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Reflect on the subjective reasons behind your choice to be an educator.
– Example : “I am an educator because I have the desire to transmit to others my own desire to
learn about oneself.”
– Example : “I am teaching in the humanities because works of art, because of their paradoxical
position in knowledge, are an infinite source of learning about oneself.”
– Example : “I am teaching a class on rap music because the current repressed status of racism
makes race studies an incredibly rich source of learning about oneself.”
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Understand the (1) history, (2) the current state and (3) possible directions of your
field.
– Example : (1) Due to the inadequacy of pitch-centered musicological tools to analyze Djing and
rapping, the field of rap studies has historically been limited to an almost exclusively
sociological approach; (2) under the influence of media studies, cultural studies, race studies,
and popular music studies, the field of rap studies is evolving towards a more interdisciplinary
approach that demands a crossing of different disciplinary perspectives; (3) the field offers the
unique possibility to renew our understanding of music by integrating class, ethnicity, religion,
idiom and entrepreneurship as legitimate components in the aesthetic process of creating
music.
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Know your department’s own learning outcomes.
– Example : Students graduating in my program are expected to demonstrate their ability to
write, read, understand oral speech, present orally and initiate and sustain a conversation in
French at the Advanced Mid level.
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Describe what knowledge is to be acquired using verbs (from Bloom’s taxonomy or
your own field), conditions (and degree).
– Example : At the end of the class students should be able to identify, define and describe in
their cultural, economical and political context, through a written and oral exam, the
representations circulating in rap music.
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Describe what skills are to be acquired using verbs (from Bloom’s taxonomy or
your own field), conditions (and degree).
– Example : At the end of the class students should be able to demonstrate in a written essay or
an oral presentation their ability to analyze and interpret the aesthetic pleasures, intellectual
insights and ethical questions deriving from a rap song.
– Example : At the end of the class students should be able to demonstrate in a written essay or
an oral presentation their ability to write, read, understand oral speech, present orally and
initiate and sustain a conversation in French at the Intermediate High level.
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Describe what attitudes are to be acquired using verbs (from your own field),
conditions (and degree ).
– Example : At the end of the class students should be able to demonstrate in a written essay or
an oral presentation their ability to acknowledge and correct existing cultural stereotypes,
perspectives, or hypotheses that limit them and/or others when considering the complexity
and diversity of rap music and its communities of artists and fans.
• At the end of the class students should be able
demonstrate in a written and oral exam, their ability to
identify, define and describe in their cultural,
economical and political context the representations
circulating in rap music, including the representations of
(1) race, (2) idioms, (3) the self, (4) violence, (5) sexuality,
(6) business, (7) politics, (8) philosophy, (9) religion and
(10) history.
• The course map is designed along assigned readings and
listening activities illustrating each representations and
explaining their cultural, economical and political
context.
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At the end of the class students should be able to demonstrate in a written essay
or an oral presentation their ability to analyze and interpret the aesthetic
pleasures, intellectual insights and ethical questions deriving from a rap song.
– Using a different rap track each week, students are asked to identify and
describe (1) the rhythm, pitch and texture of musical elements in riddims,
samples, and beats; (2) the rhythm, pitch and texture of a flow, including the
exact rhythmical relationship between a scansion and the strong and weak
beats of a double-bar; (3) the alliterations, assonances, rimes and
paronomasias.
– Biweekly professor- and peer-feedback help students make their analysis
more correct, more detailed, and more varied.
– Using rap track studied that particular week, students are asked to infer
original interpretations of how the previously described element of flow, Djing
expresses, manifests, illustrates or problematizes the rappological
representations studied that week (race, idioms, the self, violence, sexuality,
business, politics, philosophy, religion or history).
– Biweekly professor- and peer-feedback help students make their
interpretations more insightful, more coherent, more detailed, and more
varied.
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At the end of the class students should be able to demonstrate in a written essay or an oral
presentation their ability to acknowledge and correct existing cultural stereotypes, perspectives, or
hypotheses that limit them and/or others when considering the complexity and diversity of rap
music and its communities of artists and fans, including the following stereotypes:
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“The offensive lyrics and aggressive musical style of some rap tracks carry a message of violence and
intolerance”.
“The lyrics, videos and rapper’s public attitudes garishly displaying expansive apparel and goods carry a
message of individualism and materialism.”
“The salacious lyrics and videos of some rap tracks carry a message of sexism.”
“Rap lyrics overwhelmingly use slang and often refers to very particular social issues and therefore its
message is not addressed to people who don’t speak that slang or have neither experience nor knowledge
of these social issues.”
“Rap music is a trend targeting a young audience, and therefore its message cannot be taken seriously.”
At the end of the class, students are asked to demonstrate in a written essay, oral
presentation or conversation one of two things :
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Their ability to analyze and interpret a rap track so as to manifest the ways in which hip
hop values such as respect, solidarity, honesty, education, loyalty, entrepreneurship,
resilience and love are expressed in rap music through seemingly contradicting artistic
means.
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To narrate in an essayistic form the experience of acknowledging and correcting
existing cultural stereotypes, perspectives, or hypotheses that previously limited them
when considering the complexity and diversity of rap music and its communities.