Relevant bibliographies by topics / Rap musicians – united states

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Rap musicians – united states'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Rap musicians – united states"

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Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library." Notes 80, no. 4 (2024): 605–31. http://dx.doi.org/10.1353/not.2024.a928765.

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ABSTRACT: United States music history has for years privileged whiteness and largely ignored or disregarded the contributions of African Americans. The Stuart R. Rose Manuscript, Archives, and Rare Book Library at Emory University in Atlanta, Georgia, houses over thirty collections (and growing) related to African American musicians that could be used to both uncover and recover the critical role African Americans played in the music culture of the United States. This article presents a brief overview of these holdings to date, including the papers of composers (such as William Dawson, George
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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.

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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical int
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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States." Middle East Journal of Culture and Communication 12, no. 1 (2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (sc
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Tomlinson, Brendan H. "The Censorship of Misogynistic Rap Music - A Consideration of Gender-Based Harms and Free Speech." Victoria University of Wellington Law Review 26, no. 3 (1996): 531. http://dx.doi.org/10.26686/vuwlr.v26i3.6152.

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The lyrics of gangster rap music have created a storm of controversy in the United States and elsewhere. This article considers the censorship of misogynistic rap music, analysing both the harm which it may do to women, and the way in which free speech principles apply to rap music. The criteria for works to be censored in New Zealand and the United States are analysed. Comments are made about how the New Zealand Classification Office should treat rap music works. It is argued that censorship of rap will rarely be justified. The article concludes by examining an interesting and fundamental dif
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Revelli, Venkatsushanth, and Ayman Ali. "Understanding the State Agency Policies toward RAP Usage in the United States: State of Practice." Recycling 8, no. 6 (2023): 100. http://dx.doi.org/10.3390/recycling8060100.

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The usage of Reclaimed Asphalt Pavement (RAP) material is a highly resource-conservative, economical, and sustainable practice in flexible pavement construction. However, its usage in hot mix asphalt (HMA) is capped at 25% by the majority of state transportation agencies due to its aging levels, stiffness characteristics, and handling capabilities, which may result in early-age pavement distress. Though researchers suggest methodologies to increase RAP usage, higher RAP percentages in asphalt pavements require the support of state authorities. The main objective of this paper is to provide inf
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Boyer, Holly. "The Alert Collector: Hip Hop in the United States." Reference & User Services Quarterly 55, no. 3 (2016): 215. http://dx.doi.org/10.5860/rusq.55n3.215.

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Hip hop is a ubiquitous part of American society in 2015—from Kanye West announcing his future presidential bid to discussions of feminism surrounding Nikki Minaj’s anatomy, to Kendrick Lamar’s concert with the National Symphony Orchestra, to Questlove leading the Tonight Show Band, hip hop has exerted its influence on American culture in every way and form.Hip hop’s origin in the early 1970s in the South Bronx of New York City is most often attributed to DJ Kool Herc and his desire to entertain at a party. In the 1980s, hip hop continued to gain popularity and speak about social issues faced
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Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).
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SullyCole, Althea. "Listening to Kora in New York City: Constructing Africa and Blackness in the United States." Ethnomusicology 66, no. 2 (2022): 319–40. http://dx.doi.org/10.5406/21567417.66.2.07.

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Abstract Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a soc
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Mangelsen, Jordan. "Forgive Me, Your Honour, For I Have Sinned." Crossings: An Undergraduate Arts Journal 4, no. 1 (2024): 228–34. http://dx.doi.org/10.29173/crossings203.

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This paper explores the use of rap lyrics in criminal trials across the United States and Great Britain. Rap is a multibillion-dollar industry and has soared in popularity since its inception. In recent years, rap lyrics have been used to ascertain guilt or innocence through the perceived meaning of the specific lyrics. However, there have been no advancements toward appreciating the cultural significance of rap or its status as a legitimate art form. The criminal justice system has favoured treating lyrics as confessions and fails to consider the nuance of the socio-historical context of the
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WELLS, PAUL F., and SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction." Journal of the Society for American Music 4, no. 4 (2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.
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Dissertations / Theses on the topic "Rap musicians – united states"

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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.<br>Bachelors<br>Arts and Sciences<br>Anthropology
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Patel, Parag. "We live this shit rap as a reflection of reality for inner city youth." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4818.

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Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. This thesis uses rap lyrics as qualitative data to understand the plight of urban black youth. Rap music can be seen as a form of resistance for young African Americans who have historically never had such a medium
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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one referen
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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Kenny, Sara York. "Predicting Failure in the Savings and Loan Industry: a Comparison of RAP and GAAP Accounting." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330922/.

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The financial crisis facing the United States savings and loan industry has been steadily escalating over the last decade. During this time, accounting treatments concerning various thrift institution transactions have also attracted a great deal of attention. The specialized accounting treatments used in the thrift industry, known as regulatory accounting practices (RAP) have been blamed as one of the culprits hindering the regulators' ability to detect serious financial problems within many institutions. Accordingly, RAP was phased out, and all federally insured savings and loan associations
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McCall, Sarah B. "The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277608/.

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Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are prod
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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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Hall, Toby. "Tony Williams: rhythmic syntax in jazz drumming." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
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Books on the topic "Rap musicians – united states"

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Denton, Sandra. Let's talk about Pep. Gallery Books, 2010.

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Common. One day it'll all make sense: A memoir. Atria Books, 2011.

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Lazerine, Cameron. Rap-Up. Grand Central Publishing, 2008.

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Dee, Kool Moe. There's a god on the mic: The true 50 greatest MCs. Thunder's Mouth Press, 2003.

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Golus, Carrie. Tupac Shakur. Twenty-First Century Books, 2011.

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Lang, Holly. The Notorious B.I.G.: A biography. Greenwood Press, 2007.

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Schmelling, Michael, the Creator Tyler, and Nick Weidenfeld. Golf Wang. PictureBox, 2011.

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White, Danny. Will-i-am: The unauthorized biography. Michael O'Mara, 2012.

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Krulik, Nancy E. M.C. Hammer and Vanilla Ice: The hip-hop never stops! Hippo Books, 1991.

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Sacha, Jenkins, ed. The way I am. Dutton, 2008.

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Book chapters on the topic "Rap musicians – united states"

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Angelucci, Margherita, and Wissal Houbabi. "Chapter 4: From Pimpology to Pimpologia: A Comparative Analysis of Pimp Rap in the United States and Italy." In Misogyny, Toxic Masculinity, and Heteronormativity in Post-2000 Popular Music. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65189-3_5.

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Woodard, Ben. "Mad Speculation and Absolute Inhumanism." In continent. Year 1. punctum books, 2012. https://doi.org/10.21983/p3.0016.1.15.

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I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Miéville’s Iron Council which puts down track as it moves re-claiming it along the way. The strange trajectory is the following: Kant’s criti-cal philosophy and much of continental philosophy which has followed, has been a defense against horror and madness. Kant’s prohibition on specula-tive metaphysics such as dogmatic metaphysics and transcendental real
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Bendrups, Dan. "Commercial Connections." In Singing and Survival. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190297039.003.0006.

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This chapter considers Rapanui music in relation to global commercial influences, especially those emanating from the United States from the 1960s onward. It reveals how Rapanui performers over two generations have made sense of global cultural influences, and how these have in turn been represented in Rapanui music. It considers the capacity for Rapanui performers to extend beyond the confines of Chilean folklore performance contexts and into mainstream global popular culture, providing key examples of groups and individuals who have achieved some level of national or international popularity
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Storhoff, Timothy P. "The Politics of Cuban Music in the United States." In Harmony and Normalization. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0003.

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The third chapter describes the history of Cuban politics in the United States, their recent transformations, and how they have impacted musical production and interaction. The politics and musical prominence of Cuban exiles in Miami has resulted in a range of reactions to Cuban musicians in South Florida ranging from controversy to acceptance. Divisive Florida performances are contrasted with appearances by Cuban artists elsewhere in the country. The National Symphony Orchestra of Cuba’s first tour of the United States in 2012 featured a range of repertoire by Cuban artists, European romantic
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Lapidus, Benjamin. "The Musical Impact of the Mariel Boatlift on the Latin Music Scene of New York City and Interethnic Collaboration among Puerto Ricans and Cubans." In Cuba and Puerto Rico. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403302.003.0014.

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Cubans and Puerto Ricans have interacted musically throughout history, yet their collaborations were greatly impacted by the 1980 Mariel boatlift. As Benjamin Lapidus notes, few scholarly works have focused on the musical impact of Cubans who arrived during the Mariel exodus. Existing scholarship on Cuban music in the United States has centered on the period before and immediately after 1959 and has overlooked important musicians who brought the newest Cuban musical information to the United States in the late twentieth century. Lapidus discusses the immediate musical effects of the Mariel boa
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Gidal, Marc. "“Paying Dues” and “Carrying Flags”." In SamBop NYC. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197619049.003.0002.

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Abstract Chapter 1, “ ‘Paying Dues’ and ‘Carrying Flags’: Demographic Diversity and Inequities among Musicians,” explains that systemic racism, sexism, and classism caused imbalanced demographic diversity among professional musicians who played Brazilian jazz in New York City between 2000 and 2020. An original dataset of 173 musicians, their instruments, and social categories (nationality, race, and gender) is compared to published data about Brazilian immigrants in the United States and jazz musicians in New York. Approximately 70 percent are male and 70 percent are white; half are Brazilians
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Clark, Maribeth. "Agnes Woodward’s Whistling School and White Women’s Musical Labor in the United States." In Hidden Harmonies. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845375.003.0003.

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This essay considers Agnes Woodward’s development of the California School of Artistic Whistling, founded in 1909 to provide students structures to interpolate birdsong into their musical performances of songs, brief instrumental pieces, nature presentations, and readings. As director of this school, Woodward served as a mentor to countless young, middle-class women whistlers. Because of Woodward and the bird whistling method that she developed, and her commitment to mentoring young musicians, numerous women experienced artistic and financial success as public performers.
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Goldschmitt, K. E. "From Fusion to Funk." In Bossa Mundo. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0004.

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This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetra
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Goldschmitt, K. E. "Copying the Bossa Nova." In Bossa Mundo. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0002.

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This chapter analyzes the initial proliferation of bossa nova in the United States and United Kingdom in the early 1960s, primarily as a jazz and dance fad. By using material culled from top English-language periodicals of the era, it traces the popularity of bossa nova in the United States from its adoption by jazz musicians in the early 1960s, the invention of a dance to accompany the musical trend, and the ultimate rejection of bossa nova by purists in the jazz press. It also shows how the style’s initial popularity was partially due to the divisive racial politics that had overtaken jazz i
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"Crossing Borders Mexicana, Tejana, and Chicana Musicians in the United States and Mexico." In From Tejano to Tango. Routledge, 2013. http://dx.doi.org/10.4324/9780203055670-12.

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Conference papers on the topic "Rap musicians – united states"

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Zhen, Ying. "Career Challenges Musicians Face in the United States." In MEIEA Summit 2020. Music and Entertainment Industry Educators Association, 2020. http://dx.doi.org/10.25101/20.37.

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Zhen, Ying, and Cameron Weber. "English Proficiency and the Success of Immigrant Musicians in the COVID-19 Era in the United States." In MEIEA Summit 2024. Music and Entertainment Industry Educators Association, 2024. http://dx.doi.org/10.25101/24.32.

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Rugg, Allyson, Julie Haggerty, Daniel Adriaansen, David Serke, and Scott Ellis. "Significant Updates for the Current Icing Product (CIP) and Forecast Icing Product (FIP) Following the 2019 In-Cloud ICing and Large-drop Experiment (ICICLE)." In International Conference on Icing of Aircraft, Engines, and Structures. SAE International, 2023. http://dx.doi.org/10.4271/2023-01-1487.

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&lt;div class="section abstract"&gt;The Current Icing Product (CIP; Bernstein et al. 2005) and Forecast Icing Product (FIP; Wolff et al. 2009) were originally developed by the United States’ National Center for Atmospheric Research (NCAR) under sponsorship of the Federal Aviation Administration (FAA) in the mid 2000’s and provide operational icing guidance to users through the NOAA Aviation Weather Center (AWC). The current operational version of FIP uses the Rapid Refresh (RAP; Benjamin et al. 2016) numerical weather prediction (NWP) model to provide hourly forecasts of Icing Probability, Ici
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Pettaway, Charles. "Introducing an Unknown African Composer to the World- at- Large During the Age of Enlightenment." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-036.

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Joseph Bologne, Le Chevalier de Saint- Georges was a Gemini (June 9,1745). His historical background as a biracial man of color who took France by storm, England and even the second president, of the United States, John Adams stated; “St Georges was such an incredible shot that he could hit a tiny button on the coat or waistcoat of the greatest masters.” “He could even hit a coin as it was tossed in midair.” I will discuss his early upbringing on the island of Guadeloupe from a union of a wealthy white Frenchman and a slave woman named Nanon. In France, he rose to unbelievable heights as a fen
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Shea, Brendan Sullivan, and Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops." In 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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The paper details current endeavors by the authors to explore and expand notions of sustainable design through two design-build festivals hosted during the summer of 2022 that each re-engaged historical architectural sites in ecologically diverse contexts. The paper first outlines the history of design-build pedagogies in the United States, from the founding of some of the country’s first colleges of design to contemporary manifestations of festival architecture as seen in pop-culture contexts. Next, the authors detail how this history impacts the site, structure, and organization of the two r
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