Bring Poetry Alive
Rap It Up
Teacher Notes
Year level:
Secondary 9–10
Key learning area:
The Arts
Main subject:
Music
Recommended for:
Teacher-directed and student-directed classroom learning
Introduction
Rap It Up comprises video and activity resources which engage students in understanding
and applying the various language and musical conventions of rap, and provide a framework
in which to create their own rap piece. Students will discover the historical, social and
political context and influences of hip hop culture and rap music, undertake a range of
activities designed to help them identify the musical and poetic elements used in rap pieces,
and undertake the process of developing and performing their own rap at an „open mic‟.
Students will use musical and poetic terminology to respond to and critique their own, their
peers‟ and other artists‟ compositions and performance.
Perhaps more than any other musical genre, rap has strong connections with poetry, literacy
and verbal expressive skills. Consequently, this resource provides a great opportunity to
align many literacy learning concepts in a framework and style that will resonate with young
people.
Learning focus
This resource will be of value in addressing content descriptions from the Making and
Responding strands of the Music curriculum for middle years secondary schooling from the
Australian Curriculum: The Arts, Foundation to Year 10. Detailed curriculum information can
be found online at: ACARA .
Resources
Web address
Available on ARTS:LIVE in Bring Poetry Alive: Rap It Up .
Relevant online videos



Rap It Up
Killing Time (available on ARTS:LIVE in the Extend tab of Bring Poetry Alive: Rap It Up
)
Talking About Alliteration (available on ARTS:LIVE in the Apply tab of Bring Poetry Alive:
Rap It Up ).
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Additional media

Rap It Up audio tracks (available on ARTS:LIVE in the Extend tab of Bring Poetry Alive:
Rap It Up )
o Rap Beat One
o Rap Beat Two.
Activity sheets


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
The Culture of Hip Hop Activity Sheet
A Lyrical Lesson Activity Sheet
Beat the Rap Activity Sheet
Musical and Poetic Elements (available on ARTS:LIVE in the Extend tab of Bring Poetry
Alive: Rap It Up ).
Notes


Except where otherwise noted, these resources can be found on ARTS:LIVE at the web
address stated above. Videos are accessed in the Learn tab and activity sheets and
templates in the Apply tab.
Except where indicated in activities, students should be provided with their own activity
sheets and templates.
Driving inquiry
How can we use aural skills to identify and analyse the elements and conventions of musical
genres and how can these be influenced by the social, political and historical context in
which music is created?
Most important learning aims
When completing these resources, students:
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Learn about the social, political, historical and cultural context of hip hop and rap music.
Analyse the musical and poetic elements present in rap songs.
Consolidate their understanding of musical concepts such as beat, rhythm, texture,
timbre and song structure.
Broaden their aesthetic knowledge and understanding of diverse musical genres.
General capabilities addressed in resource

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
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Literacy
Information and communication technology capability
Critical and creative thinking
Personal and social capability
Intercultural understanding.
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Links to other learning areas

The Arts
o Visual Arts
o Dance


English
Languages.
Source: Australian Curriculum, Assessment and Reporting Authority (ACARA).
Teaching and learning activities
The Rap It Up resources are flexible and designed for teachers to enrich their subject areas
and support students‟ learning in the following ways:
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Engage students in a stand-alone classroom music unit of study.
Extend students‟ skills as part of an integrated or enquiry-based unit of work, focusing on
topics such as musical appreciation, composition, poetry or creative writing.
Enrich students‟ understanding of beat, rhythm, pitch, timbre, texture and structure, and
that words can be used as a form of music.
Facilitate students‟ understanding of the historical, social and political context of musical
genres.
These resources consist of several videos complemented by activities designed to
consolidate or deepen skills and knowledge. The resources have been designed to provide
students with sequential learning. Follow the sequence to maximise students‟ learning
outcomes:
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Rap It Up video
The Culture of Rap Activity Sheet
Killing Time video
A Lyrical Lesson Activity Sheet
Musical and Poetic Elements
Talking About Alliteration video
Beat The Rap Activity Sheet.
Suggestions for assessment and reflection
The following activities provide suggestions that can be developed into assessment and
reflection tasks for formative and summative assessments.


Formative assessment tasks (during a project or class work) include activity
completion, presentation or sharing of raps in progress, class discussion, identification
and application of musical elements.
Summative assessment tasks (end of project or class work) include „open mic‟
performance, peer evaluation, self-evaluation, music review, reflection on performed
work.
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
Reflection opportunities (individual and group) include class discussion, music review,
extension activities.
Sample assessment activity
Assessment method: music review
An assessment task could be developed focusing on the reflective aspects of this resource.
For example, students could listen to the work created by others in their class and write a
music review about the artist‟s use of musical and poetic elements in their composition.
Maximising outcomes
Encourage play
It is important that students feel comfortable to experiment and play with words. This may
involve rhyming, „bending‟ spelling and grammar, mixing metaphors and so on.


The focus should be on student enjoyment of word manipulation and the way in which
they use words.
There is a natural freedom when it comes to the use of grammar, punctuation and
spelling in rapping, so encourage students to identify when they are taking these liberties
with language.
Musical examples
Obviously the best way for students to understand the rhythmic and musical nuances in rap
music is to listen to some examples. This thought can sometimes make teachers nervous,
due to the association of rap music with controversial topics such as gang culture and
violence, however there are some brilliant examples of word play, rhyme, social commentary
and vocal delivery that can be explored. It will be up to you to decide what music may be
appropriate for your students, but some examples are:
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Luka Lesson (Australian poetry slam champion with a very strong appreciation of
complex rhyme schemes and the musical aspects of language)
Australian outfits such as Diafrix or TZU for a local flavour
Eminem (interesting use of rhythm and rhyme and a strong dramatic aspect to his lyrics)
Tupac Shakur (exploration of complex social issues)
Lupe Fiasco (strong use of metaphor)
Rakim (as the inventor of „flow‟: the rhythm and rhyme of words and the mode of
delivery)
Lauryn Hill (interesting use of syncopated flow, sung lines and passionate lyrics)
Beastie Boys (a different kind of flow altogether, using a sung rhythmic style).
Listen to and review individual songs before using them as examples in class to ensure that
the content is suitable for your student audience.
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Performance
Encourage students to edit, perform and record their raps in order to improve them. Raps,
like poetry, should be dynamic and continue to evolve after the initial writing phase.
As part of the performance outcome, students are encouraged to perform at an „open mic‟, a
non-threatening performance context where students are given the choice to perform.
For students to effectively deliver their raps to an audience, they will need to work on their
vocal presence, enunciation and breath control. Vocal presence and enunciation refer to the
performer creating a distinct voice for their performance, and can encompass pitch, beat and
timbre. These elements can be manipulated by the performer for artistic effect (or even
comic effect). Breath control is very important for rhythmically articulating and enunciating
each syllable to keep time with the beat, and avoiding unintentional, mid-sentence pauses,
for breath.
The importance of reflection and evaluation
Peer critique, beyond merely „liking‟ something, is essential in developing the ability to
identify elements of music and respond to them critically. The critique also plays an
important role in providing feedback to the composer and opening up new possibilities and
suggestions.
Meaningful reflection and valid critiquing are an important element of this resource and you
are advised to use worksheets or templates to help students focus their reflection and
critiquing. You may also consider spending some time on establishing „rules‟ around
critiquing others‟ work, addressing issues such as:
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the purpose of critiquing
appropriate and inappropriate language
giving feedback
receiving feedback.
Guidance notes on critiquing
It may be useful for you to review the following points about critiquing with your students
before commencing the activities in this resource.
What is the purpose of critiquing?
Answers could include:
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providing suggestions to the artist for improvement
initiating alternative ideas and creative options
distinguishing or discriminating between different compositions for the purpose of
judgement.
Students could discuss previous situations in which they have been critiqued and could
explore the context and the purpose.
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Appropriate and inappropriate language
It could be useful to discuss what constitutes appropriate and inappropriate language. This
may include reference to broader school policies, but could also focus on the nature of
language and how to communicate ideas in a way that is positive, creative and respectful.
Giving feedback
Feedback should always:
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identify positive aspects
present potentially negatively received feedback in a way that represents opportunities
for creativity and development.
be phrased in an open-question format.
Some example ways to frame a question are:


Have you ever considered ... ?
What if you added ... ?
Receiving feedback
It could be useful to explore how people receive feedback and how their responses may
change according to the context, the source and the way the feedback is given. Students
might explore the reasons why we sometimes respond differently to feedback from different
people.
Tips

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It could be useful to draw students‟ attention to the connections between the musical
elements and literary devices. For example, when using rhyme, the melody and
associated intervals should either match or be very similar to the rhyming words. If
students decide to use a simile, repeating the melodic structure identically helps to
emphasise the literary meaning. Alliteration is far more effective when a recognisable or
repeated rhythmic or melodic motif is used.
You may need to explain the concept of „beats‟ to some students. This connects with the
musical elements of rhythm and metre, and can be introduced by using a familiar poem
or rhyme, and identifying the strong and weak words or syllables.
Encourage students to play with the words and to feel comfortable about experimenting
with literary devices.
Alternatively, consider asking students to draw on their own musical tastes and playlists
for some examples. Students will, undoubtedly, have their own opinions and beliefs
about rap and hip hop culture, and the activities outlined in this resource will help them to
articulate these opinions and express them in a musical context.
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Activities
The Culture of Hip Hop
Introduction
Understanding the context in which music genres originate is important in assisting students
to develop aesthetic knowledge and appreciation. In this activity, students will undertake a
self-directed research activity into the social, political and historical context of rap and hip
hop culture, and will begin to understand how this context manifests itself musically.
Duration
2 × 45 minute lessons


Lesson One: Self-directed Research
Lesson Two: Class Presentations and Reflection.
Maximum number of students
25
Relevant online resources


Rap It Up video
The Culture of Hip Hop Activity Sheet.
Additional resources required

Access to the internet or library resources
Preparation
It may be useful to source some age-appropriate examples of rap and hip hop tracks to play
to the class. Some examples of artists to explore can be found in the „Maximising Outcomes‟
section of this document.
Lesson One: Self-directed Research
What is rap?
1. Conduct a class discussion about hip hop culture and rap music to introduce students
to the resources. Questions could include:


What is the difference between hip hop and rap? Is there a difference?
Does anyone in the class have a favourite rap artist or rap song? What is it about
rap that appeals to you? Or does not appeal to you?
2. Watch the Rap It Up video.
3. As a class, discuss the following questions.
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Where and when did hip hop culture originate?
What are the four components of hip hop culture that Luka discusses in the video?
Are there any others that you can think of?
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
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What do we mean by rap?
What are the similarities and differences between rap and poetry?
What are the key conventions of rap music?
Can you give some examples of these using songs that you know?
The conventions of rap music
Explain to students that all musical styles are influenced by the social, historical and political
context in which they originated. Rap and hip hop are artistically legitimate styles of music,
with a specific cultural, social and political tradition. In this activity, students will undertake
research to explore this context.
Some examples of rap conventions include the following:
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a sung chorus, 4/4 time
looped beats
samples from other musical tracks or genres
complex rhymes
discussion of social issues
loose fitting clothing
shots of key props to help emphasise the message of the song (in the video clip).
Respect your roots
1. Distribute copies of The Culture of Hip Hop Activity Sheet.
2. Ask students to divide into groups of 3–4.
3. Instruct students to visit the library or use the internet to research the historical,
political and social background of hip hop culture, and rap music. Questions to
consider are:
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What other musical styles may have influenced the emergence of hip hop and rap
music?
What are the key musical similarities and differences between the styles (that
influenced rap)?
What are the conventions of hip hop and rap music?
Why might hip hop culture and rap music appeal to a certain demographic of
people?
Does it appeal to you? Why or why not?
How has rap developed and evolved over the years?
Who are the key composers and performers of rap who have lead this evolution?
How has the development of technology changed rap as an art form?
How has this changed the audience‟s engagement with hip hop?
How has this genre changed and developed in Australia?
Preparation is the key
Notes
In order to vary and enrich the presentation content you could provide each group with a
specific rap or hip hop genre (eg gangsta rap, crunk, freestyle, grime or ghetto tech) to focus
on as part of their presentation.
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Depending upon the size of you class and make-up of the groups, it may be beneficial to
divide the questions amongst the group to ensure all research is completed.
Some information students may find on the internet when searching for these terms may not
be suitable or age appropriate. Carefully monitor student‟s research and guide students to
trusted information sources.
1. Each group is to record their research for use in a five-minute group presentation in
the next lesson. Provide them with some time at the end of the class to discuss with
their group how they might be able to present this information in an engaging way.
Advise that, if required, they are able to complete this as a homework activity.
2. They may choose to:
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prepare a visual presentation using PowerPoint or other presentation software
present their material in a musical or performative way (such as a short drama
piece)
create an interactive presentation involving their classmates
present their information in another way of their choice.
Lesson Two: Class Presentations and Reflection
Presentations
1. Ask students to re-form their groups from the previous lesson. They are to make final
preparations for their presentations, and run through how they will present their
research to the class. Ensure there is a time limit on this.
2. Each group presents their work to the remainder of the class.
Discussion and reflection
As a class, discuss the following:
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What consistent information did you find about the origin and development of hip hop
culture and rap?
What are the major changes to the genre over the years?
How has changing technology affected hip hop and rap as an art form?
What have been some key changes in the genre in Australia?
Extension
1. Ask students to choose a rap artist and analyse the political and social context in
which they created their work and how this has influenced their music.
2. Students are to complete the following questions:
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How does the music of the artist you‟ve chosen reflect the social and political
context in which it was composed?
How does the context in which music was created affect its musical expression?
Who are some key examples of rap artists who reflect social or political themes in
their work?
3. When students have completed their analysis conduct a class discussion of their
findings, using the above questions as a guide.
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A Lyrical Lesson
Introduction
In this activity, students will review the work of Australian rap artist Luka Lesson and identify
the key conventions, musical elements and poetic devices in his lyrics. They will then apply
the musical elements and structure to a piece of text in order to experiment with the musical
aspects of language and analyse how these elements can be used to create a rap song.
They will complete the activity by analyzing the poetic elements of the lyrics for Luka
Lesson‟s rap composition: Killing Time.
Duration
2 × 45 minute lessons


Lesson One: The Elements of Music
Lesson Two: Killing Time.
Maximum number of students
25
Relevant online resources




Killing Time video (available on ARTS:LIVE in the Extend tab of Bring Poetry Alive: Rap
It Up )
A Lyrical Lesson Activity Sheet
Musical and Poetic Elements (available on ARTS:LIVE in the Extend tab of Bring Poetry
Alive: Rap It Up )
The Culture of Hip Hop Activity Sheet (for reference only).
Additional resources required


A range of texts with different topics and styles of writing, sourced from books,
magazines, journals, newspapers etc (one example for each group).
Video clip for Killing Time, with full accompaniment available on the website: Luka
Lesson .
Preparation
1. Ensure students have access to the internet and, in particular, YouTube or Vimeo.
2. Prepare a paragraph of text with a different topic and writing style for each of seven
groups.
3. Print copies of relevant activity sheets.
Notes


The Killing Time video (available on ARTS:LIVE in the Extend tab of Bring Poetry Alive:
Rap It Up ) is an „a capella‟ version of verse one, with Luka Lesson.
The video clip for Killing Time (with full accompaniment available on the website: Luka
Lesson ) explores Luka Lesson‟s performance of his rap: Killing Time.
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Lesson One: The Elements of Music
Applying musical elements to text
1. Provide students with a copy of the Musical and Poetic Elements. Revise the
elements of music. This will assist students‟ understanding of the elements of music
and their application to future activities.
Musical element
Definition
Dynamics
The relative volume and intensity of sound.
Timbre
The tonal „colour‟ or quality that distinguishes a sound or combination of
sounds.
Duration
The length of sound and silence.
Pitch
The relative highness or lowness of sound.
Structure
The plan or design of a piece of music, described by identifying which
elements are the same and which are different; also the order of ideas in
the piece.
Texture
The layers of sound in a musical work and the relationship between them.
Rhythm
A recurring beat or pulse.
2. Divide the class into seven groups.
3. Advise students that they will perform a piece of text in a musical way, focusing
specifically on the musical element they will be given.
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
Students can perform their text in any musical form they like, as long as they
concentrate on bringing out the musical element they have been given.
They may choose to sing the text or simply alter the tone of their spoken voice.
For example, the group who is given „pitch‟ would play with the pitch of their words.
4. Provide each group with a piece of text to work with, and a musical element to focus
on. Ensure that groups do not discuss their text or musical element with other class
members
5. Groups individually decide on a paragraph of their text to present.
Devise, rehearse and perform
1. Allow students time to choose their paragraph of text, and devise and rehearse their
piece. Ideas for them to consider while rehearsing could be:

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How could these words be expressed in a musical way?
How can we play with language, repeat words or phrases or emphasise syllables
to convey a message?
What other components could be added to enhance the presentation of the text
(eg sound effects or musical riffs) and how might we access these?
2. One by one, ask each group to perform their text for the class. Can the audience
members guess the musical element each group has been given?
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Discussion
As a class, discuss:

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
What affect did the use of musical elements have on the delivery of the text?
As composers and performers, when might you choose to use each element?
Did any group‟s performance unintentionally contain more than one musical element?
Lesson Two: Killing Time
The music of language
1. Watch the Killing Time video.
2. As a class, discuss:

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What do you think the song is about?
How has Luka used the musical elements of beat, rhythm and pitch to convey this
message?
In the clip, Luka is performing „a capella‟ (without musical accompaniment). Does
the piece sound musical? Why? Why not?
What was engaging about the video clip? What was engaging about Luka‟s
delivery of the lines?
Do any lines or sections of the clip stick in anyone‟s mind? Why? Why not?
3. Show students the Killing Time video clip. This focuses on Luka Lesson‟s
performance of the rap song.
4. After watching the clip, discuss:

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
How has adding the instrumentation changed the delivery of the song?
What conventions of rap music (as identified in The Culture of Hip Hop Activity
Sheet) has Luka used in his video clip?
What is the structure of the song? Does this impact the meaning?
How would you describe the texture of the song? Does it change throughout? And
what causes this change?
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A lyrical lesson
1. Revise the following poetic elements from the Musical and Poetic Elements, with
examples:
Poetic element
Definition
Alliteration
Two or more words in a group that start with the same letter (eg Gorgeous
George).
Assonance
Repetition of a vowel sounds (eg meet and greet).
Consonance
Repetition of a set of consonants, at least twice within a sentence (eg I feel ill
with my will to fulfill).
Repetition
The repeated use of words or sentences (eg hey, hey, hey, ho).
Onomatopoeia
The use of words that imitate the sounds associated with the objects or actions
they refer to (such as splat, hiss or tick).
Simple rhymes
Basic rhyming scheme, with words rhyming at the end of each line (usually
using an ABCB rhyming structure).
Complex
rhymes
A rhyming scheme where words rhyme within the syllables of the line (eg „It‟s a
fine time when the sun does shine‟).
Metaphor
A figure of speech where a word or phrase is intended to represent another
idea or situation (eg „all the world‟s a stage‟).
2. Distribute copies of the Lyrical Lesson Activity Sheet and refer students to the
Musical and Poetic Elements handout to assist with the activity.
3. Ask students work with a partner to identify and discuss the musical and poetic
elements used in the song.
4. Students then annotate the lyrics in their activity sheet, making reference to the
poetic elements of:

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assonance
consonance
repetition
onomatopoeia
simple rhymes
complex rhymes
metaphor.
5. Ask students to consider how the use of musical elements impacts on the listener
and discuss the following with their partner:


How does the use of musical elements enhance the meaning of the song?
How do they demonstrate the composer‟s understanding of the art form?
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Poetic elements annotation key
Poetic element
Annotation key
Assonance
#hash symbols#
Consonance
(bracket)
Repetition
underline
Onomatopoeia
“quotation marks”
Simple rhymes
[square bracket]
Complex rhymes
{curly bracket}
Metaphor
double underline
Notes


Students may find it useful to have a copy of this key visible on a whiteboard or overhead
projector when undertaking the activity.
Students may find the structure of this activity challenging. To support students learning
through the process, guide them through annotating one or two poetic elements as
examples before they individually commence the activity.
Lyrics with annotation: Luka Lesson’s Killing Time
Minute that I feel this [beat]
Minute that I feel the [need]
Minute that I need to hustle
Minute that I need to [speak]
Minute that we let this [start]
Minute that I feel my [heart]
Minute that you‟re feeling me is the minute that we get to spark
Minute that you‟re feeling lesson
Minute that I feel respect
{Minute that we get connected is the minute that we‟re feeling blessed}
60 minutes – “tick”
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They consistently kill us – “tick”
{The minutes diminish they pillage the villager‟s will and their pillars of hope} –
“tick”
I never got into that [rope] – “tick”
I never got into that [boat] – “tick”
{I mentally #ever# got better and #never# let enemies get in my road} – “tick”
A #lie#
The truth is I just #died# a million times
{But in my mind I let the devil stay disguised in god‟s design} “tick” “tick” “tick”
Emotional [moments]
Alone with my only [opponent]
Just the #ghost# of me
I‟m #close# to imploding
Supposed to be [focussed]
So I spray my #own# #cologne# for #atonement#
And hope it [exposes]
The road that I‟ve chosen – [Moses]
Because the truth is I‟ll [survive]
When my gods and my devils shake hands and toast to [life]
{When my angels and my demons love each other through my eyes and we
never bow down to the father they‟ve called time}
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Reflection
Once students have completed their annotation, ask them to share some of their comments
with the class. Discuss:
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How has Luka used the different poetic elements of assonance, consonance and
repetition in his lyrics? How does this impact the meaning and musical flow of the song?
How has Luka used simple and complex rhymes? What effect do these different rhyme
schemes have on the listener?
What examples of onomatopoeia and metaphor are there in the text?
What do you think is the significance of the religious references in the text?
How do the musical and poetic elements complement each other?
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Beat the Rap
Introduction
In this activity, students will compose their own rap using musical elements and alliteration.
They will choose a topic they are passionate about, brainstorm words and phrases linked to
this topic and then create a chorus and verses for their song. Students will have the
opportunity to perform their work to their peers through an informal „open mic‟ and reflect on,
and respond to, their own and others‟ work.
Duration
2 × 45 minute lessons
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Lesson One: Writing the Rap
Lesson Two: The „Open Mic‟.
Maximum number of students
25
Relevant online resources
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Talking About Alliteration video (available on ARTS:LIVE in the Apply tab of Bring Poetry
Alive: Rap It Up )
Beat The Rap Activity Sheet
Rap It Up audio tracks (available on ARTS:LIVE in the Extend tab of Bring Poetry Alive:
Rap It Up ).
Additional resources required
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paper and pens
media player
microphone and PA system.
Lesson One: Writing the Rap
Alliterated adjectives
1. Watch the Talking About Alliteration video.
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2. Explain to students that in this activity they will be composing their own rap songs on
a topic they are passionate about, focusing on alliteration as a poetic device.
3. Students stand in a circle, and one after another, introduce themselves to the class
with an alliterated adjective or multiple adjectives of their name. For example:
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debonair, dangerous Dave
outrageous Olivia
mindful Morgana
generous Georgia
hopeful, hilarious Hilda
victorious Vikki.
4. Ask students to write a sentence with as many alliterated words as possible, using
their name and the adjective they introduced.
5. Play a backing audio track and ask each student to read out their sentence in time
with the beat. You may choose to ask students to repeat their reading a second or
even third time, emphasising different syllables and playing around with the delivery
of their words.
Choosing a topic
1. Distribute copies of the Beat The Rap Activity Sheet.
2. Ask students to choose a topic to use as the basis for a rap. This should be
something that they feel strongly about, enjoy or have a unique perspective on.
3. Once they have decided on a topic, students should brainstorm a list of ideas, words
and phrases linked to this topic.
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Encourage students not to censor themselves, free associate and write down
anything that could be a potential lyric idea.
The words on this list will help students to guide their lyric writing later on.
Students should say the words out loud as they write them down. This will assist
them to discover any rhythmic patterns in the words, or potential delivery styles.
The chorus
1. The chorus is the repetitive hook within a song and should not only be linked strongly
to the topic or theme, but be interesting and catchy as well. Provide students with
some time to play with the words and ideas from their brainstorm list and write four
lines for their chorus.
2. If students are finding it difficult to come up with ideas for their chorus, they can
respond to a chosen line in Killing Time as inspiration.
3. Most rap songs are written in 4/4 time (four beats in each bar). This means that
students will have 16 beats to work with in their chorus.
The backing track
Explain to students that in order for them to write their rap with a strong rhythm, they should
first choose a backing track.
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Students can choose one of the audio tracks provided in the Extend tab of ARTS:LIVE
site, source them online or create their own using Audacity or Garage Band.
The backing track should invoke a mood or emotion in the audience, which is relevant to
the topic.
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The verses
1. The verses expand on the ideas raised in the chorus and can be a great place to
explore poetic and musical elements. Support students to write two or three verses
for their rap, using alliteration as the driving force behind the language that they
choose.
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Students should use ideas and words from their brainstorm list and flesh them out
to use in the verses.
To keep it simple, verses should also be 4 bars of 4 beats each (16 beats per
verse).
2. Encourage students to consider the conventions of rap, as identified in the first
activity, and to focus on including at least two musical elements.
3. Advise students that writing a rap requires them to try different combinations of words
and rhymes until they come up with something that sounds good. Some rap artists
like to create the feel of a rhyme in their lyrics by using the rhythm of words and
matching syllables.
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For example, the words „respect‟ and „relate‟ have two syllables each. By saying
the word „respect‟ at the end of line one then the word „relate‟ at the end of line two,
you can create the feel of a rhyme.
4. Encourage students to play with the sounds of language and the link between rhythm
and words. They should try choosing words based on how they sound as well as their
meanings.
The structure
1. Once students have written a chorus and a few verses, encourage them to think
about how they will structure their rap song. There are a number of ways they can do
this, but some sample structures are:
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Verse, chorus, verse, chorus, verse, chorus (ABABAB)
Chorus, verse, verse, chorus, verse, chorus (BAABAB)
Verse, verse, chorus, chorus, verse, chorus (AABBAB).
2. If you have some students who are particularly advanced, they may like to include a
middle 8 section (also known as a breakdown section).
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This is a section which has a significantly different melody to the rest of the song
and usually comes after the second chorus.
Students may also like to include an „intro‟ and „outro‟.
Lesson Two: The ‘Open Mic’
Rehearse and perform
1. Provide students with time to rehearse and refine their work before presenting it to an
audience. Students should not be afraid of reworking their lyrics as they go along.
Some things for them to keep in mind, are:
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Pauses can be used in rap and can create interesting rhythmic and dramatic
effects.
Keeping to the beat is extremely important.
Think about the flow. How will the rap be delivered and how do the words sound
together?
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
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How will they add musical elements to enhance the meaning of their lyrics?
Could their raps be enhanced by including song samples or musical instruments?
Will they sing any of the lines?
Above all else, they should love the rap they‟ve written and feel passionate about
delivering it to an audience.
2. Set up an informal „open mic‟ in the classroom for students to present their raps to
each other. You may wish to invite other audience members along as well.
Personal reflection and class critique
1. Following the class performances, ask students to write a reflective piece on their rap
analysing the process they undertook to develop and perform it. Use the questions
below as a guide.
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What evidence is there of performers being influenced by the social and political
context in which they are writing?
What were some of the challenges you faced when writing or performing your
raps?
How were the musical elements used in the pieces? Were these effective?
How did performers choose to structure their song? Why did you make this
decision?
Did the structure of the song enhance the meaning of the lyrics? Why or why not?
What literary devices did you use when writing your lyrics? Why did you
choose these?
How effective was the choice of language in conveying the key message of the
rap?
What worked well in the pieces?
What could be done to improve the pieces?
2. Guide a class discussion of students‟ reflection responses. This could be undertaken
in an informal manner with individual students outlining their answers to all questions
and the class providing feedback.
3. Advise students to use this feedback to support and inform the development of their
future pieces.
Extension Activity: Review
Write a music review
Students‟ select a piece written by a class member, and write a short music review, using
musical terminology observing critiquing conventions (refer to the „Maximising Outcomes‟
section of this document). The review is to focus on the following broad questions.
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What do they like about the piece? Why?
How effective was the choice of language and the use of literary devices (similes,
rhyming words, etc) in conveying the key message of the rap?
How effective was the choice of musical elements (rhythm, tempo, structure, etc)?
Can you think of any ways in which the piece could be improved?
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Suggestions for extension activities in other learning areas
Introduction
Now that you have explored the Rap It Up resources, encourage your students to apply the
skills and techniques they have learned to other learning areas. These notes outline a
number of suggestions for cross-curriculum activities that can be used to enrich a variety of
subjects and actively engage students in their learning.
The Arts
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Design an album or CD cover for your recordings.
Choreograph a dance for the chorus of your songs.
Add musical instruments to recordings or performances.
Write a melody for your chorus.
Have a dance-off.
Explore the music of a particular rap artist.
Organise a live performance of your songs.
Experiment with „free styling‟ – improvising verses in an impromptu context.
Experiment with beat boxing – a form of vocal percussion.
Make a video clip.
English
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Write a review of a rap song that you like (or a classmate‟s rap).
Learn about, and write, other forms of poetry.
Research the social and demographic characteristics of rap.
Language
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Compose raps in your own (or another) language.
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