So far, this column has mainly dealt with pitch-centered music, focusing on harmony and melody. With hip-hop, we generally consider pitch to be of secondary importance, with rhythmic content being primary — which is why rap music often gets short shrift when discussing music theory. This dismissive attitude towards rap music has been pervasive in academia, but the attitude is changing. Hip-hop contains vital musical constructs not commonly found in other forms of music, and these innovations represent phenomenal artistic achievements. Those of us who work in orchestral, jazz, rock, folk, etc., can gain a lot from really listening to, and engaging with, hip-hop.