Thesis (doctoral)--Freie Universität, Berlin. / Includes bibliographical references.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2017-11-16T14:28:05Z No. of bitstreams: 1 DISSERTAÇÃO MERCIA.pdf: 2742957 bytes, checksum: d56e5066063b21d38540da43387d2249 (MD5) / Made available in DSpace on 2017-11-16T14:28:05Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO MERCIA.pdf: 2742957 bytes, checksum: d56e5066063b21d38540da43387d2249 (MD5) Previous issue date: 2016-05-09 / O presente trabalho é resultado de uma pesquisa em antropologia urbana e traz um debate sobre a participação da mulher dentro do hip hop de Campina GrandePB. O objetivo do trabalho é entender como a mulher aparece no movimento hip hop da cidade, partindo de um recorte de gênero. Tendo a etnografia como principal método da pesquisa, foi feito uma análise de como as mulheres estão inseridas e como é sua aceitação por parte dos homens do movimento da cidade. A análise cronológica desde o surgimento do hip hop a nível global até sua chegada à cidade de Campina Grande foi de grande relevância para compreender a dinâmica do hip hop e de como a mulher está inserida. Dentro das possibilidades da pesquisa, buscou-se fazer o mapeamento dos lugares que as jovens mulheres do movimento hip hop frequentam, bem como a articulação que elas estabelecem. Por ser um movimento que teve suas origens na rua, não se deve descartar que a rua era e, de certa forma, ainda continua sendo um espaço para o protagonismo masculino. Sendo um movimento constituído por 4 elementos, a mulher aparece em apenas dois desses elementos, o break e o grafite. Essa participação deve ser vista dentro das relações que envolvem outras categorias sociais, tais como classe, raça, grau de escolaridade. Paradoxalmente, não deixa de ser revelador, que um movimento que denuncia e luta contra vários tipos de exclusão social, acaba por produzir, ele mesmo, formas de exclusão social, que atinge o gênero feminino de maneira marcante. / This work is the result of research in Urban Anthropology and brings a debate on the participation of women in hip hop Campina Grande-PB. The objective of this work is to understand how the woman appears in the hip hop movement in the city, starting from a gender perspective. Having ethnography as the main method of research was done an analysis of how women are inserted and how their acceptance by men of the city movement. The chronological analysis from the emergence of hip hop globally until his arrival in the city of Campina Grande was of great importance to understand the dynamics of hip hop and how the woman is inserted. Within the scope of the research, we sought to do the mapping of the places that the young women of the hip hop movement attend, and the link they establish. To be a movement that had its origins in the street, one should not rule out that the street was and, in a way, remains a space for the male role. Being a movement composed of four elements, the woman appears in only two of these elements, the break and graffiti. This participation should be seen within relationships involving other social categories such as class, race, level of education. Paradoxically, it is still revealing a motion denouncing and combating various types of social exclusion, it produces himself, forms of social exclusion, which affects the women markedly.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-12T15:10:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE-TEXTUAL-VERSÃO FINAL.pdf: 5066485 bytes, checksum: bd6db4948b6dcf41f005e50704721346 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-17T14:36:26Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE-TEXTUAL-VERSÃO FINAL.pdf: 5066485 bytes, checksum: bd6db4948b6dcf41f005e50704721346 (MD5) / Made available in DSpace on 2017-04-17T14:36:26Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE-TEXTUAL-VERSÃO FINAL.pdf: 5066485 bytes, checksum: bd6db4948b6dcf41f005e50704721346 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Filiada ao aparato teórico metodológico da Análise do Discurso (PÊCHEUX (1969); ORLANDI, 1984a), esta tese analisa o funcionamento das determinações históricas que constituem discursos do e sobre o movimento hip hop. Para tal, toma como material de análise o videoclipe Causa e efeito (BILL, 2011), publicado no Youtube.com, além das apreciações e comentários de sujeitos-internautas. Pela observação dos efeitos de sentido produzidos na imbricação material significante (LAGAZZI, 2010) entre letra, imagem e música, perpassadas pelo discurso eletrônico enquanto fundamentalmente urbano (ORLANDI, 2010), observa-se o modo histórico de constituição, formulação e circulação dos sentidos e de sujeitos que assumem posições discursivas situadas na tensão entre a reprodução de e a resistência a sentidos dominantes. Com base nas compreensões obtidas a partir das análises, promove-se uma discussão a propósito da maneira como o sujeito-rapper significa escola e educação, o que conduz a reflexões possíveis no tocante à relação entre a produção de efeitos de sentido nos imaginários do discurso hip hop e os efeitos da ligação entre sujeito, escola e trabalho enquanto evidência ideológica neoliberal. Desse modo, discute-se o que uma análise discursiva teria a dizer acerca das possibilidades de deslocamento do professor em face de determinações ideológicas que atravessam as práticas de ensino no ambiente escolar. Ademais, diante da incumbência de analisar diferentes materialidades discursivas em composição, busca-se oferecer contribuições teórico-metodológicas que acarretem avanços, principalmente, no que concerne à análise do imagético e do que se nomeou, neste trabalho, como materialidade significante da musicalidade / Affiliated with the theoretical and methodological apparatus of Discourse Analysis (PÊCHEUX (1969); ORLANDI, 1984a), this doctoral thesis analyzes the operation of historical determinations that constitute discourses on and about the hip hop movement. For this, its material for analysis is the music video entitled Causa e efeito (BILL, 2011), posted on Youtube.com, in addition to assessments and comments from internet users subjects. By the observation of the meaning effects produced in the significant material combination (LAGAZZI, 2010) between lyrics, image and music, pervaded by the electronic discourse as fundamentally urban (DIAS, 2011), it is noted the historical mode of constitution, formulation and circulation of meanings and of subjects that take discourse positions along the tension between the reproduction of dominant meanings and the resistance to them. Based on the understanding achieved through the analysis, we promote a discussion concerning the manner the rapper-subject means school and education, what leads to possible considerations about the relationship between meaning effects production in the imaginaries of hip hop discourse and the effects of the liaison between subject, school and work while neoliberal ideological evidence. Thus, we discuss what a discursive analysis would have to say about the teacher’s possibilities for movement in the face of ideological determinations that cross the teaching practices in the school environment. Furthermore, considering the task of analyzing different discursive materialities in composition, we aim to offer theoretical and methodological contributions which may result in developments especially in regard to the analysis of imagery and to what has been denominated in this work as significant materiality of musicality

This thesis analyzes at how Latinx Hip Hop artists from Chicago act as organic intellectuals within their community and how they use their platform as artists to challenge the narratives created by government officials that aim to criminalize their community in an effort to normalize and justify the policing of their neighborhoods.

Thesis (MSc)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Hops is a small, but important agricultural commodity in South Africa. The hop cones contain secondary metabolites responsible for the flavour, aroma and bitterness in beer. The George and Waboomskraal area are the best suited for growing hops due to climate and geographical location. The optimum latitude for hops growing is 45° - 54° north and south of the equator, while these areas are at 34° S. International hop varieties are not adapted to the South African climate. Winters are too warm and summer days too short, thus all the varieties grown in South Africa have been bred for these specific conditions. The Hop breeding and research program strives to develop internationally competitive varieties with higher yields, desirable brewing characteristics, reducing input costs and increased productivity. To evaluate the current agricultural practices and to determine whether some of these practices negatively affect the plant health and yield, a study was conducted to investigate the effect of the time of stripping. Stripping refers to the practice of removing basal growth of the lower laterals and untrained bines. The study was done in two different microclimates, namely George and Waboomskraal. The aim was to determine the effect of the time of stripping on the vegetative growth, light interception, biomass, soft resins (alpha and beta acids), yield, rootstock weights and carbohydrate concentrations. The effect of stripping was also evaluated on different planting systems and plant maturity, namely Tram lines and conventional planting and 3 years old versus 5 year old plants. The effect of early stripping in terms of dry weight on mature plants is considerably less than the effect on younger plants. Young plants delivered lower dry weights, but accumulated higher carbohydrate reserves in the early stripping treatment. On young plants early stripping showed a significant difference favouring yield on tramlines. There is a general trend across all sites of higher crop efficiencies in the early stripped treatments. Growers could significantly increase yields without negatively affecting the quality (alpha and beta acids) by applying early stripping, especially in the George area. The effect of early stripping becomes more apparent in consecutive years as the time of defoliation affects foliage, carbohydrate concentration, canopy microclimate and light interception resulting in increased yields, especially on tramlines. From this study it can be concluded that early stripping appeared to have an influence on the dry root weight, carbohydrate concentration, light interception, crop efficiencies, yield and biomass. This practice is not only environmentally friendly by using less herbicide, it also delivers an economic gain. The effect of the time of stripping in consecutive years and different varieties deserves further study. / AFRIKAANSE OPSOMMING: Hops is 'n klein, maar belangrike landbou kommoditeit in Suid-Afrika. Die hopkeëls bevat sekondêre metaboliete wat verantwoordelik is vir die smaak, aroma en bitterheid van bier. Die George en Waboomskraal gebied is die beste geskik vir die kweek van hops, a.g.v. die klimaat en geografiese ligging. Die optimum breedtegraad vir hops verbouing is tussen 45° - 54° noord en suid van die ewenaar, waar hierdie gebiede by 34° S lê. Internasionale hops varieteite is nie aangepas by die Suid-Afrikaanse klimaat nie, want die winters is te warm en die daglengte in die somer is te kort. Al die variëteite in Suid Afrika is geteel vir dié spesifieke klimaatstoestande. Die Hopsteling en -navorsingprogram streef daarna om internasionaal mededingende varieteite met hoër opbrengste, verminderde insetkoste, verhoogde produktiwiteit en wenslike broueienskappe te ontwikkel. 'n Studie is gedoen om die effek van stropingstyd te evalueer en te identifiseer of hierdie praktyk negatiewe invloede op die gesondheid van plante en opbrengste het. Stroping verwys na die praktyk van die verwydering van basale groei van die laer laterale en onopgeleide ranke. Die studie is gedoen in twee verskillende mikroklimate, naamlik George en Waboomskraal. Die doel was om te bepaal wat die effek van stropingstyd op die vegetatiewe groei, lig onderskepping, biomassa, alfasure en betasure, opbrengs, wortelmassa en koolhidrate konsentrasies is. Die effek van stropingstyd was ook geëvalueer op verskillende plantsisteme en plant volwassenheid, naamlik Tramlyne en Konvensionele -plantsisteem, en 3 jaar oue teenoor 5 jaar oue plante. Die effek van vroeë stroping in terme van droë gewig op volwasse plante is aansienlik minder as die effek op jonger plante. Jong plante het laer droë gewig, maar hoër koolhidraat reserwes in die vroeë stroping behandeling gelewer. Vroë stroping van jong plante het ’n beduidende verskil getoon ten opsigte van opbrengste op die Tramlyn-plantsisteem. Daar is 'n algemene tendens op alle lokaliteite van hoër opbrengs doeltreffendheid in die vroeë stropings behandelings. Produsente, veral in die George area, kan opbrengste aansienlik verhoog sonder om die kwaliteit (alfa en beta sure) negatief te beïnvloed, deur die toepassing van vroeë stroping. Die effek van vroeë stroping word meer duidelik in agtereenvolgende jare, omdat die stropingstyd die koolhidrate konsentrasie, mikroklimaat binne in die hopranke en lig onderskepping wat lei tot verhoogde opbrengste, veral op die Tramlyn- plantsisteem, beïnvloed. Uit hierdie studie kan afgelei word dat vroeë stroping 'n invloed op die ligonderskepping, plantgewas doeltreffendheid, biomassa, opbrengs, droë wortelgewig en koolhidraatkonsentrasie het. Hierdie praktyk is nie net omgewingsvriendelik nie, maar gebruik minder onkruiddoder en lewer ekononomiese voordele vir die produsent. Die effek van stropingstyd op agtereenvolgende jare en verskillende varieteite verdien verdere studie.

This thesis examines how hip-hop has become a meaningful cultural movement for contemporary artists in Hamburg and in Oldenburg. The comparative analysis is guided by a three-dimensional theoretical framework that considers the spatial, historical and social influences, which have shaped hip-hop music, dance, rap and graffiti art in the USA and subsequently in the two northern German cities. The research methods entail participant observation, semi-structured interviews and a close reading of hip-hop's cultural texts in the form of videos, photographs and lyrics. The first chapter analyses the manifestation of hip-hop music in Hamburg. The second chapter looks at the local adaptation of hip-hop's dance styles. The last two chapters on rap and graffiti art present a comparative analysis between the art forms' appropriation in Hamburg and in Oldenburg. In comparing hip-hop's four main elements and their practices in two distinct cities, this research project expands current German hip-hop scholarship beyond the common focus on rap, especially in terms of rap being a voice of the minority. It also offers insights into the ways in which artists express their local, regional or national identity as a culturally hybrid state, since hip-hop's art forms have always been the result of cultural and artistic mixture. The theoretical focus on spatiality, historicality and sociality moreover reveals different and even contradicting manifestations of cultural hybridity and identity in hip-hop. In particular, this thesis looks at the formation of post-hybrid identities, with which hip-hop artists aim at expressing their multiculturality as an inherent part of their life in Germany.

Although music has seemingly always formed an integral part of human culture, technological advances in contemporary society have increased both its accessibility and portability, allowing for unprecedented production and consumption of a medium that allows individuals to enact and display various social identities during day-to-day life. Furthermore, recent research has demonstrated that youth consume more music that any other age group. Thus music may be considered as a primary cultural influence in the lives of youth. While the bulk of the research conducted in understanding the form and function of this influence has been located in the disciplines of sociology and musicology, Psychologists in Europe and America have become increasingly interested in understanding the role of music in constructing and maintaining identity during this critical period of development. As a contribution to this field of application outside of these contexts and located within a qualitative framework, this study explored the role of Rap/Hip Hop music, as one of the most popular global and local genres of music, in the meaning and maintenance of identity in a cohort of South African youth. The resultant thematic framework illustrated the complex tensions negotiated by youth through assuming Hip Hop culture membership in South Africa. Importantly, the study showed that the nature of Hip Hop culture; its emphasis on self-expression, individuation and critical social awareness dovetails with many of the traditional psychological developmental theories of youth identity. Hip Hop consumption also implied appropriating identity markers from a wide range of social influences, posing challenges to the application of traditional social identity theory in accounting for in and out groupings. This was most pronounced in the way that ‘remixing’, as a governing musical principle in Hip Hop seems to resonate as key mode of identity and identification amongst its South African consumers. Thus, it seems fitting that South African youth currently in the midst of cultural, economic and political transitions would embrace an eclectic rather than rigidly bounded genre of music with such enthusiasm. In some ways then Hip Hop in South Africa, appears to provide youth with the means to remix past and present, old and new, global and local, self and other.

From 2000 to 2010, America's music industry's annual revenue went from $4 billion to $2 billion. Much of this is attributed to the internet's ability to provide consumers with easy access to free music, and hip hop has been especially impacted by this trend. Utilizing document analysis and personal interviews, this study found that the success of independent artists has influenced the business strategies of major record companies. In response to a dramatic decrease in record sales, major labels have made more of an effort to sign their artists to 360 deals, which allow the labels to profit from every aspect of an artist's brand or identity. While some independent artists are the main beneficiary of the profits generated from their music and personal brand, they also reify the commodity-form capitalist system by attempting to turn their music and brand into a fetishized commodity and by turning their audience into a commodity.

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.

From 1926 to 1958, the Savoy Ballroom in New York's Harlem neighborhood played a critical role in the development and showcasing of African-American popular culture. During its lifetime, the Savoy Ballroom significantly affected the concurrent development of jazz music and jazz dance, and laid important groundwork for racial integration. The Savoy Ballroom served as the home base for such jazz greats as William "Chick" Webb, Lucius Venable "Lucky" Millinder, and David "Panama" Francis, and launched the careers of John Birk "Dizzy" Gillespie, Charlie Parker, and Thelonious Monk. Beyond music, the Lindy Hop, a partnered jazz dance that emerged at the Savoy during the late 1920s, was one of the Ballroom's cultural exports; it gained an unprecedented degree of fame and recognition during the late 1930s, and is still practiced today by communities across the United States and the world. The objective of this dissertation is to examine the cultural, social, and musical contribution made by the Savoy Ballroom to the promotion of African-American culture. The first and second chapters of this dissertation address the historical and cultural context of Harlem and the Savoy proper. The third chapter examines some of the emerging traditions behind the Savoy Ballroom's status as the "World's Finest Ballroom." The fourth and fifth chapters address the chronological and technical development of music and jazz dance at the Savoy, with particular attention given to the lasting impact of such advancements as the incorporation of swing feel into jazz. The sixth chapter examines the cultural impact of the Ballroom on contemporary and modern media, particularly print, music, film, and photography. Finally, the seventh chapter examines the Savoy Ballroom's participation in New York's World's Fair exhibition in 1939, and its impact on the worldwide export of Harlem's African-American culture.