Dissertations / Theses on the topic 'Rap (Music)'
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1
Morgan, Andrea Scott. "Deconstructing myths about rap music /." View online, 1996. http://repository.eiu.edu/theses/docs/32211998826162.pdf.
2
Zavortink, Matthew. "Analysis of Rhythm in Rap Music." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20418.
Abstract:
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.
3
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.
4
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.
Abstract:
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.
5
RAY, OLIVIA SUNDIATA. "SEXUAL VIOLENCE IN POPULAR RAP MUSIC AND OTHER MEDIA." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618766.
Abstract:
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.
6
Zemke-White, Kirsten. "Rap Music in Aotearoa: A Sociological and Musicological Analysis." Thesis, University of Auckland, 2000. http://hdl.handle.net/2292/97.
Abstract:
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.
7
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.
Abstract:
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..
8
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/.
Abstract:
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).
9
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.
Abstract:
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.
10
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.
11
Barone, Stefano. "Fragile Scenes: Metal, Rap, and Electro in Post-Revolutionary Tunisia." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366023.
Abstract:
The thesis analyses three youth cultures in contemporary Tunisia: metal, rap, and electro. Tunisia is a North-African country which has often been represented as a bridge between Europe and the Arab/Muslim world. It is a crossroad of cultural influences, and its complex situation of economic disadvantage and social inequality imposes peculiar conditions to the existence of local youth cultures and popular music scenes. Moreover, its history of dictatorship, and its 2011 revolution (which inaugurated the so-called Arab Springs), render it a locus of political and cultural struggle. For these reasons, the Tunisian context offers the possibility of expanding the research on youth culture beyond the much-covered West.
The thesis is built upon data coming from a fieldwork research that was carried out for eleven months between 2014 and 2015. Data were collected through interviews with 70 participants in the three scenes (musicians, concert organisers, venue managers, journalists, fans); through participant observations at concerts, DJ sets, and other sites of scene interaction; and through the analysis of textual data coming from Internet websites, song lyrics, newspapers, and the like.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities, Languages and Social Science
Arts, Education and Law
Full Text
12
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.
Abstract:
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.
13
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.
14
Dares, Jasmine. ""Poetry out of poison" : exploring rap music as critical pedagogy." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44966.
Abstract:
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.
15
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.
Abstract:
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.
16
Peterson, Sean. "Something Real: Rap, Resistance, and the Music of the Soulquarians." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23759.
Abstract:
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.
17
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.
Abstract:
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.
18
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.
19
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.
20
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.
Abstract:
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).
21
Condit-Schultz, Nathaniel. "MCFlow: A Digital Corpus of Rap Flow." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461250949.
22
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/.
Abstract:
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.
23
Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.
Abstract:
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.
24
Harris, Christopher S. "Gods, God, & Soul Food: Young Black Spirituality in Rap Music." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/448.
Abstract:
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.
25
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.
Abstract:
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).
26
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.
27
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.
28
Gomes, Renan Lelis 1984. "Território usado e movimento hip-hop : cada canto um rap, cada rap um canto." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286930.
Abstract:
Orientador: Marcio Antonio CataiaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências
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Resumo: Este texto apresenta algumas reflexões que objetivam discutir o hip-hop como uma manifestação territorial que assume particularidades regionais e que tem no rap uma das suas formas de existir. Este tipo de música, mesmo possuindo uma linguagem universal, assume características regionais distintas, utilizando-se cada vez mais dessa diversidade regional para criar sinergias capazes de projetar e de fazer ouvir suas reclamações. Assim, apropriando-se das técnicas do período atual, em um processo que vai da produção à distribuição das músicas, surgem rap's regionais criados a partir de elementos genuinamente brasileiros. O hip-hop, que abrange uma grande quantidade de jovens e tem profundas ligações com os lugares, torna-se ferramenta de solidariedade orgânica, haja vista que essa manifestação assumiu uma posição bastante relevante frente a questões urgentes relacionadas a segmentos sociais desfavorecidos e fez, também, com que membros de um movimento não-institucional passassem a participar da política formal, concorrendo a cargos públicos, participando de editais e da criação de leis
Abstract: This essay presents some reflections that aim to discuss the hip-hop as a territorial manifestation that assumes regional particularities which has in rap its forms of existence. This kind of music, even containing a universal language assumes distinct regional characteristics, using more and more this diversity to create regional synergies able to design and to give voice to their complaints. Thus, assuming the techniques of the current period, in a process that goes from the production to the distribution of music, regional raps arise created from genuine Brazilian elements. The hip-hop, that covers a big quantity of young people and has deep connection to the places, becomes a tool of organic solidarity, considering that this manifestation took a very relevant room in face of urgent issues related to disadvantaged social groups and also made members of a non-institutional movement start to participate in formal politics, including competing for public career, taking part in the creation of edicts and laws
Mestrado
Análise Ambiental e Dinâmica Territorial
Mestre em Geografia
29
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.
30
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.
Abstract:
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.
31
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.
32
Gimeno, Patricia Curi. "Poetica versão : a construção da periferia no rap." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281717.
Abstract:
Orientador: Bela BiancoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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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
33
Motta, Ana Raquel 1975. ""A favela de influencia" : uma analise das praticas discursivas dos Racionais MCs." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270832.
Abstract:
Orientador: Jonas de Araujo RomualdoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho é uma análise das práticas discursivas a que adere o grupo de rap Racionais MCs, considerado por grande parte do público e da mídia como o mais importante grupo deste gênero musical no Brasil. O primeiro capitulo traça um breve panorama histórico do rap (rhythm and poetryj, o que inclui: seu nascimento nos guetos de Nova Iorque, EUA, no final da década de 1960 e sua chegada ao Brasil, mais especificamente a São Paulo, na década de 1980. Faz também uma reconstituição histórica do surgimento e trajetória do grupo Racionais MCs, através da união de seus quatro integrantes: Mano Brown e Ice Biue (da zona sul da periferia paulistana) e Edi Rock e KL Jay (da zona norte da periferia paulistana). Ainda nesse capítulo, estabelece-se uma breve discussão conceituai sobre o rap ser um género independente, que pode ser usado por qualquer grupo social, ou parte de uma determinada formação discursiva. Os segundo e terceiro capítulos aplicam à obra dos Racionais as sete hipóteses do livro Genèses du Discours, do autor francês Dominique Maingueneau. O segundo capítulo engloba as quatro primeiras hipóteses, que vinculam o discurso ao interdiscurso e buscam compor uma teoria acerca da competência discursiva. O terceiro capítulo engloba as três últimas hipóteses de Maingueneau, que se caracterizam por associar o discurso a instâncias vistas comumente pela Análise do Discurso como "exteriores" a ele: a institucional, a intersemiótica e a histórica. O quarto e último capítulo foca especificamente a construção do ethos discursivo dos Racionais MCs, levantando e analisando cinco características que se depreendem do corpus de estudo como fundamentais para a constituição do sujeito autorizado por esta formação discursiva
Abstract: This work is an analysis of the discursive practices utilized by the rap group Racionais MCs, considered by a great portion of the public and midia as the most important one in the Brazilian rap scenario. The first chapter outlines a brief historic context of rap (rhythm and poetry), including: its beginning m the New York City guetoes. in the 1960's and ns arrival m Brazil, more specifically in Sao Paulo, in the 1980's. It also reconstitutes the history of the sprouting and evolution of the group Racionais MCs. through the gathering of its four members; Mano Brown and Ice Blue (from the south side outskirts of São Paulo) and Edi Rock and KL Jay (from the north side outskirts of São Paulo). Still in this chapter, a brief conceptual discussion takes place about rap being an independent music style, that can be used by any social class, or still part of a determined discursive formation. The following chapters, second and third, apply to the Racionais' work the seven hypotheses from the book Genèses du Discours, by the French writer Dominique Maingueneau. The second chapter covers the first four hypotheses, that tie the discourse to the inter-discourse and seek to compose a theory regarding the discursive competence. The third chapter refers to the last three hypotheses from Maingueneau. which can be characterized by the association of the discourse to instances commonly viewed by the Discourse Analysis as "exterior" to it: institutional, intersemiotical and historical. The fourth and last chapter focuses specifically on the construction of the discursive ethos of the Racionais MCs, raising and analyzing five characteristics that are perceived from the corpus of study as key to the constitution of the subject authorized by this discursive formation
Mestrado
Linguistica
Mestre em Linguística
34
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.
Abstract:
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.
35
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.
Abstract:
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
37
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.
Abstract:
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.
38
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.
Abstract:
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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Cortez, Marcia Felix da Silva. "Hibridação, performance e utopia nas canções de rap." Universidade Federal de Alagoas, 2010. http://www.repositorio.ufal.br/handle/riufal/1449.
Abstract:
The present work has as object of investigation the understanding of rap songs as voco-hybrid musical expressions in the Northeast, bring the dialogue between the African-American oral sources and the Northeast. The result of this meeting is built by the analyses of the eighteen songs from Northeastern, and included groups from the design of the poet zumthoriana voice. The identity mapping of MC/a listener of rap has made it possible to deepen looks that were conducted by hybridization, performance considerations, and utopia and, in turn, subsidized a broad approach on textual complexity of rap songs.Fundação de Amparo a Pesquisa do Estado de Alagoas
O presente trabalho tem por objeto de investigação a compreensão das canções de rap como expressões voco-musicais híbridas que, no nordeste, trazem o diálogo entre as fontes orais afro-americanas e a cantoria nordestina. O resultado deste encontro é construído pelas análises das dezoito canções, oriundas de grupos nordestinos, e compreendidas a partir da concepção de poeta da voz zumthoriana. O mapeamento identitário do/a MC e do/a ouvinte de rap tornou possível aprofundar olhares que foram conduzidos pelas considerações sobre hibridação, performance e utopia e, por sua vez, subsidiaram uma abordagem ampla sobre a complexidade textual das canções de rap.
40
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.
Abstract:
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).
41
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.
Abstract:
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.
42
Czegledi, Alexandra. "Kuduro, rap and resistance: Politics of music and activism in ‘new’ hegemonic Angola." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30499.
Abstract:
Keywords: kuduro, rap, music, diasporic, resistance, neoliberalism, seductive power, necropower, frozen citizenship, electronic capitalism, visibility, human rights I introduce kuduro music as a vantage point to uncover the political landscape of
Angola where critical voices do not emerge with ease. I argue that kuduro, the globally known and disseminated genre of dance music, has been hijacked by the dos Santos government’s populist narrative so that it has become an ideological audio-visual
narrative for ‘new’ Angola. Co-option is a socio-economic practice in new, independent Angola, but also political in the sense that it brings Angolans closer to the ruling elite’s economic power. The redistribution of wealth what Kalyan Sanyal (2007) coined as reversal of primitive accumulation is a useful concept here, but it falls short of fully explaining practices of patronage. Thus, I suggest seductive power as an extended concept, in order to understand co-option as both an economic and a cultural
practice. In contrast to the kuduro scene, rap and hip-hop music have remained part of underground and DIY culture in Angola. This quasi-marginal position has allowed some musicians’ artistic practice to emerge as critical voices. In this mini-dissertation,
I examine Ikonoklasta and MCK’s music because they are among the most represented musicians and activists by online media. New modes of civil resistance are often attached to Ikonoklasta’s name and songs. However, the recently emerged revolutionary’s movement cannot be fully identified with the Angolan rap scene (Martin 2015). In this sense, through Ikonoklasta’s activism and music production, along with MCK’s music, I show the extent to which the Angolan government keeps a certain culture of fear alive through necropolitics which was coined by Achille Mbembe (2003). This politics of death, and consequently, that of fear jointly produce what I call ‘frozen citizenship’. Before the revolutionary youth were arrested, Ikonoklasta and MCK collaborated
with Batida, the Lisbon-based kuduro musician. Moreover, following the detention of musicians, local journalists and academics in Luanda, Batida began to use its global music network and platform to tell stories about the Angolan revolutionary movement. Repurposing his world music shows and DJ sets, Batida has enabled the dissemination of local counter-narratives within transnational NGOs’ circle. Pedro Coquenão aka Batida have organised demonstrations by utilising the global
infrastructure and intellectual labour of Amnesty International. To elaborate on the transnational NGO’s role, I draw on critical human rights scholarship which consider human rights language as a global hegemonic framework engaging with injustices in a depoliticizing manner. Moving away from this theoretical preconceptions, I briefly discuss the extent to which transnational NGOs such as Amnesty International, paradoxically constrains and enables local activism at the same time. Although human rights organizations seem to have little power to put pressure on the Angolan government, they have the financial and infrastructural means to disseminate images, music and stories of local activists. I argue that this visibility provides global attention and certain protection to the high-profile activists targeted by the dos Santos regime. This medium falls in the trap of global witness fever (Kurasawa 2009) which offers an escape from ‘frozen citizenship’ through positive activist practice and a politics of hope (Baridotti 2010).
43
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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Santos, Sandra Mara Pereira dos [UNESP]. "Rap florido: reconhecimento artístico, amor e relações de gênero." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136006.
Abstract:
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000858817.pdf: 1904153 bytes, checksum: fc8c2caeeeb85bb697ee97c2b041ca4d (MD5)Esta pesquisa tem como objetivo analisar a maneira como produtores de rap relacionam feminilidades e rap florido. Rap é um gênero musical elaborado principalmente por jovens das periferias do Brasil e rap florido é um termo utilizado nesta tese para se referir às músicas que abordam relações amorosas entre homens e mulheres. Para a reflexão acerca dessa associação realizada pelos cantores e cantoras entre mulher e amor heterossexual, analisa-se as canções de amor e as de protesto. Essas duas modalidades de rap contém em suas letras dimensões diferentes da realidade, pois enquanto o rap florido trata de relacionamentos amorosos, o rap de protesto divulga conteúdos que têm como objetivo educar ou conscientizar os jovens das periferias. Entende-se que, as emoções são regradas por gênero e relações de poder, desta forma, assim como o rap de protesto o florido também revela aspectos que dizem respeito a diferenças e a desigualdades sociais que marcam as relações de gênero no rap. Durante a pesquisa entrevistei quinze rappers do Estado de São Paulo, selecionei quatro deles e acompanhei suas publicações sobre o rap, no Facebook. Além disso, levei em consideração conversas informais com esses artistas feitas on-line por meio desta rede social. O foco da investigação foram as representações de feminilidades e masculinidades produzidas pelas letras do rap que abordam o tema de práticas amorosas. Uma vez que o amor conjugal e as feminilidades parecem estar indissociáveis nesse gênero musical, refletimos que no rap existe um reconhecimento social secundário para o rap florido em relação ao de protesto. Essa legitimidade secundária para a imagem de mulher e o amor explicita uma reprodução da desvalorização das feminilidades nas atuações educadoras desse estilo musical. No entanto, também, existem no rap estratégias contra a inferiorização das mulheres; interpretamos que há também formas de...
This research aims to analyze the way rap producers relate femininity and flowery rap. Rap is an elaborate musical genre mainly young people from the peripheries of Brazil and flowery rap is a term used in this thesis to refer to songs that address romantic relationships between men and women. To reflect on this association performed by singers among women and heterosexual love, we analyzed the songs of love and protest. These two modes of rap in his lyrics contains different dimensions of reality, because while the flowered rap comes to romantic relationships, the protest rap publishes content that aim to educate and raise awareness among young people of the suburbs. We understand that emotions are ruled by gender and power relationships in this way, as well as the flowery protest rap also reveals aspects regarding the differences and social inequalities that characterize gender relations in rap. During the research I interviewed fifteen rappers of São Paulo, I selected four of them and followed his publications on the rap on Facebook. Also, it took into account informal conversations with these artists made online through this social network. The focus of the investigation were the representations of femininity and masculinity produced by the rap lyrics that address the issue of amorous practices. Once married love and femininity appear to be inseparable in this genre, reflected in the rap there is a secondary social recognition for flowery rap against the protest. This secondary legitimacy to the woman image and love spells a reproduction of the devaluation of femininity in educators performances of this musical style. However, also exist in rap strategies against the degradation of women. We interpret that there are also forms of resistance to the hegemonic treatment of gender interactions, which are articulated in conjunction with traditional speeches. We therefore consider that the different ways of dealing with the references...
45
Santos, Sandra Mara Pereira dos. ""Rap florido" : reconhecimento artístico, amor e relações de gênero /." Marília, 2015. http://hdl.handle.net/11449/136006.
Abstract:
Orientador: Andreas HofbauerBanca: Nashieli Cecilia Rangel Loera
Banca: Celso Vianna Bezerra de Menezes
Banca: Larissa Maués Pelúcio Silva
Banca: Christina de Rezende Rubim
Resumo: Esta pesquisa tem como objetivo analisar a maneira como produtores de rap relacionam feminilidades e "rap florido". Rap é um gênero musical elaborado principalmente por jovens das periferias do Brasil e "rap florido" é um termo utilizado nesta tese para se referir às músicas que abordam relações amorosas entre homens e mulheres. Para a reflexão acerca dessa associação realizada pelos cantores e cantoras entre mulher e amor heterossexual, analisa-se as canções de amor e as de protesto. Essas duas modalidades de rap contém em suas letras dimensões diferentes da realidade, pois enquanto o rap florido trata de relacionamentos amorosos, o rap de protesto divulga conteúdos que têm como objetivo educar ou conscientizar os jovens das periferias. Entende-se que, as emoções são regradas por gênero e relações de poder, desta forma, assim como o rap de protesto o florido também revela aspectos que dizem respeito a diferenças e a desigualdades sociais que marcam as relações de gênero no rap. Durante a pesquisa entrevistei quinze rappers do Estado de São Paulo, selecionei quatro deles e acompanhei suas publicações sobre o rap, no Facebook. Além disso, levei em consideração conversas informais com esses artistas feitas on-line por meio desta rede social. O foco da investigação foram as representações de feminilidades e masculinidades produzidas pelas letras do rap que abordam o tema de práticas amorosas. Uma vez que o amor conjugal e as feminilidades parecem estar indissociáveis nesse gênero musical, refletimos que no rap existe um reconhecimento social secundário para o rap florido em relação ao de protesto. Essa legitimidade secundária para a imagem de mulher e o amor explicita uma reprodução da desvalorização das feminilidades nas atuações educadoras desse estilo musical. No entanto, também, existem no rap estratégias contra a inferiorização das mulheres; interpretamos que há também formas de...
Abstract: This research aims to analyze the way rap producers relate femininity and "flowery rap." Rap is an elaborate musical genre mainly young people from the peripheries of Brazil and "flowery rap" is a term used in this thesis to refer to songs that address romantic relationships between men and women. To reflect on this association performed by singers among women and heterosexual love, we analyzed the songs of love and protest. These two modes of rap in his lyrics contains different dimensions of reality, because while the flowered rap comes to romantic relationships, the protest rap publishes content that aim to educate and raise awareness among young people of the suburbs. We understand that emotions are ruled by gender and power relationships in this way, as well as the flowery protest rap also reveals aspects regarding the differences and social inequalities that characterize gender relations in rap. During the research I interviewed fifteen rappers of São Paulo, I selected four of them and followed his publications on the rap on Facebook. Also, it took into account informal conversations with these artists made online through this social network. The focus of the investigation were the representations of femininity and masculinity produced by the rap lyrics that address the issue of amorous practices. Once married love and femininity appear to be inseparable in this genre, reflected in the rap there is a secondary social recognition for flowery rap against the protest. This secondary legitimacy to the woman image and love spells a reproduction of the devaluation of femininity in educators performances of this musical style. However, also exist in rap strategies against the degradation of women. We interpret that there are also forms of resistance to the hegemonic treatment of gender interactions, which are articulated in conjunction with traditional speeches. We therefore consider that the different ways of dealing with the references...
Doutor
46
Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
Abstract:
This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
47
Mazer, Dulce Helena. "Racionalidades do consumo musical: práticas culturais juvenis na cena rap porto-alegrense." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/173295.
Abstract:
Esta pesquisa tem como objetivo geral: investigar as racionalidades do consumo que atravessam as práticas juvenis de escuta e produção do rap na cena porto-alegrense entre as (novas) formas de circulação midiática da música. O problema de pesquisa se materializa na seguinte pergunta: diante do atual cenário de produção musical e formas emergentes de circulação midiática da música, quais são as práticas de produção e escuta do rap entre jovens porto-alegrenses? A investigação explora empiricamente uma cena musical e compreende as práticas juvenis para o consumo de rap em uma subcultura, o hip-hop. O campo de estudo é a Região Metropolitana de Porto Alegre (RMPA). Ela se organiza como um importante espaço de desenvolvimento cultural. A pesquisa identifica e descreve o público da cena, cujos interlocutores são majoritariamente jovens. Ela está vinculada aos Estudos Culturais, com base nos estudos latino-americanos de recepção e consumo cultural. A partir desse arcabouço, a abordagem teórica é desenvolvida a partir do viés sociocultural do consumo. Portanto, identificamos como as racionalidades do consumo cultural (GARCÍA CANCLINI, 1991a) estão imbricadas e se relacionam em uma proposta de análise das práticas culturais de escuta do rap. Como estratégias, realizamos um estudo de consumo cultural e midiático de rap com uso da etnografia e da cartografia, como métodos. O método cartográfico nos mostrou características culturais da cidade e nos ajudou a revelar a cena musical. A etnografia na internet complementou as ações na urbe, com observações diretas nas redes sociais, coletas de informações e levantamento de perfis dos colaboradores. Como resultado, oferecemos uma análise horizontal sobre o processo de consumo musical de rap na cultura hip-hop da região. Descrevemos e analisamos a cena musical, bem como a relação de pertencimento social e geográfico entre a juventude e a cidade. O trabalho, de natureza qualitativa, aponta como a lógica DIY (Do it yourself) está presente nas práticas juvenis para escuta e produção de rap na região. As expressões “cena rap metropolitana”, “cena rap porto-alegrense”, ou, simplesmente, “cena” são usadas como sinônimos para o âmbito das práticas estudadas na região. A partir da discussão sobre os conceitos de cultura, cultura urbana, cenas e estilos, destacamos as premissas para o estudo do consumo de música. Em resposta à fragmentação do construto, sistematizamos o conceito de consumo musical. O consumo midiático é uma especificidade do consumo cultural. A partir desse entendimento, propomos o consumo expandido como um processo que integra a produção cultural, um avanço na relação sistêmica entre a produção e o consumo e para as práticas que envolvem estes dois âmbitos para o consumo de música.The main objective of this research is to investigate the rationalities of consumption crossing the juvenile practices of listening and producing RAP music scene in Porto Alegre, Brazil, among the (new) forms of music circulation. The research problem is materialized in the following question: in face of the current scenario of musical production and emerging forms of media circulation of music, what are the juvenile practices of RAP production and listening in Porto Alegre? The research explores empirically a music scene to understand juvenile practices for the consumption of rap in a subculture, the hip-hop. The field of study is the Metropolitan Region of Porto Alegre (RMPA), which is organized as an important space for cultural development. The research identifies and describes the audience of the scene, wich interlocutors are mostly youth. It is linked to Cultural Studies, based on Latin American studies of cultural reception and consumption. From this framework, the theoretical approach is developed from the sociocultural bias of consumption. Therefore, we identify how the rationalities of cultural consumption (GARCÍA CANCLINI, 1991a) are intertwined and are related as a proposal of analysis of the cultural practices of listening to RAP. As strategies, we carried out a study of cultural and media consumption of RAP using ethnography and cartography as methods. The cartographic method showed us the city's cultural characteristics and helped us to reveal the music scene. Ethnography on the internet complemented the actions in the city, with direct observations in the social networks, collection of information and survey of the profiles of the collaborators. As a result, we offer a horizontal analysis of the RAP music consumption. We describe and analyze the music scene, as well its social and geographic belonging relation between youth and the city. The work, of a qualitative nature, points out how DIY logic (Do it yourself) is present in youth practices for listening and producing RAP in the area. The expressions "metropolitan rap scene", " porto-alegrense rap scene ", or, simply, "scene" are used as synonyms of the practices studied here. From the discussion about the concepts of culture, urban culture, scenes and styles, we highlight the premises for the study of music consumption. In response to the fragmentation of the construct, we systematize the concept of musical consumption. The media consumption is an specificity of cultural consumption. From this understanding, we propose the concept of expanded consumption as a process that integrates cultural production, an advance in the systemic relation between production and consumption and for the practices that involve these two scopes for the consumption of music.
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Ko, Wing-shum, and 高穎森. "The Asian American voice: a Critical Discourse Analysis (CDA) approach to rap lyrics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46960235.
Abstract:
Rapping has long been used by people who are from the margin of society as a way to give a voice (Campbell, 2005; Ibrahim, 1999). As a member of the marginalized group and as the first and only Asian who claimed a seven-time victory on Freestyle Friday on Black Entertainment Television (BET), Jin Au-Yeung has received a noticeable amount of attention. At the same time, he has faced a lot of unfavourable experience as an Asian rapper in American society. This study employs Fairclough’s (1989) model of CDA approach to find out how Jin constructs his identity and establishes his ideology through his lyrics, and how his construction of identity and establishment of ideology reflect the social practice in American society. Fifteen songs written by Jin were chosen for the analysis according to the three interrelated stages in CDA: description, interpretation and explanation. Results show that Jin constructs his personal identities as a professional rapper and as a Chinese American and establishes his ideology of having one human nation despite the difference in races through his rap lyrics. These are achieved through the co-occurrence of “I” and “to be”, and promoted through the use of rhyming and code-switching. It was also interpreted that Jin’s personal identities and ideology are shaped through the social ideology on Asian Americans, which is probably reflected through the social practice in American society.published_or_final_version
Applied English Studies
Master
Master of Arts in Applied Linguistics
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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.
50
Yamada, Kie. "The Relationship between Sensation Seeking and the Preference for Rap Music of Young Offenders." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/160.
Abstract:
The purpose of this study was to investigate the relationship between sensation seeking and the preference for rap-music stimulation of young offenders. In the initial pilot study 18 participants rated the stimulation level of the music and lyrics for 12 pieces of rap music. Based on participants? responses, four pieces of rap-music categories were selected for the main study, representing the category of: 1) high stimulation with aggressive lyrics (HSAL), 2) high stimulation with nonaggressive lyrics (HSNL), 3) low stimulation with aggressive lyrics (LSAL), and 4) low stimulation with non-aggressive lyrics (LSNL). In the main study, 55 students were recruited from a juvenile detention hall, which was an all-male facility for ages 13 to 18. All participants completed a demographic questionnaire and a Brief Sensation Seeking Scale (BSSS). Participants then rated their preference for each of the four musical selections. Finally, participants indicated their most liked and least liked rap selections as well as a narrative explanation. The BSSS scores were analyzed to determine the participants? characteristics of sensation seeking regarding four subscales: 1) experience seeking, 2) boredom susceptibility, 3) thrill and adventure seeking, and 4) disinhibition. The results of BSSS and preference scores were analyzed to determine the relationships between sensation seeking and participants? preference for the different stimulation levels of rap music. The results of the present study statistically significantly indicated that most participants preferred aggressive lyrics, regardless of the sensation-seeking level and music-stimulation level. The narrative responses appeared to support the significance of aggressive lyrics as participants reported that they were able to identify themselves with the lyrics. The preference for aggressive lyrics, as validated through the narrative responses, indicated that the life experiences of the participants paralleled those described in the rap lyrics.