Dissertations / Theses: 'Rap (Music) Reggae music'

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White, Annika Yvette. "A content analysis of popular themes and sexuality in rap and reggae music." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Summer2010/A_White_051810.pdf.

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Thesis (M.A. in sociology)--Washington State University, August 2010.
Title from PDF title page (viewed on July 29, 2010). "Department of Sociology." Includes bibliographical references (p. 78-80).

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Morgan, Andrea Scott. "Deconstructing myths about rap music /." View online, 1996. http://repository.eiu.edu/theses/docs/32211998826162.pdf.

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Wood, Ashley Elizabeth. "El Reguetón: Análisis Del Léxico De La Música De Los Reguetoneros Puertorriqueños." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/mcl_theses/6.

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This paper examines the linguistic qualities of reggaeton in order to determine to which extent the music represents the speech of the urban residents of Puerto Rico. The lyrics of this music are analyzed in order to see if they are used only within the context of reggaeton or if they are part of the Puerto Rican lexicon in general. The political context of Puerto Rico with respect to the United States is taken in to consideration with the formation of Anglicisms and the use of English. The paper summarizes the current knowledge of the Puerto Rican lexicon as well as two linguistic studies that focus on reggaeton as well as giving general background information on the genre. In the analysis section, 20 words that are commonly found in reggaeton songs are analyzed using two accredited dictionaries and three “urban dictionaries” in order to determine their meanings, uses and origins.

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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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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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Skopal, Edward William Jr. ""Hear Dem Cryin:" Rastafari and Framing Processes in Reggae Music." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33570.

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In social science, reality is too frequently conceived of from the point of view of European or American white men. I intend to examine the perceived realities and world-view of a marginalized oppressed group, the Rastafarians. The contemporary social movement literature focuses heavily on framing processes, how movement members portray their grievances to potential sympathizers. Reggae music is the most popular vehicle for the Rastafarians to disperse their world-view. This study explores how reggae music serves certain social movement functions for the Rastafarian movement. I seek to show that reggae music is indeed political and draws heavily from Rastafarian ideology. I will perform a content analysis of the lyrics of reggae music and identify the diagnostic, prognostic, and motivational framing used by the reggae artists.
Master of Science

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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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Henry, William Anthony. "Reggae/dancehall music : the 'hidden voice' of Black British urban expression." Thesis, Goldsmiths College (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269690.

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Morrison, Karen Y. "Anne Bradstreet's rap : the music in her poetry /." View abstract, 2001. http://library.ccsu.edu/ccsu%5Ftheses/showit.php3?id=1658.

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Thesis (M.A.)--Central Connecticut State University, 2001.
Thesis advisor: Gilbert L. Gigliotti. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.

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Love, Bettina L. "Don't judge a book by Its cover an ethnography about achievement, rap music, sexuality & race /." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/eps_diss/28/.

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Thesis (Ph. D.)--Georgia State University, 2008.
Title from title page (Digital Archive@GSU, viewed June 10, 2010) Jennifer Esposito, committee chair; Jonathan Gayles, Richard Lakes, Carlos R. McCray, committee members. Includes bibliographical references (p. 201-228).

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Hopkins, Richard L. D. "Reggae in the Motor City: The Afropolitan Aesthetics of Reggae in Detroit, MI." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1573002146396538.

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Sweet, Eli. "Bullet on the charts beef, the media industry and rap music in America /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1123.

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Sissum, Melina. "A longitudinal content analysis of violence, sex, and drugs in rap music." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3208.

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Zemke-White, Kirsten. "Rap Music in Aotearoa: A Sociological and Musicological Analysis." Thesis, University of Auckland, 2000. http://hdl.handle.net/2292/97.

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This thesis examines rap music in Aotearoa, demonstrates its popularity, and explores its presence as a cultural commodity, particularly among Polynesian youth. I show how analysis of a popular musical phenomenon can be used to illustrate other social facts such as identity, political awareness, and alliance. American rap's history, musical characteristics, misogyny, profanity, racial implications, associations with deviance, and nihilism are explored, outlining multiple levels of meaning and intention, not excusing its occasional harshness, but presenting perspectives from within rap and critical race theory discourses. From interviews with school students, teachers, rappers, adults involved with young people and persons in the media industry, I show that, in Aotearoa, it is the Polynesian youth who have embraced rap, both as fans and as performers, from breakdancing in the early 80's to the latest surge of "Pasifika Hip Hop". Through observation and collection of videos, CD's, sales charts, magazines and news articles I conclude that American rap has had a strong presence in the media and popular music history of Aotearoa, with many local rap artists and songs having local chart successes. Through musical and lyrical analysis I summarise and compare the themes and musical influences of both American and Aotearoa rap and discover that Aotearoa rap is used to assert and construct local identities exploring race, culture and history. The thesis begs the question: Why is rap so popular particularly among Polynesian youth? Four responses are explored: a) The rappers themselves cite a similar socio-economic and historical circumstance to African Americans; b) Rap is a popular globalised popular cultural form, possibly representing a generalised trend in Americanisation and homogenisation, (which I refute on the basis of rap's inherent "blackness" arguing that hip hop is rather a voice of opposition); c) Rap as a genre has kaupapa [philosophy] and presents an ideal tool for the exigencies of Polynesian youth's exploration of identity and community and for the communication of political and pride; and finally d) The Polynesian youth of Aotearoa feel a spiritual connection to rap and hip hop, hearing something of themselves in it, and have taken to it like it was already theirs. I offer that rap has been a Turangawaewae [place to stand] for the rangatahi [youth] and they have injected this fertile African American popular music genre with their own culture and ideology.
Whole document restricted, but available by request, use the feedback form to request access.

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RAY, OLIVIA SUNDIATA. "SEXUAL VIOLENCE IN POPULAR RAP MUSIC AND OTHER MEDIA." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618766.

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This paper examines the prevalence of sexual violence in American media with particular focus on attitudes of sexual violence as a contribution to rape culture. Included is a content analysis of the prevalence of sexually violent lyrics in popular rap music, and a literature review of articles and studies on the effects of sexually violent media. The media discussed in the literature review includes films, television, and pornography. The relationship between the presence of sexually violent media and its impact on public opinion on sexual assault and rape proclivity are analyzed. The literature reviewed includes studies on differences in response to sexually violent media based on gender. Also included are explanation and summary of a study utilizing the excitation transfer theory and the social learning theory as they apply to the understanding of the perpetuation of rape myth acceptance based in the viewing of sexually violent media. These studies utilize the rape myth acceptance scale, the acceptance of interpersonal violence scale, and the adversarial sexual beliefs scale, among other scales of measurement to assess rape myth acceptance and rape proclivity. The high prevalence of sexual assault in the United States calls for an analysis of the acceptance of beliefs that perpetuate sexual assault and the media which support and increase the presence of these beliefs.

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Jordan, Augustus III. "A study of language and ideology in Rap Music." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1998. http://digitalcommons.auctr.edu/dissertations/3334.

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This study examined the language of Hip-Hop songs and ideology of the artists as reflected through their songs. The study was based on the theory that Hip-Hop or rap songs are legitimate artforms because of their use of poetic elements such as figuration, figures of sound, symbolism, and ambiguity. The study recorded and interpreted the lyrics of a few current rap songs for the purpose of investigating their poetical and ideological elements. The researcher found signification battles by some rap artists as the best examples of songs which express the richness and complexity of Hip-Hop music. The researcher found that both Hip-Hop music lyrics and standard poetry have many similarities, but also have a few different features which enhance their uniqueness. The conclusions drawn from the findings suggest that the main reason many critics do not consider Hip-Hop or rap music an artform, is that they either compare the music to something extremely different, or they simply do not take the time to listen to its songs. Rap Music is an artform that expresses poetic elements and utilizes electronic devices, thus making it a Postmodernist popular artform. Through the research, the researcher showed that rap music lyrics also have intense meaning, just like poetry..

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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.

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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.

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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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Miyakawa, Felicia M. "Five percenter rap : God Hop's music, message, and black muslim mission /." Bloomington : Indiana university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40037113d.

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Nichols, Jason Anthony. "The realest nigga constructions of Black masculinity within rap music /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3921.

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Thesis (M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Dept. of American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Murray, Dufferin A. "From the word up, the poetic message of rap music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30813.pdf.

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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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Dares, Jasmine. ""Poetry out of poison" : exploring rap music as critical pedagogy." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44966.

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How to create learning experiences that are more relevant and empowering for young people is an ongoing issue for educators, youth workers, parents, social scientists, and students. Critical pedagogical theorists have identified gaps in formal education which limit the possibilities for critical thinking and student-centredness (Ibrahim, 2004; Low, 2007, 2011; McLaren, 1997). While many of these studies have been conducted in classroom settings, this study focuses on what can be learned from youth programs that were collaboratively developed by program directors and rap artists in community organizations. Using qualitative interviews and drawing from cultural studies, this research engages the perspectives of five participants who are actively involved in the development and implementation of hip hop youth programs. The emergent themes from the interviews highlighted hip hop culture’s relationship with social justice and social contradictions. These findings support the claim that critical rap pedagogies provide young people with more relevant learning experiences and with greater possibilities to draw connections between their own experiences and the wider community leading to greater opportunities for agency and empowerment.

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Baya, Dina. "'We Rising Up' : Rap Music as a Tool of Resistance." Thesis, Malmö universitet, Malmö högskola, Institutionen för globala politiska studier (GPS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-18499.

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This study aims to point out how music can be used as resistance. This study looks at four rap songs and how the lyrics express resistance against African American oppression in the United States of America. Using discourse analysis I, a method outlined by Gillian Rose, in combination with discourse theory and cultural resistance theory, the following research question is answered: How is resistance against oppression expressed in rap music? In addition this study asks how the expression of resistance against oppression has changed over time? Therefore the songs have been selected from a different era, starting from the 80s until today. The method portrayed how the selected songs construct blame, effects of truth and arguments against oppression through the lyrics. Moreover, the theories showed how rap music can be used as cultural resistance since it performs as a practice of survival and rebellion as well as can be political and an outlet to let out frustration. Moreover, it was found that discourse determines the ways the artists act and view their world which is expressed through the selected songs.

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Springer, John. ""Reggae music": the lyrics of the music are a useful tool for the political education of Blacks in the United States." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1988. http://digitalcommons.auctr.edu/dissertations/1994.

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The major objective of this research is to analyze the political message in the lyrics of Reggae music, and to show how black American audiences can use that message to gain a black political consciousness. The work attempts to show how Reggae music can act as a source of political education to American blacks. The method used to show how this would be accomplished involved the formulation of a scheme that linked the expression in Reggae to black American music, and domestic American political struggles by blacks. This was made possible through the analysis of Reggae's link to American radio, and the connection between Jamaican born Marcus Garvey and the "Black Power" movement in the 1960's. Reggae music was found to be a source for political education of blacks in America. Through critical analysis of lyrics of the music, an ideological system was shown to exist in Reggae. This system was a language of black political struggle in the world, based in an African ideology, with the implication of a bio-cultural factor which called blacks to unite and strive towards the Pan-African philosophy invented by Marcus Garvey. The significance of this work concerns the area of culture and its influence on man's ability to create. In one sense this involves the evolution of Reggae music as artistic creation, and on the other hand it involves Pan-African thought which is an ideo-philosophical creation. These two are important since the basis of culture is learning and communication. Through learning and culture Reggae music's influence is drawn, and in them Reggae as a tool of political education can be validated. This analysis is grounded in a cultural base, which establishes Reggae's relationship to the idea of a "black identity." This research has found that Reggae music is a useful tool for the political education of black's in the United States. Yet, it has shown that it is the lyrical system presented in the music which is most important. This work suggests that there is an ultimate reasoning in Reggae, and its basic concerns are "black identity" and African identification.

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Woods, Alyssa. "Violence and the negotiation of musical meaning in rock, pop, and rap cover songs." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26810.

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My thesis uses a synthesis of literary, cultural, and music theoretic frameworks to explore the social and musical meanings of mainstream popular cover songs. In Chapter 1 I examine two versions of the song "'97 Bonnie and Clyde", a song that explores an extreme case of domestic violence. The original, written and performed by rap artist Eminem, and a cover interpretation by female singer-songwriter Tori Amos. I examine how, using the same lyrics, each artist conveys their own social position and message through their vocal and musical presentation. In Chapter 2 I explore how Eminem appropriates music from a female pop artist; Dido. Eminem samples a portion of the song and structures his song "Stan" around the borrowed musical material. In doing so he alters the meaning of her lyrics and music, casting it in the context of his dark narrative. In Chapter 3 I explore a similar case of musical borrowing. Eminem appropriates the chorus of rock band Aerosmith's well known song "Dream on". Using Stuart Hall's theories of representation I argue that Eminem barrows music and video techniques from the rack genre in order to make an identity claim. In Chapter 4 I examine three different version of the song "Happiness is a Warm Gun": the Beatles' original which uses the gun as a sexual metaphor, and covers by U2 and Tori Amos which both express social commentary on gun violence and gun control. (Abstract shortened by UMI.)

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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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Chennault, Schyler. ""Je vis, donc je vois, donc je dis" : banlieue violence in french rap /." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1787.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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Macaulay, David E. (David Edward). "Word, sound and power : Rastafari and conceptions of musical meaning in roots reggae music." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69634.

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Reggae is a popular musical form that originated in Jamaica in the late 1960's and soon came to be closely associated with the oppositional, Afrocentric Rastafarian movement. During the 1970's it achieved global popularity and is now produced in many locations around the world. In Montreal, reggae is produced by and for a cosmopolitan community; however, certain conceptions of the distinctiveness of this music as an effective intervention in social processes, derived from Rastafarian philosophy, are maintained by its performers. This thesis examines reggae song lyrics and elements of discourse about reggae music in relation to Rastafarian cultural practices, showing how the aesthetic conventions of the form involve a certain ritualization of musical activity that allows for the interpretation of aesthetic experience in terms of solidarity, resistance and historical progress.

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Stephens, Torrance T. "An examination of the effect of using rap music as an adjunct to music therapy in group counseling." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1992. http://digitalcommons.auctr.edu/dissertations/1998.

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This investigation examined the effects of using rap music in group counseling as a counseling adjunct. A multi-group experimental design was used to determine whether statistically significant differences would be evidenced. In addition, a methodology that employed rap music in the counseling process was developed. The subjects included thirty undergraduates from Clark Atlanta University. Although visible means differences were observed, computed t-ratio's indicated that there was no statistically significant differences between groups pre- and posttest scores as measured by Mooney Problem Checklist (1950).

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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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Tummons, Jonathan P. "Cultural assimilation, appropriation and commercialization : authenticity in rap music, 1997-2004 /." Morgantown, W. Va. : [West Virginia University Libraries], 2008. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5611.

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Thesis (M.A.)--West Virginia University, 2008.
Title from document title page. Document formatted into pages; contains xvi, 195 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 183-195).

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Quinn, Eithne. "Representing and affronting : the politics and poetics of gangsta rap music." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311723.

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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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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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Roberts, Kurt B. "Lyrics and a social movement : the rhetorical influence of Bob Marley's lyrics on the Rastafarian movement and universal culture /." View online, 1996. http://repository.eiu.edu/theses/docs/32211130914460.pdf.

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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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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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Saleh-Hanna, Viviane. "Lyrical passages through crime : an Afrobeat, Hip Hop and Reggae production, featuring black criminology /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278476.

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Thesis (Ph.D.)--Indiana University, Dept. of Criminal Justice, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4488. Adviser: Philip C. Parnell. Title from dissertation home page (viewed May 20, 2008).

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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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Brunner, Jonas. "Rap Music: Differences in Derogatory Word Use Between Mainstream and LGBTQ Artists." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-19539.

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This study aims at investigating differences in derogatory word use between heteronormative rap artists and rap artists identifying with LGBTQ norms. A list of six profane words to be content analysed was constructed. These words were divided into three subcategories: those generally related to men (dick and nigga), women (bitch and pussy), or language in general (fuck and shit). The study examines the frequency of these derogatory words in randomly selected rap music and investigates how these frequencies differ in mainstream and LGBTQ artists' song lyrics. A content analysis of four randomly selected songs each from ten randomly selected mainstream artists and ten randomly selected LGBTQ artists was conducted. Two hypotheses that were derived from the literature (Wilson, 2007; Monk-Turner & Sylvertooth, 2008) were tested. It was expected that (1) general profanity (the use of fuck and shit) would occur most frequently in the lyrics of both mainstream and LGBTQ artists and that (2) derogatory words directed at women would not be as frequent in the lyrics of LGBTQ artists as in mainstream rappers' lyrics. On the contrary, the data show that profanities aimed at women occur more frequently in LGBTQ artists' lyrics. The data also show that general profanity is most common in LGBTQ artists' lyrics but not in the lyrics of mainstream artists, where profanities aimed at men was most frequent. However, there were several factors which affected the validity of the study. The issue of whether profane words are always used in a derogatory way in the songs or not is a big methodological shortcoming of the study in terms of accuracy. Furthermore, the small sample size indicates that one should be cautious about stating generalisations based on tendencies seen in the data.

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Singles, Daniel Christopher. "Words are weapons boast and anti-boast in the poetic feuds of "Beowulf", Alexander Pope, and twenty-first century battle rap /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1691485651&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Silva, Edna Alencar da. "O rap ecoa na literatura infantil." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-03102012-124340/.

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Em nossa pesquisa intitulada O Rap Ecoa na Literatura Infantil, buscamos investigar diálogos que a literatura infantil e juvenil estabelece com outras formas de comunicação e outras artes, movimento que vem ocorrendo com intensidade e que concorre para modificações nesse universo literário, bem como, na imagem de seu interlocutor. Elaboramos um breve estudo por alguns caminhos percorridos historicamente pelos textos infantis, passamos por uma contextualização sobre a música, e os elementos que compõem a Cultura Hip-Hop e um de seus pilares o rap, posto que, selecionamos para objeto de estudo a obra Um Garoto Chamado Rorbeto, do rapper Gabriel Contino O Pensador. Buscamos evidenciar códigos literários e manifestações da cultura hip-hop compartilhados, as negociações entre os discursos sociais, o de denúncia característico do rap e o do poder instituído fortemente representado na obra; a partir disso, buscamos tangenciar possíveis imagens de criança e de infância que se fazem presentes em nossa contemporaneidade.
In our survey entitled The Rap Echoes in Children\'s Literature, we show the children\'s as well as youth\'s literature dialogues - in whose genesis there is a child picture- with other forms of communication and arts, movement that is happening with intensity and that contributes to changes in this literary universe, as well as the image of the speaker. We prepared a brief study through paths followed by some historical texts for children, we passed through a contextualization of the music, and the elements that make up the Hip-Hop Culture and one of its pillars - the rap in which the object of study selected for the work was A Boy Called Rorbeto, from the rapper Gabriel Contino - O Pensador (The Thinker). We show literary codes and shared literary manifestations of hip-hop culture, negotiations between the social discourse, the complaint - characteristic of rap - and the institutional power strongly represented in the work; from that point, we seek possible tangent child and childhood images that are present in the present.

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Jones, Simon. "White youth and Jamaican popular culture." Thesis, University of Birmingham, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391512.

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Koonce, Richard Sheldon. "The symbolic rape of representation : a rhetorical analysis of Black musical expression on Billboard's Hot 100 charts /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162098669.

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Gimeno, Patricia Curi. "Poetica versão : a construção da periferia no rap." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281717.

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Orientador: Bela Bianco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-14T04:16:58Z (GMT). No. of bitstreams: 1 Gimeno_PatriciaCuri_M.pdf: 862548 bytes, checksum: 0f200c7fbb95ab8666e5e598821e588d (MD5) Previous issue date: 2009
Resumo: O objetivo desta dissertação foi o de apresentar alguns aspectos fundamentais para a compreensão do processo de construção da relação entre o rap, os rappers e a periferia. Tal relação é entendida como o resultado de um processo bastante abrangente de diálogo e, por vezes, de conflito, entre alguns rappers paulistanos e outros sujeitos e instituições no tocante à própria conceituação da periferia, à ocupação de territórios da cidade de São Paulo, às visões mais comuns sobre a violência e à criminalidade e, por fim, ao papel desempenhado por estes artistas na cena pública. Tomando como base as trajetórias e as letras de músicas dos integrantes dos grupos Racionais MC's, RZO e dos rappers Rappin Hood, Xis e Sabotage, procurou-se mostrar que, ao defenderem a legitimidade do olhar construído a partir do interior da periferia, assim como de seus papéis públicos de representantes autorizados dos moradores, os artistas tornaram-se mediadores entre esse mesmo território e o restante da sociedade. E, mais importante, transformaram o rap em um veículo de expressão e de formulação de demandas sociais e políticas de uma parcela bastante significa de jovens pobres e negros que, assim como eles, nasceram e cresceram nas periferias da cidade de São Paulo a partir dos anos 1970
Abstract: The purpose of this dissertation was to present some fundamental aspects for comprehending the upbuilding process of the relations between Rap, rappers and peripheral neighborhoods. Such relations are understood as the result of a quite broad dialogical process, and sometimes a conflictual one, between rappers from São Paulo and other institutions and individuals concerning the very conceptualization of the peripheral neighborhood, the occupation of some of the city's territories, the most common points of view about violence and crime and, lastly, concerning the role played by these artists in the public scenario. Taking as a start their life histories and lyrics by members of the groups Racionais MCs, RZO, and the rappers Rappin Hood, Xis and Sabotage, efforts were made towards the purpose of demonstrating that by defending the legitimacy of this look developed within the peripheral neighbourhood as well as the legitimacy of their roles as public representatives as authorised by the community, artists became mediators between these very territories and the rest of the society. More importantly, these artists have turned rapping into a medium of expression and formulation of social and political demands for a significant share of poor and black young ones who, just like them, were born and raised in the peripheral areas of the city of São Paulo from the 70's onwards
Mestrado
Antropologia Urbana
Mestre em Antropologia Social

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Grönevik, Klara. "The Depiction of Women in Rap and Pop Lyrics." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-29947.

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The aim of the study is to investigate song lyrics within rap and pop music from a cultural and a gender perspective, focusing on the depiction of women. The investigation focuses on the nouns the songwriter use to refer to the concept of woman. Twenty songs from each genre are conveyed in this study. The results show that rap lyrics contain multiple nouns referring to the concept of woman that depict women in a negative way. Pop lyrics do not contain these words and thus have a more positive way of depicting women. Nouns that occur in both genres tend to be of positive value whereas nouns that are only represented in the rap genre tend to be of negative value, something that indicates these nouns to be bearers of cultural values. It is easier to distinguish hip-hop culture, of which rap is a part, due to the fact that it consists of distinctive language that is highly connected to that particular genre. Pop music however, is very broad and also more difficult to distinguish as a unique culture compared to hip-hop. The language used in pop lyrics is rather commonplace and does not stand out in the crowd as the language in rap lyrics does.

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Haupt, Adam. "Rap and the articulation of resistance: an exploration of subversive cultural production during the early 90's, with particular reference to Prophets of da City." Thesis, University of Western Cape, 1995. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_4016_1300857743.

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This thesis explores the ways in which Cape Town rap group Prophets of da City articulate their resistance to apartheid and, in particular, the ways in which they attempted to intervene in politicians' attempts to pacify the black electorate during the build- up to South Africa's first democratic elections. Initially, I attempt to clear a space from which one could discuss POC's work as postmodern and postcolonial. I then theorise POC's use of sampling as a postmodern strategy whilst, at the same time, pointing out that rap has its origins in the African- American tradition of Signifyin(g). Through my discussion sampling, I suggest that rap, as postmodern cultural practice, challenges concepts of originality as well as uniqueness. I also discuss POC's work as part of subculture and analyse Spike Lee's Do The Right Thing in order to explore the black artist's struggle for space* within the public sphere. Finally, I contend that both Lee and POC's texts are flawed because they marginalise gender politics. I briefly discuss Queen Latifa's rap music to suggest that the discourses of race and gender are inseparable.

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Dissertations / Theses on the topic 'Rap (Music) Reggae music'

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