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).

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.

Thesis (M.A.)--York University, 2005. Graduate Programme in Musicology & Ethnomusicology. / Typescript. Includes bibliographical references (leaves 74-84). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11889

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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

Thesis (Ph. D.)--University of California, Davis, 2001. / eContent provider-neutral record in process. Description based on print version record. Includes bibliography (p. 169-176) and discography (p. 176).

Thèse de doctorat de troisième cycle--Université Cheikh Anta Diop de Dakar, 2004. / Cover title. Includes bibliographical references.

How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. I was also able to document the inconsistencies, problems and negotiations that the members of these entities encountered as they attempted to become successful musicians in the current global economic environment. This dissertation offers explicit details of how the rap musicians in the polities under study, were able to utilize their social networks in the process of commodifying their products for distribution in the hip-hop market place. I also tackle current academic discussions about how the rappers use digital technologies to assist them with this process. Engaging with concepts from economic anthropology, social mobility literature, political economy and globalization studies, the findings here demonstrate various entrepreneurial strategies utilized by rap musicians in this location.

Thesis (Magisterarbeit)--Universität Frankfurt (Main), 2006. / Includes bibliographical references.

Thesis (M.A.)--Rutgers University, 2009. / "Graduate Program in Liberal Studies." Includes bibliographical references (p. 35-36).