This dissertation considers the evolution of Rap music and Hip Hop culture from the perspective of two spatial modalities. It first introduces theoretical concepts of geographic scale and the inscription of socio-spatial values in order to examine Rap and Hip Hop's geo-cultural expansions from their primary enclaves of urban black America. The dynamics between race, social space, and youth are assessed both individually and in tandem as crucial elements in the expression and practices of Hip Hop. The dissertation challenges and extends research in the prevailing Rap "canon" by analysing the processes and structuring logics through which Rap has been integrated into the commercial system of localized music scenes and transnational music and media industries. It identifies the myriad forces that have either facilitated or constrained Rap's expansion at various moments in its history. The dissertation also focuses on the emergence of a pronounced spatial discourse in Rap music and Hip Hop. It isolates the articulation of spatial issues and an increasingly urgent emphasis on sites of significance and the homeplace of "the 'hood" as a significant but characteristic element of the genre. The ancillary Hip Hop media, including radio, music videos, Rap press, and the cinematic "'Hood" genre, are examined as important factors in the reproduction of spatial sensibilities in Hip Hop culture.

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This thesis explores the interplay between hip hop culture, music and the state and commercial entities in New Zealand. Hip hop is a culture which is diverse and unique in that it can be viewed as both a form of expression and a form of empowerment for various cultures. It can also be used to make a profit for commercial organisations such as the recording and broadcasting industries. This study therefore seeks to approach the study of New Zealand hip hop in an innovative manner, and to provide a fresh perspective.There is also the need to provide a plausible definition which captures the complexities of hip hop culture. An assessment of both the American and New Zealand scene will provide a contrast in order to demonstrate that in both scenarios hip hop has the ability for empowerment and to create a new space for communities. Commercial exploitation has transformed hip hop in America, has severely reduced its ability to be seen as a source of public good and has reduced key aspects of the culture. New Zealand has managed to retain many elements of the sense of community and space of community inherent in hip hop culture and music. However commercial entities are gaining prominence in the exploitation of this culture. Hip hop locally has not made the transition to a purely commercial model, but is currently under threat.The means by which commercial organisations are gaining prominence is the unique aspect which shapes New Zealand hip hop and will be a focus of this study. State funding via New Zealand on Air (NZOA) is assisting in the transformation of hip hop from a source of public good to a music form capable of generating profit for organisations such as the recording industry. This study therefore will analyse the relationship between those who embrace hip hop as a culture capable of creating a sense of public good, organisations which are commercially exploiting this culture as a musical form, and the role of the state in assisting with the transition between public good and private consumption.

Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.

Abstract in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt erechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are nderrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function. / Practical Theology / M. Th. (Practical Theology)