint! The Hip-Hop Studies Reader. 2nd ed. New York: Routledge, 2012.
Gates, Henry Louis Jr.. The Signifying Monkey: A Theory of African-American Literary Criticism. New York: Oxford University Press, 1988.
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Harvard University Press, 1993.
Green, Adam. “Lin-Manuel Miranda’s Groundbreaking Hip-Hop Musical, Hamilton, Hits Broadway.” Vouge. Vogue, 24 June 2015, www.vogue.com/article/hamilton-hip-hop-musical-broadway.  
Greenburg, Zack O’Malley. “The Forbes Five: Hip Hop’s Wealthiest Artists 2018.” Forbes. Forbes Magazine, 1 Mar. 2018, www.forbes.com/sites/zackomalleygreenburg/2018/03/01/the-forbes-five-hip-hops-wealthiest-artists-2018/#4b66b6b447c1.
Hainge, Greg, Ian Buchanan, and Marcel Swiboda, eds. “Is Pop Music?” Deleuze and Music. Edinburgh: Edinburgh University Press, 2004.
Hardt, Michael and Antonio Negri. Multitude: War and Democracy in the Age of Empire. New York: The Penquin Press, 2004.
Hebdige, Dick. Cut ‘N’ Mix: Culture, Identity, and Cribbean Music. London: Routledge, 1987. 
Hegel, G.W.F. Hegel’s Aesthetics: Lectures on Fine Arts. Vol. 2. Oxford: Oxford U.P., 1998.
Hess, Mickey. Ed. Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture. Vol.1. Westport: Greenwood Press, 2007.
Hess, Mickey. “The Rap Career.” Forman, Murray. and Mark Anthony Neal, eds.  That’s The Joint! The Hip-Hop Studies Reader.  2nd ed.  New York: Routledge, 2012. 634-54.
Hulse, Brian. And Nick Nesbitt, eds. Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music. Surrey: Ashgate, 2010.
Jay-Z. Decoded. New York: Spiegel & Grau, 2011.
-----. “Hard Knock Life (Ghetto Anthem).” Vol. 2. . . Hard Knock Life, Roc-A-Fella, Def Jam, 1998.
Jense, Casper Bruun, and Kjetil Rödje. Deleuzian Intersections: Science, Technology, Anthropology. New York: Berghahn Books, 2010.
Kanye West. “Jesus Walks.” College Dropout, Roc-A-Fella, Def Jam, 2004.
Kennedy, Barbara M. Deleuze and Cinema: The Aesthtics of Sensation. Edinburgh: Edinburgh University Press, 2002.
Mackay, Robin, ed. Pearson, Keith Ansell. “Capitalism and Schizophrenia: Wildstyle in Full Effect.” Deleuze and Philosophy: The Difference Engineer.  London: Routledge, 1997.
Kitwana, Bakari. “Fear of a Culture Bandit.” Why White Kids Love Hip Hop.  New York: Basic Civitas Books, 2006. 135-62.
KRS-One. “Hip Hop v.s. Rap.” Sound of da Police, Jive, 1993.
Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, Okieriete Onaodowan, Leslie Odom, Jr, Original Broadway Cast of Hamilton. “My Shot.” Hamilton, Atlantic, 2015.
McCarter, Jeremy. “Straight Outta Broadway.” New York Magazine, http://nymag.com/arts/theater/reviews/16020/
Miranda, Lin-Manuel and Jeremy McCarter. Hamilton: The Revolution. New York: Grand Central Publishing, 2016.
Mitchell, Tony, ed. Global Noise. Connecticut: Wesleyan University Press, 2001.
Mobb Deep. “Shook Ones Pt. II.” The Infamous, Loud, 1995.
Mjøs, Ole J. Music, Social Media and Global Mobility: Myspace, Facebook, YouTube.  New York: Routledge, 2013.          
Neate, Patrick. EveningStandard,  www.standard.co.uk/showbiz/exclusive-interview-patrick-neate.6319842.html 
-----. Where You’re at: Notes from the Frontline of a Hip-Hop Planet.  New York: Riverhead Books, 2004.
Notorious B.I.G. “Going Back to Cali.” Life After Death, Bad Boy, 1997.
N.W.A. “Fuck Tha Police.” Straight Outta Compton, Ruthless, Priority, 1988.
Ogbar, Jeffery O.G. Hip-Hop Revolution: The Culture and Politics of Rap.  Lawrence: University of Kansas, 2007.
-----.  “Message from the Grassroots: Hip Hop Activism, Millennials, and the Race for the White House.” The Hip Hop & Obama Reader. Edited by Travis L. Gosa and Erik Nielson, Oxford University Press, 2015, pp. 31-53.
Orejuela, Fernando. Rap and Hip Hop Culture. Oxford: Oxford Universoty Press, 2015.
Parr, Adrian, ed. The Deleuze Dictionary. Revised Ed. Edinburgh: Edinburgh University Press, 2010.
Panjabi MC, Jay-Z. “Beware of the Boys.” Urban, 2002.
Perry, Imani. Prophets of the Hood: Politics and Poetics in Hip Hop. North Carolina: Duke University Press, 2004.
Ramsey, Guthrie P., Jr. Race Music: Black Cultures from Bebop to Hip-Hop.  Berkeley: University of California Press, 2004.
Rediker, Marcus. The Slave Ship: A Human History. New York: Penquin Books, 2007.
Rice, Patrick. ”Europe: The Rebirth of G-Funk.” Bowl of Rice, 10 Dec. 2013, ricebowlme.wordpress.com/2013/12/10/europe-the-rebirth-of-g-funk.  
Rimer, Sara. “Obscenity or Art? Trial on Rap Lyrics Opens.” New York Times. New York Times, October, 1990.  Web.  27 February 2016.
R. Kelly. “Snake.” Chocolate Factory, Jive, 2003.
Run D.M.C. “Raising Hell.” Raising Hell, Profile, Arista, 1986.
Robinson, Deanna Campbell, et al. Music at the Margins: Popular Music and Global Cultural Diversity. Newbury Park: Sage, 1991.
Rose, Tricia. Black Noise: Rap Music and Black Culture in Contemporary America. Connecticut: Wesleyan University Press, 1994.
-----.  The Hip Hop Wars.  New York: Basic Books, 2008.
Robinson, Deanna Campbell, et al.  Music at the Margains: Popular Music and Global Cultural Diversity.  Newbury, Sage, 1991.
Rothenberg, David and Marta Ulvaeus.  The Book of Nature: An Anthology of Sounds, Words, and Thoughts.  Middletown: Wesleyan University Press, 2013.
Schweig, Meredith Lynne.  “The Song Readers: Rap Music and the Politics of Storytelling in Taiwan.”  Diss.  Harvard University, 2013.
Snoop Dogg, Daz Dillinger, and David Ruffin’ Jr.. “Gin and and Juice.” Doggystyle, Death Row, Interscope, Atlantic, 1993.
Szwed, John F. Ed.  Black Americans.  Washington, D.C.: Voice of America Forum Lectures, 1970.
The Tonight Show Starring Jimmy Fallon. “Wheel of Freestyle with Lin-Manuel Miranda.” YouTube, YouTube, 6 Nov. 2015, https://youtu.be/w31jboLYcH4
Tynan, Aidan.  Deleuze ‘s Literary Clinic.  Edinburgh: Edinburgh University Press, 2012.
Varèse, Edgard and Chou Wen-chung. “The Liberation of sound.” Perspectives of New Music. Vol5.  No.1. (Autumn-Winter):11-19. Perspectives of New Music,1966.
voxdotcom. “Kanye deconstructed: the human voice as the ultimate instrument.”  Youtube, Youtube, 1 Sept. 2016, https://youtu.be/ZgJyhKEZ8QU 
Williams, James.  Gilles Deleuze’s Difference and Repetition.  2nd ed.  Edinburgh: Edinburgh University Press, 2013.
Zourabichvili, François.  Deleuze: A Philosophy of the Event together with the Vocabulary of Deleuze.  Trans. Kieran Aarons.  Lambert, Gregg, and Daniel W. Smith, eds.  Edinburgh: Edinburgh University Press, 2012.