Using Music to Distinguish Between "Content" and "Structure"

A major objective in all my classes is for students to distinguish between content and structure, between the meaning of a text and the strategies authors use to construct that meaning. Students typically come into my class with strong summary skills, and they are definitely on the path toward being able to identify an author's main and secondary ideas, i.e., the content. Certainly, they can strengthen those skills - and that’s why they're in my class! 

The more difficult skill to master for practically everyone in my classes is to identify the moves or structures that the authors use to express those ideas. By “moves” and “structures,” I mean what the writer does to express her content: describe, explain, contrast, express effect, tell a story, use dialogue, state a point, or give examples.

Certainly, “meaning” and “moves” are mutually reinforcing, difficult to separate. At the same time, I want students to be able to identify what writers do so they can emulate those moves to express their own ideas. To introduce students to this process, we examined texts students are already deeply invested in: music they love.

Group Development Theory, Romance, and Ursula Rucker

Over half-way into the semester, and I find myself obsessed with poet/singer Ursula Rucker’s song “7,” a duet she sings with M.A.D. The song features a dialog between two lovers remembering the flush of falling in love and recognizing that their love has soured. The refrain depicts their shaky status: “When love is fading away too fast. What are we gonna do?” The pair needs to decide to call it quits or to revive their relationship. Should they passively stand by as their devotion evaporates, or should they make an intentional choice to do something, anything? 

The song ends on an optimistic note: “Trust me, it's us, in a circle . . . The nucleus, the beginning . Take it back to the beginning.” This optimism is less about the lovers actually repairing their relationship, living happily ever after. What is apparent is that the lovers have made a conscious decision to take action, to go back to the root, back to what brought them together in the first place.

Sounds familiar, right? The honeymoon high. The settling into a routine. Those inevitable nicks, cuts, and bumps that threaten to tear a couple apart. The lyrics track the years of their relationship: “The kid's six when we start to fight. The seventh year, tears took it to the limit We maintain full polarity positions. Time explodes with you and me hidden.” All leading to their current predicament: to sh*t or get off the pot.

Entertainment and Art: Mimetic or Productive?

Several of my classes are currently exploring how entertainment and art serve a mimetic and productive function. On the one hand, entertainment can reflect the world around us (mimetic). On the other hand, entertainment can "produce" or influence our society. 

For instance, Suzanne Collin's novel The Hunger Games reflects certain cultural realities: our preoccupation with violence, the reality television phenomenon, and class warfare. This imitation is what "mimetic effect" means.  The novel "tells us about ourselves." 

The novel also has a productive effect; the book promotes a particular awareness that has the potential, by changing our perception of our society world, to actually change our world. This influence is the "productive" effect of Collin's novel. 


These dual functions also hold true for music. We are all familiar with criticisms about certain types of rap and heavy metal which some hold responsible for certain social phenomenon: misogyny, homophobia, violence, materialism, and nihilism. For example, Rapper Ice Cube's' "Black Korea" can be read as a mirror of the growing Black and Korean tensions extant in the eighties and nineties, one of the factors that lead to the LA Riots of '92. Cube's song records the reality of the streets. Cube sings about shopping at the local Korean-American run convenience store: "  . . . the two oriental one-penny countin' motherfuckers that make a nigga mad enough to cause a little ruckus, thinkin' every brother in the world's out to take, so they watch every damn move that I make." 

Teaching Text Types: Music & Micro-Lecture on Masculinity

One of the most significant lessons I learned from the San Diego Area Writing Project (SDAWP) is the notion of simultaneously teaching two or three different text types about similar topic or theme. What a great way to analyze writing strategies and purposes by comparing and contrasting two compositions.

By text types, I mean one of three categories: narrative, informative, and argumentative, types cribbed from the Common Core. While I'm aware of (and in agreement with) certain criticisms of Common Core, I appreciate the simplicity of three categories. The text book I've used in the past lists nine text types, making the lesson more about memorizing terms than about applying strategies. Three is easier to handle. 

Last week, I asked students to consider two different compositions, an old school hip hop music video and a Youtube "micro-lecture." Both address language, bullying, and masculinity, but one leans more heavily on narrative, the other on informative.