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Dissertations / Theses on the topic 'Hip-hop Rap (Music)'
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Zavortink, Matthew. "Analysis of Rhythm in Rap Music." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20418.
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Although the analysis of popular music has become widely accepted by theorists, rap and related genres are still relatively unexplored. The small body of existing literature suggests several promising analytic methods, such as the discernment and comparison of rhythmic layers within a song. This thesis reviews the current state of rap research and synthesizes a comprehensive theoretical model out of previously published sources and the author’s original ideas. This model is then used to investigate several case studies of varying complexity, revealing a number of previously undocumented musical devices and promising avenues for further research.
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Evans, Derek. ""It's bigger that hip hop" popular rap music and the politics of the hip hop generation /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5034.
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Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 25, 2008) Includes bibliographical references.
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Del, Hierro Marcos Julian. "It's Bigger and hip-hop Richard Wright, hip-hop, and masculinity /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Tinajero, Roberto Jose. "Hip hop rhetoric relandscaping the rhetorical tradition /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Branch, William. "Theological implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Branch, William. "Thelogical implications of hip-hop culture." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.
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Mohammed-Akinyela, Ife J. "Conscious Rap Music: Movement Music Revisited A Qualitative Study of Conscious Rappers and Activism." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/14.
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The purpose of this study is to explore how conscious rap is used as a form of activism. Interviews of conscious rappers based in Atlanta, GA were used to understand this relationship. In order to complete this investigation, ten unsigned conscious rappers were given a series of questions to explore their involvement as activist; some of these artist were also recruited based on affiliations with political organizations based in Atlanta, GA. By gathering interviews from conscious rappers who consider their music as a form of activism, scholars of African American Studies may further understand the role of music and political activism when mobilizing the African American and minority communities.
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Haery, Todd Cameron. "(Pro-) Socially conscious hip hop: Empathy and attitude, prosocial effects of hip hop." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587747399137313.
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Harris, Christopher S. "Gods, God, & Soul Food: Young Black Spirituality in Rap Music." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/448.
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Contrary to popular belief, discussions of morality, spiritual sensibilities, and religion are major themes in the lyrics of rap music. The current study provides an exploratory content analysis of rap lyrics in an effort to better understand the ways in which rap artists and audiences thought and think about their spirituality. Results indicate that there existed a fervent and nuanced discourse around spirituality and its various forms during the rise of rap music between the mid 1990s and early millennium.
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Gomes, Renan Lelis 1984. "Território usado e movimento hip-hop : cada canto um rap, cada rap um canto." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286930.
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Orientador: Marcio Antonio CataiaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências
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Resumo: Este texto apresenta algumas reflexões que objetivam discutir o hip-hop como uma manifestação territorial que assume particularidades regionais e que tem no rap uma das suas formas de existir. Este tipo de música, mesmo possuindo uma linguagem universal, assume características regionais distintas, utilizando-se cada vez mais dessa diversidade regional para criar sinergias capazes de projetar e de fazer ouvir suas reclamações. Assim, apropriando-se das técnicas do período atual, em um processo que vai da produção à distribuição das músicas, surgem rap's regionais criados a partir de elementos genuinamente brasileiros. O hip-hop, que abrange uma grande quantidade de jovens e tem profundas ligações com os lugares, torna-se ferramenta de solidariedade orgânica, haja vista que essa manifestação assumiu uma posição bastante relevante frente a questões urgentes relacionadas a segmentos sociais desfavorecidos e fez, também, com que membros de um movimento não-institucional passassem a participar da política formal, concorrendo a cargos públicos, participando de editais e da criação de leis
Abstract: This essay presents some reflections that aim to discuss the hip-hop as a territorial manifestation that assumes regional particularities which has in rap its forms of existence. This kind of music, even containing a universal language assumes distinct regional characteristics, using more and more this diversity to create regional synergies able to design and to give voice to their complaints. Thus, assuming the techniques of the current period, in a process that goes from the production to the distribution of music, regional raps arise created from genuine Brazilian elements. The hip-hop, that covers a big quantity of young people and has deep connection to the places, becomes a tool of organic solidarity, considering that this manifestation took a very relevant room in face of urgent issues related to disadvantaged social groups and also made members of a non-institutional movement start to participate in formal politics, including competing for public career, taking part in the creation of edicts and laws
Mestrado
Análise Ambiental e Dinâmica Territorial
Mestre em Geografia
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Dennis, Christopher Charles. "Afro-Colombian hip-hop globalization, popular music and ethnic identities /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155174476.
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Peterson, Sean. "Something Real: Rap, Resistance, and the Music of the Soulquarians." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23759.
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From 1997-2002, a loose collective of hip hop and R&B musicians known as The Soulquarians collaborated to produce numerous award-winning and critically-acclaimed albums. Drawn together by the heady atmosphere of collaboration with creative, like-minded peers, they were driven by a goal to create alternative sounds and representations in black music. This project has two primary goals: to historicize the collaboration of the Soulquarians and to identify and analyze aspects of their music that situated it in opposition to commercially dominant hip hop of its day. To do so, I perform close listening and analysis of recordings, interviews, liner notes, album and concert reviews, and articles on the Soulquarians and their work from contemporary print media, and draw from biographies and autobiographies of Soulquarians artists.
This project contributes to music scholarship in three primary ways. First, I utilize an innovative technique to visually analyze microtiming in the groundbreaking grooves of J Dilla and D'Angelo. Using this technique, I precisely identify distinguishing timing features in drums and bass, and make them visible to the reader. By contextualizing these findings within previous scholarship on rhythm in African American music performance, I fill a gap in scholarship on groove, which has not yet described the variety of these influential rhythms. Second, I compile information from a variety of sources (web, print, liner notes, interviews) on the Soulquarians into one location. This produces a fuller picture of the collaboration than has previously been available, and facilitates access to a breadth of information on individual Soulquarians artists, and the collective. Third, I identify several musical traits that resulted from the collaborative nature of the Soulquarians’ work habits, including specific commonalities between the grooves of J Dilla and D'Angelo, and the use in Badu’s music of imitative strategies pioneered by The Roots. This presents a richer picture of artists’ working practices than is typically advanced by journalism and scholarship on hip hop. Because cooperative aspects of the Soulquarians’ working methods also characterize music communities more broadly, this description of their collaboration may serve as a corrective to popular but misguided notions of sole authorship in popular music.
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Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
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This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
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Glover, Maria A. "Ethos as street credibility : defining the street artist as a hero persona in the hip-hop lyrics of Nas /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/GloverMA2010.pdf.
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White, Russell Christopher. "Constructions of identity and community in hip-hop nationalism with specific reference to Public Enemy and Wu-Tang Clan." Thesis, University of Winchester, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274442.
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The re-emergence of Black Nationalist thought in black popular culture is most evident in the music of such rap groups as Public Enemy and Wu-Tang Clan. Together with groups such as Brand Nubian, and X-Clan, Public Enemy and Wu-Tang Clan have played a central role in introducing the tenets of Black Nationalism to what Michael Eric Dyson has termed 'the hip-hop generation'. Public Enemy and Wu-Tang Clan utilise highly selective 'sampling strategies' that draw upon a wide variety of Black Nationalist ideologies. This thesis aims to examine the impact of these groups' pluralistic 'sampling strategies' on various monolithic traditions of Black Nationalism and to consider the effect of these strategies on the formation of nationalist communities in hip-hop music and culture. Chapter One provides a methodological context for understanding rap within the context of African American cultural criticism. This chapter begins by providing an overview of the assimilationist and separatist responses to and perspectives on black marginality in the United States. Discussion then moves to an analysis of the founding principles of African American Studies, before finishing with an examination of the way in which Black American critics have interpreted rap. Chapter Two provides a comparison of the different ways in which the key notions of appropriation and authenticity as they pertain to black music and to hip-hop are addressed within African American and Black British cultural criticism. This chapter argues that the Black British approach, rooted as it is in `diaspora aesthetics' provides a more useful approach both for the globalisation of rap and the globalisation of blackness than the essentialism of African American critics. Chapter Three offers a comparative analysis of the respective linguistic and discursive strategies employed by hip-hop nationalists and their gangsta counterparts in their construction of community and identity. These hip-hop communities are highly selective in the language they use to describe themselves and others. The choices that these artists make, moreover, say a great deal about their specific takes on notions of identity. Chapters Four and Five provide detailed case studies of Public Enemy and Wu-Tang Clan's distinctive takes on Black Nationalism. These chapters contrast Public Enemy's 'sixties-inspired nationalism', which is steeped in well-established histories of black resistance, with the Wu- Tang's playful postmodern approach to Post-Nationalism expressed most obviously in their use of Hong Kong-made kung fu cinema of the late 1970s and early 1980s. Chapter Six provides a summary of the points outlined in previous chapters and considers the potential futures for Black Nationalism(s) in the wake of the destruction of the World Trade Center on September 11, 2001.
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Lüdtke, Solveig. "Globalisierung und Lokalisierung von Rapmusik am Beispiel amerikanischer und deutscher Raptexte." Berlin ; Münster : Lit, 2007. http://books.google.com/books?id=4J-fAAAAMAAJ.
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Radford, Crystal Joesell. "In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306255326.
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Schweig, Meredith Lynne. "The Song Readers: Rap Music and the Politics of Storytelling in Taiwan." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10942.
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This dissertation is an ethnographic study of Taiwan's hip-hop scene and an examination of rap music's emergence as a trenchant form of musical narrative discourse in the post-martial law era (1987 to the present). Its central argument is that performers have invoked rap as a storytelling practice to make sound and sense of the dramatic social and political transformations that transpired in the wake of Taiwan's democratization at the dusk of the twentieth century, and in the years thereafter. My discussion draws on a vibrant archive of materials collected over eighteen months of fieldwork and proceeds from two primary assumptions: first, that Taiwan rap is a narrative genre, with antecedents in an array of Afro-diasporic oral narrative traditions as well as local narrative traditions that employ speech-song techniques; and second, that storytelling can be understood as a process of collaborative social and political engagement that empowers artists and audiences to a sense of agency in the world they see around them. The document is divided into three main parts, the first of which approaches the history of rap in Taiwan as itself a narrative construction, subject to revision and reinterpretation at the hands of multiple authors. In this spirit, it unfolds not one but three distinct histories, each anchored by a different term used locally to designate "rap." The second part of the dissertation examines the people and places that collectively comprise the Taiwan rap community, with a dual focus on demographic representation vis-a-vis the interlocking categories of ethnicity, gender, and socioeconomic status, and the emplaced qualities of the music vis-a-vis its emergence from specific localities, places of learning, and places of production. The third and final part foregrounds rap’s specificity as a narrative genre to examine more closely the music’s poetics and politics. It considers the stories rappers tell and the means by which they tell them, in the process exploring works that reflect or construct larger narratives about Taiwan as a nation, as well as those that engage smaller, more specifically contextual narratives about relationships, family, school, and work.Music
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Li, Xin Ling. "Who stole the beat? : black masculinity, hip-hop music, and the black gay men who rap." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708221.
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Forman, Murray W. ""The ‘hood comes first" : race, space and place in Rap music and Hip Hop, 1978-1996." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ50163.pdf.
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Rotta, Daltro Cardoso. "O hip-hop (en) cena : problematicas acerca do corpo, da cultura e da formação." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253221.
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Orientador: Elisa Angotti KossovitchDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Esta dissertação que ora apresento tem como campo de problemáticas algumas práticas de socialização de bairros periféricos, e encontra no movimento hip-hop um grande campo de experimentação. De grande influência na cultura da Juventude contemporânea, o hip-hop engendra discursos carregados de preocupação com os cenários de segregação social e cultural vivenciadas pelas periferias urbanas, além de produzir por meio de seções exaustivas de treinamento, um corpo apto ao desenvolvimento de uma arte dotada de uma potência singular de encenar, por meio de gestos, composição corporal e movimento, um certo estilo de viver marcado por um cenário de falta, de precariedade e preconceito, porém não carente de inventividade. Diria que são corpos potentes que trazem consigo as marcas da exclusão social e uma certa ousadia de encenar, na forma de uma arte das ruas, uma estética da existência. Retraço, desta maneira, a trajetória de formação de dois grupos de hip-hop da cidade de Pelotas/RS: os Piratas de Rua Creew e a Banca C.N.R. Por meio de estratégias etnográficas como a observação participante, registro em diário de campo e depoimentos orais. Problematizo suas trajetórias, que vão da socialização como uma prática de lazer periférico, até uma organização que garante aos seus atores um importante dispositivo de formação e reinserção social
Abstract: This paper has as field of problems some practices of socialization of outlying neighborhoods, and it possesses the hip-hop culture as a great experimentation field. Of great influence in the contemporary Youth's culture, the hip-hop engenders speeches loaded of concern with the sceneries of social and cultural segregation lived by the urban peripheries, besides producing through exhausting sections of training, a capable body to the development of an art endowed with a singular potency of staging, through gestures, corporal composition and movement, a certain style of living marked by a lack scenery, of precariousness and prejudice, however no lacking of inventiveness. I would say that they are potent bodies that they bring the marks of the social exclusion and a certain daring of staging, in the form of an art of the streets, an aesthetics of the existence. I aim at, in this research, the path of formation of two groups of hip-hop of the city of Pelotas/RS: Street Pirates Crew and C.N.R. Rappers. Through ethnography strategies as the participant observation, registration in field diary and oral depositions. I problematize their paths, that space of the socialization as a practice of outlying leisure, until an organization that guarantees to their actors an important formation device and social insert
Mestrado
Educação, Sociedade, Politica e Cultura
Mestre em Educação
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Jacobson, Ginger L. "Realness and Hoodness: Authenticity in Hip Hop as Discussed by Adolescent Fans." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002804.
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Weaver, Alexandra Alden. "These Are the Days." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/311.
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The genre of film I decided to produce for my thesis in Media Studies (Film/Production) is that of a hip hop music video. In my written work, I explain how I aim to break out of techniques in hip hop music videos that perpetuate, knowingly or unknowingly, the white capitalist patriarchal heterosexual system of oppression. Instead, I incorporate my own and other positive imagery and techniques used in hip hop music videos that subvert the system of oppression and will reflect my positive lyrics. In addition, I briefly discuss hip hop feminism and its relation to hip hop music videos and social change. While my song and music video do not directly address these social issues, they make a statement by not including negative images or techniques and by showing a different way to approach a hip hop music video.
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Bramwell, Richard. "The aesthetics and ethics of London based rap : a sociology of UK hip-hop and grime." Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/189/.
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This thesis considers rap music produced in London. The project employs close textual analysis and ethnography to engage with the formal characteristics of rap and the social relations constructed through its production and use. The black cultural tradition has a considerable history and the thesis focuses upon its appropriation in contemporary London. The study begins with an examination of the process of becoming a rapper. I then consider the collaborative work that rap artists engage in and how these skills contribute to construction of the UK Hip-Hop and Grime scenes. Moving on from this focus on cultural producers, I then consider the practices of rap music’s users and the role of rap in mainstream metropolitan life. I use the public bus as a site through which to observe the ethical relations that are constituted through sharing and playing with rap music. My analysis then turns to the processes through which identity is solicited and produced within nightclubs and concerts. I discuss the production of subaltern masculinities and femininities by the audience in this space. I also consider how MCs orchestrate their audiences in the production of special forms of collectivity and the organisation of a social consciousness. Following this, I examine rap lyrics in a selection of tracks and videos in order to engage with the representation of urban dwelling within the black public sphere. This close analysis allows me to consider rap songs as part of a cultural politics that challenges socio-economic inequality and racist oppression. I then discuss the structural position of the black working classes and the role of cultural production in providing means of avoiding the economic vulnerability of low skill labour. The study concludes with an examination of artists’ efforts to transform their socio-economic positions through their cultural production and self-representation.
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Grandstrand, Rachel. "The Performance and Perception of Social Identities in Country-Rap Music." Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1375280445.
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Marsh, Peter K. "»We’ve Started a Revolution!« A Survey of Rap, Hip-Hop, and the Pop Music Industry in Mongolia." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72196.
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Magnusson, Madeleine. ""Not Perfect Grammar, Always Perfect Timing" : African American Vernacular English in Black and White Rap Lyrics." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1749.
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African American Vernacular English, AAVE, is a variant of English spoken mostly by lower-class black citizens in the US. Since the most popular music genre among African Americans today is rap, this paper will describe what characterizes AAVE and rap music, and explore the use of AAVE in rap lyrics of both black and white rappers.
AAVE is different from Standard English in several respects; grammatically, phonologically and lexically. Examples of grammatical features in AAVE are invariant be, double negations and the differing use of possessive pronouns.
The hip hop industry has been, and still is, largely dominated by black performers, and white artists make up only a minority of rappers in the line of business today. Rappers being part of a larger culture, the hip hop nation, they have a language in common, and that language is AAVE. In this paper, a number of lyrics performed both by black and white rap artists have been compared and analyzed, in search of linguistic features of AAVE. This study provides evidence that AAVE is indeed used in rap lyrics, although the use of its features is often inconsistent. It is also shown that AAVE-presence in white rappers’ lyrics exists, but is sparser than in the works of their black equivalents.
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Schlabach, Jessica L. "We're Free: The Impact of a Rap Writing Music Therapy Intervention on Self-Esteemof At-Risk Adolescents in a Public Middle School Setting." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429108872.
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Van, As Rosina. "Die toepassing van die aksieleerbenadering in rap-onderrigleer / R. van As." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9220.
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The way that inner city learners and their educators experience life varies to a great extent. A music programme relevant to the needs of learners can create better understanding between these groups. The success of such a programme depends on an effective teaching-learning approach. The action learning approach, developed by Reginald Revans and adapted for music by Thomas A. Regelski, was implemented in a once-off rap programme at an inner city school in Gauteng. The aim of the programme was the acquisition of practical musical skills by learners through participation in a real-life musical event. The programme was offered on the basis of six specific action learning principles. The action learning approaches of Revans and Regelski were adapted to suit local goals and circumstances.Thesis (MMus (Musicology))--North-West University, Potchefstroom Campus, 2013.
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Condit-Schultz, Nathaniel. "MCFlow: A Digital Corpus of Rap Flow." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461250949.
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Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.
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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global
“The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani).
The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture.
The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
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Inglis, Hilary M. "Hip Hop and Hope : exploring the affordances of hip hop centred community music making for enhancing adolescents’ engagement with the field of water-related diseases in peri-urban community settings in KwaZulu-Natal, South Africa." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/64175.
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Adolescents living in peri-urban settings in South Africa face multiple challenges to realising their own health and wellbeing. A lack of opportunities exists for young people to gain practical skills and the self-efficacy necessary to address these challenges. One area in which they have the potential to make an impact is that of water-related disease. In this context Jive Media Africa, a media agency with a focus on health communications, initiated the Hip Hop Health project. The project made use of hip hop centred community music making to enable 60 young people from three schools in peri-urban communities in KwaZulu-Natal, South Africa, to share,
with their broader communities, findings from research tasks that they had undertaken in the area of water and health. This qualitative case study explored the affordances of this community music making process for the adolescents involved. The study employed thematic analysis of thick descriptions of video excerpts, song lyrics and focus group transcriptions, drawing strongly on a Freirean construct of conscientisation and on youth empowerment theory. This research suggests that the writing and performance of hip hop songs empowers young people to engage with complex issues affecting their health and wellbeing. Through this process they gained hope for their futures, as individuals and as a community. The
overarching theme of empowerment is supported by three subthemes, each of which was facilitated by the creation and performance of hip hop songs. In ‘becoming’, young people gained knowledge and were empowered as individuals. Through ‘belonging,’ the learners forged mutually supportive relationships with their peers, families and the broader community.
Finally, through ‘believing’, young people began to conceptualise the future as holding hope and possibilities, based on their learnings and the experiences of the process. In this sense, empowerment was seen to take place at both an individual and a community level, and demonstrated elements of building critical consciousness through cycles of action and reflection. The findings hold relevance for programmes that seek to address other issues impacting adolescent health and wellbeing by empowering participants through community music making using hip hop and rap.Dissertation (MMus)--University of Pretoria, 2017.
University of Pretoria
Music
MMus Musicology
Unrestricted
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Modell, Amanda Renae. ""You Understand Me Now": Sampling Nina Simone in Hip Hop." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4168.
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The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged.
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Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Anthropology
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Peck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.
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Katz, Meredith Ann. "The Beats Have No Color Lines: An Exploration of White Consumption of Rap Music." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/9942.
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The purpose of this study was to examine the relationship between white consumption of politically conscious rap music and the political beliefs of white rap music consumers. The guiding research questions included an exploration of why whites with little prior concern about racism consume rap music with politically conscious antiracist messages; if whites who consume this music believe the messages spoken are an accurate depiction of reality; and if a relationship exists between consumption of politically conscious rap music and an individual's political beliefs. Through interviews of white fans at politically conscious rap shows it was found that many individuals do not understand the music they are consuming is political in intent. Individuals highlighted themes that they could identify with, namely the need for unity and love, while ignoring others, such as the need to fight against injustice and racism. While independently individuals may have liberal political beliefs and consume politically conscious rap music, there appears to be no indication that consumption of rap music alters political beliefs.Master of Science
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Kistner, Gavin. "Hip-Hop Sampling and Twentieth Century African-American Music: An Analysis of Nas' "Get Down" (2003)." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23780/23780.pdf.
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Smith, Martin. "RAPITALISM." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4272.
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My paper questions the degree to which the hip hop subculture is oppositional to mainstream American society and its ideals. Toward that end, I examine the structure of the hip hop industry and its subculture. While the hip hop subculture in America consistently has projected images of rebellion and resistance to many of the mores, constraints and values of dominant society, the actual structure and organization of the hip hop subculture have mirrored, supported and promoted the values of the dominant culture in the United States. I begin by examining the structure of the main elements of the hip hop subculture: deejaying, breakdancing, emceeing and graffiti art, and the practices within each to demonstrate that the hip hop subculture has a structure which supports capitalistic practices. The interactions between hip hop industry participants, their fans, and the marketplace are an embracing of the values of mainstream American society and capitalism. From its inception, the structure of the hip hop subculture and the actions of the artists within the structure essentially has made hip hop music capitalism set to a beat.M.A.
Department of Sociology
Sciences
Applied Sociology
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Carr, Nicolas. "“THE GAME DON’T CHANGE”Designing Beats and Rhymes,A metaphor and guide to ideate design concepts." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428070292.
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Singson, Brian A. "They Said What About Women!?: An Ethnographic Content Analysis of Mainstream Rap and R&B Lyrics, 2002–2005." Cincinnati, Ohio University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1178296739.
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Thesis (M.A.)--University of Cincinnati, 2007.Title from electronic thesis title page (viewed July 18, 2007). Includes abstract. Keywords: Rap; Hip hop; Misogyny; Lyrics; Content Analysis Includes bibliographical references.
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Sawaya, Silvio Ricardo 1973. "Entre a paranóia da imaginação e a percepção alucinatória = hip-hop e postura de oposição na sociedade do fim da história." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278733.
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Orientador: Laymert Garcia dos SantosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-18T15:40:01Z (GMT). No. of bitstreams: 1 Sawaya_SilvioRicardo_M.pdf: 1004171 bytes, checksum: d1056768c80b8a466d3db6970bc0e089 (MD5) Previous issue date: 2011
Resumo: Com o desmoronamento do socialismo real no final do século XX - cujos principais marcos foram a queda do Muro de Berlim e a débâcle soviética -, o mundo parece ter tomado novos rumos. Neste período, Francis Fukuyama e Robert Kurz desafiaram a esquerda mundial em seus livros O fim da história e o último homem e O colapso da Modernização, respectivamente, com a seguinte provocação: existe vida possível além da economia de mercado e da democracia liberal que não leve o mundo a uma derrocada catastrófica tal como a sofrida quando da existência do socialismo real? Muito mais do que um apressado "sim, de fato, existe", esta questão ainda está em aberto vinte anos após sua formulação. É neste contexto que esta pesquisa procura tratar de pensar o hip-hop como uma forma de construir o que Donna Haraway chama de postura de oposição, e isto tanto no que diz respeito aos seus militantes e intelectuais orgânicos quanto aos intelectuais acadêmicos das ciências humanas que sobre ele se debruçam. Esta mesma postura de oposição, se não traz uma resposta ao desafio lançado por Fukuyama e por Kurz, ao menos propõe encará-lo de frente, tendo-se, para isso, de levar bastante em consideração o que é essa união entre economia de mercado e democracia liberal e qual é o preço a ser pago ao se assumir a postura de confrontá-la
Abstract: After the collapse of real socialism at the end of the 20th century - whose main landmarks were the fall of the Berlin Wall and the soviet dèbâcle -, the world seems to have taken new directions. In this period, Francis Fukuyama and Robert Kurz have defied the World Left in their books The end of History and the last man and The collapse of Modernization, respectively, with the following provocation: is there possible life beyond the market economy and liberal democracy that doesn't take the world to a catastrophic collapse like that suffered during the existence of real socialism? Much more than a hasty "yes, in fact, there are", this issue is still open twenty years after its formulation. In this context, this research aims to deal with thinking about the hip-hop as a way to build what Donna Haraway points as oppositional posture, and this regards both to their militants and their organic intellectuals as to social scientists that study and work about hip-hop themes. This same oppositional posture, if does not brings a response to the challenge posed by Fukuyama and Kurz, the least proposes face it straightforward, and it having, for this reason, to take a long account of what is this union between the market economy and liberal democracy and what is the price to be paid for taking the position of confronting it
Mestrado
Sociologia
Mestre em Sociologia
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Templeton, Inez H. "What's so German about it? : cultural identity in the Berlin hip hop scene." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/75.
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Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.
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Sunega, Fernanda Alves. "Bem vindos a zero dezenove : uma etnografia da radio bandeira FM e do programa de rap interior paulista." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279290.
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Orientador: Rita de Cassia Lahoz MorelliDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T15:23:19Z (GMT). No. of bitstreams: 1 Sunega_FernandaAlves_M.pdf: 1198744 bytes, checksum: 05e2319aaf71dd5f21e0a9447eade0c0 (MD5) Previous issue date: 2008
Resumo: De acordo com Néstor Garcia Canclini, em ¿Cidades e cidadãos imaginados pelos meios de comunicação¿, a sociedade está submetida a uma ¿urbanização que desurbaniza¿, onde os meios de comunicação atuam de maneira a criar vínculos entre os bairros, periferias e centro. Diante da heterogeneidade urbana, para este autor, a mídia apresenta um espetáculo reconfortante onde a população sente-se incluída nas mais diversas manifestações da cidade. Surge então a questão principal que será abordada neste trabalho: a rádio comunitária assume o papel das mídias, na definição de Canclini, estabelecendo um elo com a cidade ou reforça a localidade em que está inserida? A partir da pesquisa em rádio comunitária do Jardim das Bandeiras, periferia da cidade de Campinas, é possível analisar o fluxo de informações originado nessa territorialidade focalizando a experiência local de um programa de rap e seus atores sociais
Abstract: According to Néstor Garcia Canclini, in "Cities and citizens imagined by media", the society is submitted to a "urbanização que desurbaniza", where media acts in order to create links among districts, peripheries and downtown. Canclini believes that due to the urban heterogeneity, the media presents a reinvigorating show where the population is included in several city manifestations. Then appears the ultimate issue which will be treated in this work: does community radio take over the media¿s role, as defined by Canclini, establishing a link with the city or does it reinforce the place where it is inserted? Starting from the research in community radio of the Jardim das Bandeiras, periphery of the Campinas city, it is possible to analyze the information flow originated in that territoriality focusing the local experience of a rap program and their social actors
Mestrado
Antropologia Social
Mestre em Antropologia Social
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Sirois, Andre G. 1980. "Scratching the digital itch: A political economy of the hip hop DJ and the relationship between culture, industry, and technology." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11561.
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xviii, 510 p. : ill. (some col.) This work is licensed under a Creative Commons Attribution-NonCommercial-
ShareAlike 3.0 License (United States).This study analyzes the culture, history, and technology of the hip hop DJ in order to tease out the relationships between industrial and cultural practices. The following research questions structured the investigation: 1) What historical developments in intellectual property rights and music playback and delivery formats contribute to a political economy of the hip hop DJ; 2) what has been the role of intellectual property exchange and standardization in the DJ product industry relevant to hip hop DJs; 3) how are the meanings involved in the consumption of and production with analog and digital technologies related; and 4) does hip hop DJ culture represent convergence and collective intelligence? Employing various qualitative methods, the research includes interviews with influential hip hop DJs, executives at record labels, distributors, retailers, and DJ technology manufacturers. The study also reviews the histories of music playback technologies and standardization in relation to intellectual property laws. With political economic, cultural Marxism and new media theories as its framework, this study analyzes hip hop DJs as the intersection of corporate culture and youth culture. The research broadly addresses the hip hop DJ's role in building the industries that cater to hip hop DJing. Specifically, the study analyzes the politics of how hip hop DJs' intellectual properties and subcultural capital have been harnessed by companies in various industries as a way to authenticate, improve, and sell product. The study also examines consumption as production, collective intelligence, and how digital technologies are negotiated within this culture. The research suggests that hip hop DJ culture and the DJ technology and recording industries are not necessarily discrete entities that exert force upon one another. Rather, they are involved in a cultural economy governed by technocultural synergism, which is a complex interplay between agency and determinism guided by both corporate and cultural priorities. The study also offers a networked theory of innovation and creation over the individual genius emphasized in U.S. intellectual property laws to suggest that hip hop DJ culture is an open source culture.
Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Julianne Newton, Member; Dr. Biswarup Sen, Member; Dr. Daniel Wojcik, Outside Member
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Laidlaw, Andrew. "Blackness in the absence of blackness : white appropriations of Rap Music and Hip-Hop Culture in Newcastle upon Tyne - explaining a cultural shift." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/8389.
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In this study I am concerned to discover how and why local youth in Newcastle upon Tyne are appropriating black culture, in the absence of a local black population to act as a reference guide. In doing so, I provide a new approach to the analysis and interpretation of white identity in a globalised world. Central to this approach is the focus on new ethnicities where the local is fused with the global in order to create identities free of the radical underpinning of whiteness and Englishness. Thus, I argue, these identities are truly hybrid in nature, and can neither be labelled white, or black, as they are in equal parts influenced by Geordie and African-American cultures. I highlight this further by showing that this syncretisation and blending of cultures has been occurring in the North East of England for over forty years. The study is divided into two parts. The first begins with a substantive literature review of critical reflections on white appropriations. I then define hip-hop and rap, trace their origins, and beyond that analyse their antecedents. I also take a critical look at my location of study in terms of its social deprivation and struggle with post-industrialism, and introduce the techniques behind my fieldwork. In the second part I present an extended ethnography. During the course of four separate fieldwork chapters, I consider varying aspects behind these white appropriations, in terms of local sensibilities and cultural affiliations, cultural isolation and long distance black bonding, the denial of race and the need for authenticity, in the context of this specific urban setting. The thesis concludes with a summary of the information gleaned from my fieldwork.
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Dudding, William P. "Soldier of Culture: A Literary Analysis of the Works of Kanye West." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/192.
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In my thesis, I explored the work of the artist Kanye West as a rejected voice of Generation Y. Why was he rejected? Could he, in fact, be the voice? By examining readings of several of his songs and music videos over the span of his career as well as his public interactions, I attempt to properly place West in American culture. As a result of my research, I found West to be an extremely influential artist and an intriguing representation of the 2000s.
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Sewell, John Ike Jr. ""Don't Believe the Hype": The Construction and Export of African American Images in Hip-Hop Culture." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2193.
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This study examines recurring motifs and personas in hip-hop.
Interviews with influential hip-hop scholars, writers and music industry personnel were conducted and analyzed using qualitative methods. Interview subjects were selected based on their insider knowledge as music critics, hip-hop scholars, ethnomusicologists, publicists, and music industry positions.
The vast majority of constructed imagery in hip-hop is based on a single persona, the gangsta. This qualitative analysis reveals why gangsta personas and motifs have become the de facto imagery of hip-hop. Gangsta imagery is repeatedly presented because it sells, it is the most readily-available role, and because of music industry pressures.
This study is significant because gangsta imagery impacts African American social knowledge and the generalized perception of blackness. Gangsta imagery has also served to alienate black culture and has caused rifts in the African American community.
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Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.
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This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.
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Berggren, Kalle. "Reading Rap : Feminist Interventions in Men and Masculinity Research." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-229518.
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The present thesis explores how masculinity is constructed and negotiated in relation to race, class and sexuality in hip hop in Sweden. Theoretically, the study contributes to the increasing use of contemporary feminist theory in men and masculinity research. In so doing, it brings into dialogue poststructuralist feminism, feminist phenomenology, intersectionality and queer theory. These theoretical perspectives are put to use in a discourse analysis of rap lyrics by 38 rap artists in Sweden from the period 1991-2011. The thesis is based on the following four articles: Sticky masculinity: Post-structuralism, phenomenology and subjectivity in critical studies on men explores how poststructuralist feminism and feminist phenomenology can advance the understanding of subjectivity within men and masculinity research. Drawing on Sara Ahmed, and offering re-readings of John Stoltenberg and Victor Seidler, the article develops the notion of “sticky masculinity”. Degrees of intersectionality: Male rap artists in Sweden negotiating class, race and gender analyzes how class, race, gender, and to some extent sexuality, intersect in rap lyrics by male artists. It shows how critiques of class and race inequalities in these lyrics intersect with normative notions of gender and sexuality. Drawing on this empirical analysis, the article suggests that the notion of “degrees of intersectionality” can be helpful in thinking about masculinity from an intersectional perspective. ‘No homo’: Straight inoculations and the queering of masculinity in Swedish hip hop explores the boundary work performed by male artists regarding sexuality categories. In particular, it analyzes how heterosexuality is sustained, given the affection expressed among male peers. To this end, the article develops the notion of “straight inoculations” to account for the rhetorical means by which heterosexual identities are sustained in a contested terrain. Hip hop feminism in Sweden: Intersectionality, feminist critique and female masculinity investigates lyrics by female artists in the male-dominated hip hop genre. The analysis shows how critique of gender inequality is a central theme in these lyrics, ranging from the hip hop scene to politics and men’s violence against women. The article also analyzes how female rappers both critique and perform masculinity.
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Oknemark, Per Axel. "Det är klart att dom tänker på the (code) switch… : En studie i hur engelskan tar form i populär svenskrap." Thesis, Södertörns högskola, Svenska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-43735.
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I slutet av 1990-talet kom en våg av rapmusik på svenska som populariserade genren. En scen för engelskspråkig rap i Sverige hade funnits sedan 1980-talet men de tidiga försöken med rap på svenska fick sällan varma mottaganden. Idag är svensk rap större än någonsin. Ny teknik gör det lättare och snabbare att producera och distribuera musik vilket har lett till att svensk rap ytterligare har populariserats. Denna uppsats analyserar användningen av engelska i populär svensk rapmusik från två olika tidsperioder. Syftet är att se hur engelska blandas med svenska och hur detta kan ha förändrats över tid. Analysen undersöker var i den musikaliska och grammatiska strukturen kodväxlingen inträffar, och om kodväxlingen har någon pragmatisk funktion efter Sarkar och Winers Quebec-studie (2006). Materialet är hämtat från svenska Grammisgalan där de utvalda artisterna har fått nomineringar för sina verk. Det äldre materialet är låtar nominerade under åren 1999-2003, det nyare materialet är låtar som nominerades under åren 2016-2020.In the late 1990’s Sweden saw a wave of rap music in Swedish that set a standard and popularized the genre. A scene for English spoken rap in Sweden had existed since the 1980’s but earlier attempts of rap in Swedish was often seen as something rather uncool. Today Swedish rap is bigger than ever. New technology makes producing and distributing music easier and faster which has led to the expansion of Swedish rap. This paper analyzes the use of English in popular Swedish rap music from two different time periods. The purpose is to see how English is mixed in with Swedish and how this may differ between the different time periods. The analysis examines where in the musical and grammatical structure the changes occur, and if the switching has any pragmatic function after Sarkar and Winers Quebec study (2006). The material is collected from the Swedish Grammy Awards where the featured artists have received nominations for their work. The older material are songs nominated in the years 1999-2003, the newer material are songs nominated in the years 2016-2020.