Rap is often used as an educational tool. The question if this is appropriate or inappropriate, depends on the way rap is used. In this essay, I´ll research if rap, when reaching the alphabet, sung by Elmo of Sesame street, is a fitting example of educational rap (https://www.youtube.com/watch?v=t0WELUxl7gc).[1] For this, I´ll start with a brief history of HipHop; the subculture in which rap is located. After that, I’ll focus on the arguments for and against educational rap and eventually the analysis of Elmo’s alphabet rap regarding the educational value.

Bijzonder aan de film is de manier waarop het omgaat met verschillende realiteiten of werelden. Constant wordt de grens tussen droomwereld en realiteit in de film opgerekt en worden de karakters en kijkers verward met waar ze zich bevinden. Muziek speelt een belangrijke rol in deze film, aangezien deze door herhaling de spanning van het versmelten van de realiteit en droomwereld versterkt. Zo onderstreept de muziek het spoorloze gevoel door z’n verstorende functie bij onduidelijke beelden. Op welke manier geldt de muziek als een ludisch verkeersbord in de mind-game film Paprika (2006)?

Ever since The Flinstones (1960-66), The Jetsons (1962-87) and The Simpsons (1987-) animations also started to focus on adults, as a result of which the genre the ‘animated sitcom’ or ‘anicom’ was created. The anicoms, however, is not a sub genre of the sitcom, but merely a manifestation of the sitcom. The anicoms distinguishes itself from live-action television through animation and the possibility to alter the script in endless fictional ways. The specialty of animation has been preserved by just adding the generic characteristics of the sitcom, which led to a transcendence of both genres while pushing the boundaries. Through Martin Kutnowski’s article ‘Trope and Irony in The Simpsons’ Overture’ (2008) I’ll compare the generic characteristics of the The Simpsons-ouverture with the intro song of Seth MacFarlanes anicom Family Guy. With this, I hope to paint the audiovisual characteristics that ensure that the genre anicom is recognizable from the intro song. I will be using Ronald Rodmans essay Tuning in: American Narrative Television Music (2010) including two, by him described, models for media analysis.

The body plays a huge role in the musical action of musicians. Often, it’s the job of these musicians to embody the music, but also to take on a certain role for the audience and college musicians. Because of this a certain groups identity arises, which creates an understanding and clear image of a certain groups identity linked to a certain music genre. A way to understand this music embodiment is through the term embodiment, or so say; in terms of physical schemes. These schemes are motorical patterns, which we have earned and put into operation with our automatic systems. They require no mental effort. Our musical cognition put the body into motion to make music. ‘Body image’ is of a great importance for this, as it considers our body in relation to its surroundings. Members of a band need to have a constant awareness of their surroundings, the audience in particular, and how their body is used to bring over the message of the music.

This quote, found on the website of PRSPCT, calls on a lot of questions about the role of the record label in the EDM genre hardcore drum and bass. By using PRSPCT as a case-study I would love to build onto the discourse about canons. In 2010 Anahid Kassabian, in “Have Canons Outlived Their Usefulness?”, wrote that four different kinds of canons exist. A canon of texts or objects of study,[1] a canon of theories, and two pedagogical canons; one that endows a developed set of esthetical values and criteria of judgement onto students by referring to generally known works and the other simply functioning as something to hold on to in the form of a list.[2] Problematic, however, is the paradox of which canons exist. The criteria of such canons are mainly based on the canon and, the other way around, the canon is based on (non-existence) criteria. To solve questions surrounding (the existence of) the canon, Kassabian suggests us to not delete any works, but to add works to the already existing canon or even to create new lists.

Play, in its most simplest forms like in animal life, is usually seen as more than just an element of nature which a biological immaterial efficiency is connected to. Huizinga states that many statements could be given to play that all stand next to each other, without conceptually conflicting. He calls play an acknowledgment of the mind and a basis and factor for culture. Within the esthetical, play is drenched with rhythm and harmony; the “noblest gifts of the esthetical ability of perception gifted to the human.” Besides, play is free, because we could also leave it alone. Play, thus, is separated from ‘normal’ life, as excursion into a temporal sphere of place and duration. An activity which occupies our entire being, as a break of daily life. Subsequently, every game could be stored as a memory, and on every wished full moment, endlessly be recalled and repeated.

The Cupsong is similar to patty cake games, because you create a rhythm by using your hands. However, the name of the song or game tells it; you use a cup as well. When you repeat this ‘ritual’ with the cup you create a rhythm that you can sing a song on. With the exception of playing the game alone and finishing the song, the agôn element for the Cupsong is usually found in performing the game with a group of people.

Video-games take on a unique stance in the modern media due to its interactive nature. While the spectator of, for example, movies, music or literature takes on a relative passive and interpreting stance, a video-game demands more attention. More specific; a video-game asks a stance that drives to action. This makes you a participant of the medium in stead of an observant. Kinetic game-play surrounding sound, often focuses on a musical output, in which the player becomes arranger of composer.