Abstract Contemporary Nigerian pop musicians draw from and build upon a treasure trove of indigenous musical idioms and performance practices, including call-and-response techniques, extemporisation, and specific melodic, rhythmic and harmonic vocabularies. It is necessary to understand how, for example, an Igbo hip hop musician like Chibuzor Nelson Azubuike (popularly known as Phyno) is influenced by aspects of traditional Igbo musical and language practices. This article explores how rhythm is both appropriated and expropriated in Igbo hip hop music. Employing an analytical and interpretative approach, it examines Phyno’s rhythmic permutations and investigates how he weaves indigenous Igbo rhythmic techniques into contemporary hip hop music. The concept of a pervasive presence of the density referent is examined, and it is argued that this rhythmic idiom is not only derived from Igbo speech rhythms, but also and even more so accountable for the polymetric and polyrhythmic patterns that characterise Phyno’s music. The article offers unique insights into the sonic qualities and characteristics of contemporary Igbo hip hop music.

中文翻译：

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伊博嘻哈音乐中的节奏习语：以 Phyno 为例

摘要 当代尼日利亚流行音乐家借鉴并建立在土著音乐习语和表演实践的宝库之上，包括呼唤和响应技巧、即兴创作以及特定的旋律、节奏和和声词汇。例如，有必要了解像 Chibuzor Nelson Azubuike（俗称 Phyno）这样的伊博嘻哈音乐家如何受到传统伊博音乐和语言实践的影响。本文探讨了节奏如何在伊博嘻哈音乐中被挪用和征用。采用分析和解释的方法，它检查了 Phyno 的节奏排列，并调查了他如何将本土伊博节奏技术编织到当代嘻哈音乐中。检查了密度所指普遍存在的概念，并且有人认为，这种有节奏的习语不仅源自伊博语的语音节奏，而且更重要的是，它与表征 Phyno 音乐的多元和多元节奏模式有关。这篇文章提供了对当代伊博嘻哈音乐的声音品质和特征的独特见解。