<p>Hop (<i>Humulus lupulus</i> L) belongs to the Cannabaceae family and is well-known to be a dioecious, perennial climbing plant. The common hop is native to temperate climates, but due to its widespread commercial use in the brewing industry, hop plants are grown worldwide. The bittering components in hops, especially the a-acids, provide a pleasant bitterness and characteristic flavors to beer. On their own, a-acids do not contribute much to beer bitterness but do so after they are converted to iso-a-acids during the kettle boil step in brewing. b-acids in hops are not as important as a-acids, since they only supply about a third of the bittering power as a-acids but are mostly responsible for hops’ antimicrobial properties. The goal of this study was to investigate the effects of storage conditions on the degradation rate of hop constituents. Pelletized hops from two varieties grown in Knightstown, IN were studied: Cascade (typically used as aroma hops) and Chinook (mostly used as bittering hops). The impact of storage conditions on hop chemical constituents, hop storage index (HSI), and color parameters was evaluated at three storage temperatures (4℃, 25℃, 35^oC) with hop pellets exposed to two different gases in headspace (nitrogen or air) for a duration of up to 168 days (4℃ and 25℃) and 70 days (35℃). Hop acids content was determined by UV/Vis spectrophotometry and HPLC-DAD. Results showed that increased storage temperature decreased the a-acid concentration in hops. At 4°C and 25°C the loss in a-acids was (14.5 – 23.4%) whereas at 35°C there was a greater loss in a-acids. The a-acid loss between nitrogen flushed and air exposed pellets was not significantly different (p>0.05) except for Chinook pellets stored at 35°C. b-acids remained mostly stable for the duration of the study; however, at 35℃ the loss of b-acids over time became significant for both varieties. HIS values increased over time for both varieties at 4 and 25^oC, however, those values remained below the recommended 0.40 value. At 35^oC, the HSI values indicated unsuitable hops for brewing at the end of the study for both varieties. The color parameters L* and b* remained constant after 168 days at 4 and 25^oC, while the a* value and the hue angle showed a significant decrease with time and increasing temperature. At the conclusion of the study it was demonstrated that the loss in a-acids from Cascade pellets at 35℃ was lower than the loss in Chinook, suggesting that at high temperature the a-acids in cascade were more stable than those in Chinook.</p>

O presente estudo tem por objetivo examinar e refletir sobre a natureza, a origem e a construção conceitual do Hip-Hop. Para tanto, recorreu-se à metodologia de abordagem qualitativa, valendo-se da pesquisa de campo realizada por meio de entrevistas semiestruturadas, com representantes e ativistas reconhecidas(os) do HipHop e analisadas à luz da literatura acadêmica e não acadêmica (teses, dissertações, artigos, livros, revistas), além de outros materiais (documentários, filmes, palestras) produzidos sobre o Hip-Hop. Este trabalho problematiza a caracterização clássica desse fenômeno que, tradicionalmente, aponta quatro elementos como dimensões constitutivas do movimento: DJ/MC, Breaking, Graffiti e Rap. Contrapondo-se a essa descrição rígida, a hipótese desta pesquisa afirma que, por demonstrar um caráter dinâmico e recriador, esse fenômeno cultural, em seu processo histórico, gestou outras dimensões, até o momento, invisibilizadas, ou pouco discutidas pela literatura acadêmica. No processo de investigação, foram identificados outros elementos constitutivos do Hip-Hop, como as gírias, os vestuários, o Streetball e a literatura marginalizada que, assim como os demais, carregam, representam e revelam questões identitárias, políticas e ideológicas, como as étnico-raciais e de gênero, que envolvem a juventude das periferias, evidenciando um Universo em contradição, transformação e reconstrução constantes e em estreita relação com a Educação em seu sentido mais amplo. Desta forma, por sua natureza e condição dialéticas, o HipHop constitui-se em processos marcados por tensões entre os avanços das novas tendências e as resistências a esses avanços, razão pela qual o trabalho foi intitulado O Universo Hip-Hop e a fúria dos elementos. / The present study aims to examine and reflect on the nature, origin and conceptual construction of Hip-Hop. To do so, we used the qualitative approach, using field research conducted through semi-structured interviews with representatives and activists recognized by Hip-Hop and analyzed in the light of academic and nonacademic literature (theses, Dissertations, articles, books, magazines), as well as other materials (documentaries, films, lectures) produced on Hip-Hop. This work problematizes the classical characterization of this phenomenon, which traditionally points to four elements as constitutive dimensions of the movement: DJ / MC, Breaking, Graffiti and Rap. Contrary to this rigid description, the hypothesis of this research affirms that, because it demonstrates a dynamic and recreational character, this cultural phenomenon, in its historical process, has spawned other dimensions, so far, invisibilized or little discussed by academic literature. In the process of investigation, other elements of Hip-Hop were identified, such as slang, clothing, streetball and marginalized literature, which, like the others, carry, represent and reveal identity, political and ideological issues, such as ethnic- Racial and gender, involving the youth of the peripheries, showing a Universe in constant contradiction, transformation and reconstruction and in close relation with Education in its broadest sense. In this way, by its dialectical nature and condition, Hip-Hop is constituted by processes marked by tensions between the advances of the new tendencies and resistances to these advances, reason why the work was titled \"The Hip-Hop Universe and the fury of the elements\".

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.

O presente estudo tem por objetivo examinar e refletir sobre a natureza, a origem e a construção conceitual do Hip-Hop. Para tanto, recorreu-se à metodologia de abordagem qualitativa, valendo-se da pesquisa de campo realizada por meio de entrevistas semiestruturadas, com representantes e ativistas reconhecidas(os) do HipHop e analisadas à luz da literatura acadêmica e não acadêmica (teses, dissertações, artigos, livros, revistas), além de outros materiais (documentários, filmes, palestras) produzidos sobre o Hip-Hop. Este trabalho problematiza a caracterização clássica desse fenômeno que, tradicionalmente, aponta quatro elementos como dimensões constitutivas do movimento: DJ/MC, Breaking, Graffiti e Rap. Contrapondo-se a essa descrição rígida, a hipótese desta pesquisa afirma que, por demonstrar um caráter dinâmico e recriador, esse fenômeno cultural, em seu processo histórico, gestou outras dimensões, até o momento, invisibilizadas, ou pouco discutidas pela literatura acadêmica. No processo de investigação, foram identificados outros elementos constitutivos do Hip-Hop, como as gírias, os vestuários, o Streetball e a literatura marginalizada que, assim como os demais, carregam, representam e revelam questões identitárias, políticas e ideológicas, como as étnico-raciais e de gênero, que envolvem a juventude das periferias, evidenciando um Universo em contradição, transformação e reconstrução constantes e em estreita relação com a Educação em seu sentido mais amplo. Desta forma, por sua natureza e condição dialéticas, o HipHop constitui-se em processos marcados por tensões entre os avanços das novas tendências e as resistências a esses avanços, razão pela qual o trabalho foi intitulado O Universo Hip-Hop e a fúria dos elementos. / The present study aims to examine and reflect on the nature, origin and conceptual construction of Hip-Hop. To do so, we used the qualitative approach, using field research conducted through semi-structured interviews with representatives and activists recognized by Hip-Hop and analyzed in the light of academic and nonacademic literature (theses, Dissertations, articles, books, magazines), as well as other materials (documentaries, films, lectures) produced on Hip-Hop. This work problematizes the classical characterization of this phenomenon, which traditionally points to four elements as constitutive dimensions of the movement: DJ / MC, Breaking, Graffiti and Rap. Contrary to this rigid description, the hypothesis of this research affirms that, because it demonstrates a dynamic and recreational character, this cultural phenomenon, in its historical process, has spawned other dimensions, so far, invisibilized or little discussed by academic literature. In the process of investigation, other elements of Hip-Hop were identified, such as slang, clothing, streetball and marginalized literature, which, like the others, carry, represent and reveal identity, political and ideological issues, such as ethnic- Racial and gender, involving the youth of the peripheries, showing a Universe in constant contradiction, transformation and reconstruction and in close relation with Education in its broadest sense. In this way, by its dialectical nature and condition, Hip-Hop is constituted by processes marked by tensions between the advances of the new tendencies and resistances to these advances, reason why the work was titled \"The Hip-Hop Universe and the fury of the elements\".

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.

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.

Thesis (M.S.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains iv, 60 p. Includes abstract. Includes bibliographical references (p. 53-60).

Rapport de recherche bibliographique diplôme d'études supérieures spécialisées : Ingénierie documentaire : Villeurbanne, ENSSIB : 2004. Rapport de recherche bibliographique diplôme d'études supérieures spécialisées : Ingénierie documentaire : Lyon 1 : 2004.

This thesis examines the definition and redefinition of women's images through the music of MC Lyte. My research demonstrates how MC Lyte has emerged from the male-dominated Hip Hop demoralization of women and how MC Lyte uses her music and media to empower young females. This thesis explores the history of Hip Hop and culture, and how MC Lyte has evolved and changed the way women are seen in Hip Hop. The objective of this thesis is to examine MC Lyte and how her music evolved and empowered females in Hip Hop music. This research uses scholarly works of Clenora Hudson Weems (1993). African Womanist, Gwendolyn Pough's (2004) Check it While I Wreck It, as well as the input of Tricia Rose's (1 994) Black Noise Rap Music and Black Culture in Contemporary America. These scholarly works, not only delve into the Hip Hop world, but also the issues that plague women, feminism, and the African- American movement. This thesis analyzes lyrics from MC Lyte as a tool to clearly see the struggles and progressions that women have endured within the Hip Hop culture. It is the intent of the researcher to show how black womanhood has been defined and redefined as it emerges in black Hip Hop music and to appreciate the unity of the black female voice through the music of MC Lyte. This paper shows positive and negative attributes of black women in Hip Hop and how they responded to these attributes. This is important because it expresses how the female artists have found a way to communicate their feeling in regards to how they are viewed by larger society, and its affects. They have chosen to identify themselves with and by their music.

Thesis (Ph.D.)--York University, 2007. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves 333-354). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29345