Dissertationen zum Thema „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.
Der volle Inhalt der QuelleBachelors
Arts and Sciences
Anthropology
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.
Der volle Inhalt der QuelleID: 030646183; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 59-66).
M.A.
Masters
Sociology
Sciences
Applied Sociology
Hubbs, Holly J. „American women saxophonists from 1870-1930 : their careers and repertoire“. Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
Der volle Inhalt der QuelleSchool of Music
Gaines, Adam W. „Work of Art : the life and music of Art Farmer“. Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.
Der volle Inhalt der QuelleKenny, 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/.
Der volle Inhalt der QuelleMcCall, 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/.
Der volle Inhalt der QuelleJohnson, Alfred B. „Fascination machine : a study of pop music, mass mediation, and cultural iconography“. Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
Der volle Inhalt der QuelleForman, 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.
Der volle Inhalt der QuelleHall, Toby. „Tony Williams: rhythmic syntax in jazz drumming“. Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.
Der volle Inhalt der QuelleSugg, 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.
Der volle Inhalt der QuelleConway, 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.
Der volle Inhalt der QuelleGuillard, 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.
Der volle Inhalt der QuelleAssociations between music and spaces are to be encountered on many levels in French and American rap music: rappers claim to « represent » cities or neighborhoods, stylistic specificities of American rap are explained by the urban contexts in which they emerged, while French rap music is seen by the media as reflecting the sphere of the « banlieue ». How can such associations be understood, where and how are they forged, and to what extent do they contribute to the construction of the authenticity of the music? This dissertation aims to answer these questions by investigating the places in which this local rootedness is constructed, on the basis of in-depth fieldwork in four cities: Atlanta and Minneapolis/Saint-Paul, in the U.S., and in the urban areas of Paris and Lille, in France. The thesis considers the geographic imaginaries embedded in the music, performances in live music venues, the organization of festivals and the circulation of musical styles in order to uncover the chain of production of rap music. It casts light simultaneously on artistic worlds related to this music and on the urban spaces in which it is embedded. Thereby, it uncovers little explored aspects of the location of culture in France and the US, and how it is tied to cities, in a globalized context
Kumpf, Terence David [Verfasser], Walter [Akademischer Betreuer] Grünzweig und 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.
Der volle Inhalt der QuelleDawson, 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.
Der volle Inhalt der QuelleSchool of Music
Scannell, John School of Media Film & 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.
Der volle Inhalt der QuelleFerguson, 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/.
Der volle Inhalt der QuelleDjavadzadeh, 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.
Der volle Inhalt der QuelleOf all popular music genres, rap – a music born in the South Bronx in New York in the mid-1970s – is the one most commonly linked to a masculine and misogynistic discourse. Even female rappers often describe the genre as a male-dominated and even hostile environment. Still, numerous female rappers have entered this space since 1979, selling millions of records and contributing to the development of this genre, even though they usually don’t get the recognition they deserve. At the crossroads of political science and media studies, this study focuses on how working-class, black women find success in a male-dominated industry and reach social visibility in the public sphere. In their lyrics, female rappers openly discuss gender, race and sexuality and dispute hegemonic representations. Because representation is an organizing principle of social relations, a study of female rappers’ discourse provides us with a better understanding of the way norms of gender, race and sexuality are constituted – and challenged – through rap music. Rap is now one of the main spaces where these norms are (re)produced. It is the battlefield of an ongoing "war of position" involving ideologies of gender and race. In this space, black women express gender and race through performance and negotiate their identity far from the traditional gender norms
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.
Der volle Inhalt der QuelleOrmsby, Verle A. „John Jacob Graas, Jr. : jazz horn performer, jazz composer, and arranger“. Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/560288.
Der volle Inhalt der QuelleSchool of Music
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.
Der volle Inhalt der QuelleOf all popular music genres, rap – a music born in the South Bronx in New York in the mid-1970s – is the one most commonly linked to a masculine and misogynistic discourse. Even female rappers often describe the genre as a male-dominated and even hostile environment. Still, numerous female rappers have entered this space since 1979, selling millions of records and contributing to the development of this genre, even though they usually don’t get the recognition they deserve. At the crossroads of political science and media studies, this study focuses on how working-class, black women find success in a male-dominated industry and reach social visibility in the public sphere. In their lyrics, female rappers openly discuss gender, race and sexuality and dispute hegemonic representations. Because representation is an organizing principle of social relations, a study of female rappers’ discourse provides us with a better understanding of the way norms of gender, race and sexuality are constituted – and challenged – through rap music. Rap is now one of the main spaces where these norms are (re)produced. It is the battlefield of an ongoing "war of position" involving ideologies of gender and race. In this space, black women express gender and race through performance and negotiate their identity far from the traditional gender norms
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/.
Der volle Inhalt der QuelleLington, 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/.
Der volle Inhalt der QuellePugh-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.
Der volle Inhalt der QuelleStirling, 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.
Der volle Inhalt der QuelleSwanson, 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.
Der volle Inhalt der QuelleMcGee, 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/.
Der volle Inhalt der QuelleAdvisor: 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.
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.
Der volle Inhalt der QuelleDuncan, James Bryan. „Narrative frames and the works of John Coltrane“. Thesis, 1999. http://hdl.handle.net/1957/33659.
Der volle Inhalt der QuelleGraduation date: 1999
McCann, Bryan John. „Contesting the mark of criminality : resistance and ideology in gangsta rap, 1988-1997“. 2009. http://hdl.handle.net/2152/6554.
Der volle Inhalt der Quelletext
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.
Der volle Inhalt der Quellexi, 359 leaves : music ; 30 cm.
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.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2001
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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D'Souza, Ryan Arron. „Arab hip-hop and politics of identity : intellectuals, identity and inquilab“. Thesis, 2014. http://hdl.handle.net/1805/5849.
Der volle Inhalt der QuelleOpposing 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-hegemonic in challenging popular identity constructions of Arabs and revealing to audiences biases in media production and opportunities for progress towards social justice. Their identity (re)constructions maintain difference while avoiding Otherness. The intersection of Arab-consciousness through hip-hop and politics of identity necessitates a needed cultural protest, which in the case of Arabs has been severely limited. This thesis progresses by reviewing literature on politics of identity, Arabs in American cultural media, Gramsci’s organic intellectuals and conscious hip-hop. Employing criticism, this thesis presents an argument for Arab hip-hop group, The Arab Summit, as organic intellectuals involved in mainstream representation of the Arab community.