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Dissertations / Theses on the topic 'Rap musicians – united states'

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Published: 26 July 2024
Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Conway, Jordan A. "Living in a Gangsta’s Paradise: Dr. C. DeLores Tucker’s Crusade Against Gansta Rap Music in the 1990s." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3812.

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This project examines Dr. C. DeLores Tucker’s efforts to abolish the production and distribution of gangsta rap to the American youth. Though her efforts were courageous and daring, they were not sufficient. The thesis will trace Tucker’s crusade beginning in 1992 through the end of the 1990s. It brings together several themes in post-World War II American history, such as the issues of race, gender, popular culture, economics, and the role of government. The first chapter thematically explores Tucker’s crusade, detailing her methodology and highlighting pivotal events throughout the movement.
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12

Guillard, Séverin. "Musique, villes et scènes : localisation et production de l’authenticité dans le rap en France et aux Etats-Unis." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC1192.

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Des associations entre la musique et certains espaces se retrouvent à de multiples niveaux dans le rap français et américain : des rappeurs affirment « représenter » certaines villes ou certains quartiers, les spécificités stylistiques du rap américain sont expliquées par les contextes urbains dans lesquels elles ont émergé tandis que le rap français est abordé dans les médias comme le reflet d’un univers propre à la « banlieue ». Qu’y-a-t-il derrière ces associations ? Où et comment émergent-elles ? Dans quelle mesure participent-elles à construire l’authenticité de cette musique ? Pour répon
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13

Kumpf, Terence David [Verfasser], Walter [Akademischer Betreuer] Grünzweig, and Justin A. [Gutachter] Williams. "Towards a new transaesthetics: rap music in Germany and the United States / Terence David Kumpf ; Gutachter: Justin A. Williams ; Betreuer: Walter Grünzweig." Dortmund : Universitätsbibliothek Dortmund, 2018. http://d-nb.info/1238348831/34.

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14

Dawson, Lisa. "Attitudes, opinions, and beliefs of musicians serving Church of God (Anderson, Indiana) congregations within the United States regarding continuing education in music and worship arts." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390658.

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The primary purpose of this research was to ascertain the attitudes and opinions of Church of God (Anderson, Indiana)* musicians regarding continuing education. The secondary purpose of the study was to determine the types of continuing education experiences that are needed by current church musicians who are employed by, or volunteer for Church of God congregations.An online survey was developed and made available to current musicians serving in Church of God congregations. One hundred and fourteen participants responded to the survey.The writer gathered data from participants regarding their
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15

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work
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16

Ferguson, Benny Pryor. "The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc798486/.

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The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately
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17

Djavadzadeh, Keivan. "Wild women don't have the blues : genre, race et sexualité dans le rap féminin états-unien." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080063.

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De toutes les musiques populaires contemporaines, le rap, né dans le South Bronx à New York vers le milieu des années 1970, est probablement celle que l’on associe le plus communément à l’expression d’un discours masculin misogyne. Les rappeuses elles-mêmes décrivent fréquemment le rap comme un environnement masculin voire hostile aux femmes. Pourtant, depuis 1979, plusieurs générations de rappeuses ont fait le choix d’investir cet espace, écoulant des dizaines de millions de disques et participant de manière significative au développement de cette musique, sans être reconnues à la hauteur de
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18

Campbell, Christopher Darnell. "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.

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19

Ormsby, Verle A. "John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.

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This paper is divided into two broad sections. The first section traces the life and career of John Graas through an examination of the contents of the John Graas Memorabilia and Memorial Library, which contains photo albums, newspaper clippings, records and tapes, approximately one hundred original compositions, and personal correspondence between the author and people who knew and worked with Graas.The second section is an examination and discussion of Graas's original compositions. This discussion traces Graas's compositional development and growth as an acknowledged jazz composer through t
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20

Djavadzadeh, Keivan. "Wild women don't have the blues : genre, race et sexualité dans le rap féminin états-unien." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080063.

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De toutes les musiques populaires contemporaines, le rap, né dans le South Bronx à New York vers le milieu des années 1970, est probablement celle que l’on associe le plus communément à l’expression d’un discours masculin misogyne. Les rappeuses elles-mêmes décrivent fréquemment le rap comme un environnement masculin voire hostile aux femmes. Pourtant, depuis 1979, plusieurs générations de rappeuses ont fait le choix d’investir cet espace, écoulant des dizaines de millions de disques et participant de manière significative au développement de cette musique, sans être reconnues à la hauteur de
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21

DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advanceme
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22

Lington, Aaron Joseph. "The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5576/.

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Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section s
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23

Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with va
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24

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 beg
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25

Swanson, Joshua. "Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.

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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipp
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26

McGee, Isaiah Rodriques Thomas André J. "The origin and historical development of prominent professional black choirs in the United States." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11132007-010920/.

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Dissertation (Ph.D.) Florida State University, 2007.<br>Advisor: André J. Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 200 pages. Includes biographical sketch. Includes bibliographical references.
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27

Seigfried, Karl Erik Haddock. ""At once old-timey and avant-garde" : the innovation and influence of Wilbur Ware." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3101225.

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28

Duncan, James Bryan. "Narrative frames and the works of John Coltrane." Thesis, 1999. http://hdl.handle.net/1957/33659.

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In Culture and Imperialism, Said illustrates that we have no "autonomous cultural forms," but rather "impure" ones that are the products of historically "discrepant experiences." American culture has an interesting relationship with the history of imperialism. The Europeans that settled the U.S. imported slave labor to assist in the growth of the new nation and this practice ironically "hybridized" American culture despite institutionalized segregation of the races, mixing disparate cultural ideas in a common social location. Said's theory fits an analysis of jazz in America since the music wa
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29

McCann, Bryan John. "Contesting the mark of criminality : resistance and ideology in gangsta rap, 1988-1997." 2009. http://hdl.handle.net/2152/6554.

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This dissertation situates the emergence of gangsta rap from 1988-1997 within the historical trajectory of the American criminal justice system and the mass incarceration of African Americans. Specifically, it examines how the genre enacted the mark of criminality as a gesture of resistance in a period of sustained moral panic surrounding race and criminality in the United States. The mark of criminality refers to a regime of signifiers inscribed upon African American bodies that imagines black subjects as fundamental threats to social order. Drawing upon the theoretical resources of historica
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30

Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman / by Andrew Norman Sugg." Thesis, 2001. http://hdl.handle.net/2440/21706.

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Includes bibliographical references (leaves 350-359).<br>xi, 359 leaves : music ; 30 cm.<br>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.<br>Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2001
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31

Azcona, Stevan César 1972. "Movements in Chicano music : performing culture, performing politics, 1965-1979." 2008. http://hdl.handle.net/2152/17735.

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More than a confined account of the musical activity of the Chicano Movement, my research considers Chicana/o music of the period as a critical part of the protest music genres of Latin America (eg. Nueva canción, canto nuevo) and the Unites States (eg. labor/union and civil rights songs). Consequently, although situated squarely within the context of the Chicano Movement, this project necessarily examines the musical yet political links between Chicano musicians and their counterparts in the American labor movement, Civil Rights Movement, and Latin American social movements of the period. Cou
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32

D'Souza, Ryan Arron. "Arab hip-hop and politics of identity : intellectuals, identity and inquilab." Thesis, 2014. http://hdl.handle.net/1805/5849.

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Indiana University-Purdue University Indianapolis (IUPUI)<br>Opposing the culture of différance created through American cultural media, this thesis argues, Arab hip-hop artists revive the politically conscious sub-genre of hip-hop with the purpose of normalising their Arab existence. Appropriating hip-hop for a cultural protest, Arab artists create for themselves a sub-genre of conscious hip-hop – Arab-conscious hip-hop and function as Gramsci’s organic intellectuals, involved in better representation of Arabs in the mainstream. Critiquing power dynamics, Arab hip-hop artists are counter-hege
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