Professional Documents
Culture Documents
The Use of Music in Teaching English
The Use of Music in Teaching English
FACULTY OF EDUCATION
DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE
Brno 2007
Supervisor:
Written by:
Veronika Rosov
BIBLIOGRAPHICAL DESCRIPTION
Rosov, Veronika. The use of music in teaching English: diploma thesis. Brno:
Masaryk University, Faculty of Education, Department of English Language and
Literature, 2007. Diploma thesis supervisor Mgr. Jaroslav Such.
ANNOTATION
The diploma thesis deals with the use of music in teaching English. The attention is
paid to songs, mainly focusing on their importance in language teaching both from
theoretical and practical point of view. It is supported by the research the main
subject of which is to find out if music helps to acquire and remember vocabulary.
ANOTACE
Diplomov prce se zabv vyuitm hudby ve vuce anglickho jazyka. Pozornost
je hlavn vnovna psnm, zamujc se hlavn na jejich dleitost ve vuce
jazyka, jak z teoretickho tak praktickho hlediska. Prce je podpoena vzkumem,
jeho hlavnm pedmtem je zjistit, zda hudba pomh s osvojovnm a
zapamatovnm si slovn zsoby.
KEYWORDS
Music, song, teaching, listening, poem
KLOV SLOVA
Hudba, Pse, vyuovn, poslech, bse
Declaration
I declare that I have written my thesis on my own and that I used the sources listed
in the bibliography. I agree that the work will be kept in the Masaryk University
library for study purposes.
Brno, 10th August 2007.
Signature:
Acknowledgements
I am very grateful to my supervisor Mgr. Jaroslav Such, and I would like to thank
him sincerely for giving me helpful and valuable advice. I appreciate his willingness
to consult my thesis anytime I needed it.
I would also like to thank all the students who took part in my research.
CONTENTS
Bibliographical description
Declaration
Acknowledgements
CONTENTS
1 INTRODUCTION
1.1 Introduction practical point of view
2
3
4
5
7
8
MUSIC
10
2.1 The term music & songs
10
2.2 Music and its beginning
10
2.3 Definitions of music
11
2.4 Influence of music
11
SUGGESTOPAEDIA
13
SONGS
14
4.1 What makes a song a song?
14
4.2 Nature of songs
15
4.3 Why introduce songs in the classroom
15
4.4 The importance and the role of songs in language teaching
16
4.4.1 Cultural significance
16
4.4.2 Enjoyable drill
17
4.4.3 Songs as practice material
17
4.4.3.1 The help of songs when learning pronunciation
18
4.4.3.1.1 The help of songs focused on sounds
18
4.4.3.1.2 The help of songs focused on words
19
4.4.3.1.3 The help of songs focused on connected speech19
4.4.4 What can we do with a song in language teaching?
20
.4.5 Taking songs seriously
21
LISTENING
23
5.1 What is listening?
23
5.2 The importance of listening
24
5.3 Listening difficulties
25
5.3.1 Listening difficulties stemming from pronunciation
26
5.4 Formal informal speech
27
5.5 Teachers expectations of learners comprehension
27
SOME ASPECTS OF PLANNING AND TEACHING A LESSON28
6.1 Planning a lesson
29
6.1.1 Teaching aims
30
6.1.2 Motivation
30
6.1.3 Teaching aids and materials
31
6.1.4 Student groupings
32
6.2 Planning a listening lesson
33
6.3 Some aspects of teaching a listening lesson
33
6.3.1 Listeners expectations
34
6.3.2 Clear instructions
34
6.3.3 Feedback
35
POEM
36
7.1 The terms literature, poetry, poem
36
37
39
41
41
42
43
43
47
49
50
50
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56
57
57
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60
61
Sources
63
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Appendix 6
Appendix 7
Appendix 8
Appendix 9
Appendix 10
Appendix 11
Appendix 12
Appendix 13
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1. INTRODUCTION
There are a lot of ideas, thoughts, and definitions about a language from
different points of view. When I gave it a deep thought, one striking metaphor
crossed my mind. As I wrote in the very first sentence, I consider a language the
most valuable treasure one can possess. Alexander Solzhenitsyns quotation about
language complements my idea splendidly: Own only what you can carry with you:
know language, know countries, know people. Let your memory be your travel
bag. 1
Confucius said that music produces a kind of pleasure which human nature
cannot do without. I not only like listening to music, but I also love making music
with the choir at concerts. It is the most pleasant, the most reliable, and the most
effective way how to get straight into humans heart and speak a language everyone
understands. When I ask people when and why they listen to music, their usual
answers are for example: I like listening to music when I feel extremely happy, I
listen to music, while studying because it creates agreeable, and motivating
atmosphere, I listen to music when I want to feel positive, but also I listen to
http://www.quotationspage.com/quote/2997.html
There are plenty of diverse ways how to teach, and learn a language. I would
like to find out if the power of music and its particular use can be one of the useful,
helpful and easily memorable ways how to acquire a language with ease and delight.
In other words if music can help us put the language treasure into the memory
bag.
http://www.ntlf.com/html/lib/quotes.htm
finally repetition. These factors played an important role while writing two
questionnaires and drawing up the research.
2. MUSIC
The very first section of the first chapter describes the terms song and music
in the way I will be using them in my thesis to avoid misunderstandings. In the
second section we will have a look at the beginning of music and the word music
proceeding with the possible definitions of music. Whilst the last section draws
attention to the influence of music and its use, the second chapter focuses on
suggestopaedia.
2.1 THE TERMS MUSIC SONGS
Throughout this thesis you will see the terms songs and music. They will be
used in the same way as in the book Songs in Action, written by Dale T. Griffee,
who defined them as follows: The word songs refers to pieces of music that have
words, especially popular songs such as those one hears on the radio. By music is
meant instrumental music, for example, symphonic, chamber, easy listening, or solo
instruments such as the organ, flute or guitar ( p. 3).
http://en.wikipedia.org/wiki/Definition_of_music
10
http://bigoldamp.squarespace.com/music-quotes/
http://concise.britannica.com/ebc/article-9110117/music
6
http://en.wikipedia.org/wiki/Definition_of_music
5
11
pediatrics and child psychiatry. With the aid of music neuroses and function failure
(stammer, dyslexia, dysgraphia) are cured. (www.dk-studio.net)
Mood music is very popular now, whether in the dentists surgery to relax
us, or in shopping centres to encourage us to buy. Heart surgeons now use music to
relax operating teams during long and stressful operations. In one London hospital
women can listen to music during childbirth to relax them.(T. Murphey, p. 37)
One of the most common examples, yet among the most prominent is the use
of music in films. It forms an essential part, which should evoke the atmosphere of a
particular situation, and mainly corresponding feelings such as calmness, wellbeing,
pleasure, joy, compassion, fear, thrill, tenseness, and others. Imagine, for instance,
the main soundtrack of the film Once upon a time in the west and the specific
feelings evoked by the sound of the mouth organ. From the written examples it is
certain, that music changes the atmosphere around us.
T. Murphey also says that music has the potential to change the
atmosphere, but what is more important than his confirmation of this fact is that in
this case he means the atmosphere in a classroom, and describes music as follows:
It seems to give energy where was none, and to spark off images when students
complain of having nothing to write about. Music is the stuff dreams grow on. (p.
37).
CONCLUSION
The past of music is really remarkable. The reason I have mentioned it is
because I think music must have some significant meaning when it goes together
with the mankind from the first.
Also the disunity of opinions is relevant here since it is evident that music
works differently on everyone and everyone perceives it in their own way.
It is obvious that music has some kind of power, which can influence
physical the same way as mental condition of our bodies. It can bring about specific,
required atmosphere, in which we react in a particular way. Moreover it can further
help recharge our minds.
After everything I have just listed one question still remains: How much are
we influenced by the power of music when learning languages? One possible
answer can be found in suggestopaedia, which will be dealt in the following chapter.
12
3 SUGGESTOPAEDIA
Suggestopaedia, a teaching methodology developed by Dr Lozanov in Bulgaria,
claims to produce hypermnesia an excellent memory. Among its many innovations is the
use of background music during the reading of dialogues (of which the students have the
text and a translation). The dialogue is usually read twice, once slowly and once at normal
speed, to the accompaniment of background classical music and at about the same volume.
The idea behind using the music is apparently to relax students defences and to open up
their minds to the language. Music may also engage the right hemisphere of their brains
more, and make learning a more holistic experience. (T.Murphey, p. 37)
A mirror neuron is a neuron which fires both when an animal performs an action and when the
animal observes the same action performed by another animal. Thus, the neuron "mirrors" the
behavior of another animal, as though the observer were itself performing the action.
(http://en.wikipedia.org/wiki/Mirror_neurons)
8
An affective filter is a learning blockage due to a negative emotional ("affective") attitude. It is a
hypothesis of second language acquisition, a field of interest of educational psychology.
(http://en.wikipedia.org/wiki/Affective_filter)
9
http://en.wikipedia.org/wiki/Suggestopedia
10
Those stimuli which are for the most part not within the scope of conscious attention.
(http://archive.web.web.org.php)
11
http://www.eric.ed.gov
13
4 SONGS
No one knows why songs are powerful, but everyone knows from a
personal point of view they are, wrote Dale Griffee (p. 4) and I absolutely agree
with his statement. Songs contain the power of music as well as the power of lyrics.
While music touches our hearts, the lyrics and their words flow into our minds and
so they draw us into their own world. It grasps our imagination, emotions, and
intellect with equal force regardless of our language backgrounds (V. L. Holmes
and Margaret R. Moulton, p. 2).
In this chapter we focus on the explanation of what makes a song a song,
why we should introduce songs and their use in the classroom, the role of songs in
language teaching, cultural significance of songs and their nature, and we look at
songs as enjoyable drill plus practice material including the sections dealing with
help of songs when learning pronunciation, examples of activities that can be done
in language teaching, and some attitudes to using songs in language teaching.
4.1 WHAT MAKES A SONG A SONG?
As well as the title of this section, the following explanation is taken from
the book Songs in Action, written by Dale T. Griffee, who characterized a song as
follows.
Although songs have elements in common with speech and poetry, they are a unique form.
Both songs and speech are vocally produced, are linguistically meaningful and have melody.
Both songs and poetry use words to convey meaning, both are usually written down before
publication, both can be put to music and both can be listened to (e.g. poetry for poems and
a concert for songs).
Nevertheless, songs have their own identity and they function differently from
speech or poetry. It is possible to note at least three features of songs:
1)
Songs convey a lower amount of information than poetry. Even though poetry can
be heard, we usually read it, which permits longer and more dense information.
2)
Songs have more redundancy than poetry. Songs achieve redundancy by devices
such as the borrowing of lines from other songs, proverbs, catchphrases and clich as well as
alliteration. It is this high degree of redundancy that makes songs sound so simple,
especially when compared to the complexity and subtlety of poetry. The simplicity of songs
is not, however, a weak point. Because a song is heard for a short time, simplicity,
redundancy and a certain expectedness contribute to our understanding.
3)
Songs have a personal quality that makes the listener react as if the song were being
sung for the listener personally. We are joined through the direct quality of the song words
(unlike a movie actor in a film, talking to another actor) to the singer and through the singer
to others in the audience even if we are at home rather than at a concert. Thus songs have a
socially unifying feature for the selected audience. Songs create their own world of feeling
and emotion, and as we participate in the song, we participate in the world it creates. As
Mark Booth states, The song embodies myth and we step into it. (Dale T. Griffee, Songs
in Action, pp. 3, 4)
14
15
Michael Jackson`s We Are the World, which was intended to raise funds to help
famine relief efforts in Ethiopia.12
Moreover there is one more advantage why introduce songs in the classroom
according to Mario Papa and Giuliano Iantorno claiming that singing is certainly
one of the activities which generates the greatest enthusiasm and is a pleasant and
stimulating approach to the culture of foreign people (M. Papa, G. Iantorno, p. 8).
http://en.wikipedia.org/wiki/We_Are_the_World
http://en.wikipedia.org/wiki/Where_have_all_the_flowers_gone
http://en.wikipedia.org/wiki/San_Francisco_%28Be_Sure_to_Wear_Flowers_in_Your_Hair%29
16
generation rather than a parochial one. The world is evolving a common culture and
pop songs are its backbone. By using pop songs in your classroom, you and your
students are participating in the emerging world culture. (D. Griffee, p. 6)
Let the past remind us that it was already Jan Amos Komensk in the 17th
century, who included, in his teaching principles, the principle of connecting the
school with life. And using songs in language teaching is a great opportunity for
applying it.
17
of rhyming words and such poetic device as alliteration13 and onomatopoeia14 help to focus
on certain sounds, thus giving valuable ear-training and help in pronunciation. In the
syntactical area a song gives us the opportunity to repeat the same structural item many
times, thereby aiding correctness and fluency of expression. (Sheila Aristotelous Ward, p. 7)
A structuring device characterized by the reiteration of the initial consonant at the beginning of two
consecutive or slightly separated words. (http://en.wikipedia.org/wiki/Alliteration)
14
A word or a grouping of words that imitates the sound it is describing, suggesting its source object.
(http://en.wikipedia.org/wiki/Onomatopoeia)
15
* http://www.teachingenglish.org.uk/think/pron/song_pron.shtml
18
and again, they are indirectly exposing them to these sounds16, repeating them,
getting better at recognizing them, and finally producing them.
http://www.teachingenglish.org.uk/think/pron/song_pron.shtml
http://www.teachingenglish.org.uk/think/pron/song_pron.shtml
19
said in connected speech, so there is little point in concentrating too much on single
words said out of context (p. 30). Another problem is that learners frequently
misconceive contraction as being incorrect, only used in slang.18 But as said a
while ago, a native speaker says the words separately either on purpose or when
talking emphatically, which means that connected speech is natural, normal and
widely used.
Songs help learners practise the described subject matters because they
provide real and catchy examples of how whole phrases are pronounced often to
the extent that students find it difficult to pick out individual words. The music
further emphasises the flow of the words. Moreover, songs, like other spoken
texts, are full of contractions (ibid.).
1)
2)
3)
4)
5)
6)
7)
8)
9)
10)
11)
12)
13)
14)
15)
16)
17)
18)
19)
20)
21)
22)
18
Listen
Sing, whistle, tap, and snap fingers while we listen
Sing without listening to any recording
Talk about the music
Talk about the lyrics
Talk about the singer / group
Use songs and music to set or change an atmosphere or mood, as background
furnishing
Use songs and music to make a social environment, form a feeling of community,
dance, make friends
Write songs
Perform songs
Do interviews
Write articles
Do surveys, make hit lists
Study grammar
Practice selective listening comprehension
Read songs, articles, books for linguistic purposes
Compose songs, letters to singers, questionnaires
Translate songs
Write dialogues using the words of a song
Use video clips in many ways
Do role-plays (as people in the song)
Dictate a song
http://www.teachingenglish.org.uk/think/pron/song_pron.shtml
20
23)
24)
25)
26)
27)
28)
29)
30)
31)
32)
If we look at this list carefully, we can see that all four skills (speaking, reading,
listening, and writing) can be very well and equally practised.
The number of books and web pages providing inexhaustible quantity of
ideas and precise instructions what to do with a song in a classroom has increased
recently. Let us mention some of them.
<http://iteslj.org/Lessons/Cakir-MusicalActivities.html>
At these web pages musical activities for young learners of EFL are to be found.
<http://www.topenglishteaching.com/directory/activities/songs/using_songs/article
.htm>
At these web pages there are some activities to promote comprehension.
<http://www.isabelperez.com/songs.htm>
At these web pages songs with related activities are to be found.
21
Music and song can be as useful as, and sometimes more than, conventional
classroom materials. But it is often suspect because it is so enjoyable and so little used.
Louis-Jean Calvet (1980) says that the idea that language learning cannot be enjoyable is
outdated. Nevertheless, many teachers and students cling to the attitude that if something is
fun, you cannot be learning. Like medicine, these people think, if it does not taste nasty, it
cannot be doing you any good. (T.Murphey, p. 16)
CONCLUSION
This chapter drew attention to the features of songs, to deeper contemplation
about them and their use. Accordingly, it is obvious that songs have a lot of qualities
supporting their significance in language teaching. Songs naturally motivate
students, they can evoke positive atmosphere and they have considerable cultural
significance, as well as they present an inexhaustible source of materials practising
pronunciation, grammar, vocabulary plus all of the four skills.
However, there are three facts I regard as the greatest advantages of songs,
which together - make this formula: Griffees conveying meaning plus personal
quality of songs plus enjoyable drill equals the ability of songs to repeatedly evoke
particular feelings, ideas and experiences, which are more easily memorable and
retroactively visualizable. The music ties words and motion together and increases
memorability (T. Murphey, pp. 121, 122).
Malvina Reynoldss quotation will concisely close this chapter about songs:
Words make you think a thought. Music makes you feel a feeling. A song makes
you feel a thought.20
19
20
http://www.forefrontpublishers.com/eslmusic/articles/01.htm
http://www.wku.edu/~smithch/MALVINA/homep.htm
22
5 LISTENING
The principle condition of working with songs lies and depends on listening,
which represents here the main medium of receiving information. A lesson with a
song is based closely on listening, and therefore it is necessary to mention the basis
of listening, its importance, and some difficulties, that can be encountered.
This chapter focuses on listening, and includes sections dealing with possible
descriptions of listening, the importance of listening, listening difficulties stemming
from pronunciation, and formal versus informal speech and teachers expectations of
learners comprehension.
When we listen, we make use of information we already have about the topic being
spoken about. The more we know, the less intensively we have to listen.
We use the information we already have about the topic, and about how the language
works, to anticipate and predict what is coming.
We normally listen selectively rather than listening to every word. We listen for key words
and expressions that give us clues to meaning, and not to every single word as many learners
tend to do.
As we listen and select information, we store it in short-term memory so that we can
reinterpret it in the light of what is to come. We then store it in long-term memory, in the
form of messages rather than in actual words. (McDowell, J., Hart, Ch., Listening Plus, p. 7)
At this point it is worth mentioning a few words about catchy songs because
they are closely related to short-term and also long-term memory. Certainly
everyone has already experienced personally the phenomenon of catchy songs
special and particular sorts of tunes, which, after hearing them, can stay in ones
mind sometimes only for a while, sometimes for few hours, but sometimes also
forever. Keith Duffy describes this phenomenon in terms of brain itching and brain
scratching (mentally repeating a song). He carried out research, where the test
subjects were played snippets of familiar songs that had segments removed.
Participants said their brains filled in the gaps in fact, they heard the removed
parts of the songs in their heads. This was especially true in songs that had lyrics
as well as songs which evoked strong visual memories in participants. Paul Barsom
23
wanted to find out what exactly causes that initial itch. Even though he regards it
as a pretty intangible thing he claims that certain kinds of musical gestures or
combinations seem to plug readily into our memory, like molecules coming together
in a chemical reaction. In spite of the fact that P. Barsom listed some factors that
might cause a song to be catchy such as a certain familiarity, a cultural connection
between music and listener, and repetition, there is no formula for catchiness.21
Since the ideas of what listening is vary, let us give another explanation for
comparison. Michael Rost defines listening in terms of the necessary components,
which listening consists of.
discriminating between sounds
recognising words
identifying grammatical groupings of words
identifying pragmatic units expressions and sets of utterances which
function as whole units to create meaning
connecting linguistic cues to paralinguistic cues (intonation, stress) and to
nonlinguistic cues (gestures) in order to construct meaning
using background knowledge and context to predict and then to confirm
meaning
recalling important words and ideas (M. Rost, pp. 3, 4)
http://www.physorg.com/news69003006.html
24
The second major reason for teaching listening is because it helps students to
acquire language subconsciously even if teachers do not draw attention to its special
features. Exposure to language is a fundamental requirement for anyone wanting to learn it.
Listening to appropriate tapes provides such exposure and students get vital information not
only about grammar and vocabulary but also about pronunciation, rhythm, intonation, pitch
and stress.
Lastly, just as with reading, students get better at listening the more they do it!
Listening is a skill and any help we can give students in performing that skill will help them
to be better listeners. (Harmer, J., p. 98)
25
saying: Even if someone knows all the grammar and lexis of a language, it does not
necessarily mean that they will be able to understand a single word when it is
spoken (J. Scrivener, p. 170). And the main learners problems according to them
are:
people speak too fast to follow;
they cant tell where words start and stop;
people pronounce words they just dont recognise;
they cant work out details of what is being said;
they cant get even a general sense of the message;
they dont know what attitudes people are expressing;
they cant pick out those parts that are most important for them to
understand. (Scrivener, J., p. 170)
All these sources of listening difficulty can be well practised on songs. There are
various exercises using the lyrics of songs such as for instance a gap-fill, ordering
the parts of the text, reading and comprehension, by which means the first difficulty
may be practised. The students can see the written language, and immediately hear
the difference while listening to it. As far as the connected speech and rhythm are
concerned I dare say that songs are one of the best types of exercises practising
these sorts of problems. When we sing, the words are naturally connected together
to fit the melody with the help of rhythm, which represents an enormous help and
support for learners. The fourth difficulty is closely connected with the first one.
The lyrics of songs can be used as a material, in which the students, while listening,
should find the same sounds pronounced differently.
26
A study of Bone (1988) of native speakers showed that people often listen at only 25 per
cent of their potential and ignore, forget, distort, or misunderstand the other 75 per cent.
Concentration rises above 25 per cent if they think that what they are hearing is important
and/or they are interested in it, but it never reaches 100 per cent. Do we therefore expect too
much of language learners, especially when there is no guarantee that the students are
interested or motivated, since they have usually played no part in deciding what they listen
to, or why they are listening? (G. White, p. 7)
Even though it is almost certain that Goodith White wrote and meant this
question as a rhetorical one, which does not require any answer, I want to answer, at
least, to myself in order to avoid great expectations and subsequent disappointment
before playing the next listening exercise to my students. I did expect too much!
Songs offer the teacher the possibility to let the students choose what they
want to listen to, and in doing so, increase their motivation and concentration (see
the quotation above 25 per cent). And moreover, as Tim Murphey says it gives
them some responsibility, and involves them in the lesson more (p. 14).
27
CONCLUSION
According to what has been written about listening, there is a considerable
evidence to suggest that listening is a skill worth paying great attention to.
Listening consists of many McDowell and Harts micro-skills or M.Rosts
necessary components, which can be called building bricks, and which must be
well-made and well-put to build a strong wall part of a house called language.
(S. Hanuovs didactics lesson)
Shelagh Rixon claims that the principal aim of listening comprehension
practice is not to provide a model for oral production, but to strengthen the ability to
understand spoken messages (p. 13). On the other hand, I think that songs include
both practice to strengthen the ability to understand and they are excellent models
for oral production.
28
Some experienced teachers think and believe that they do not have to prepare
a lesson plan, but most teachers go on preparing lessons throughout their careers,
even if their plans are very informal (J. Harmer, p. 121). Lesson based on a song
demands having a lesson plan because even though it is a good material, it is raw
material, which needs working up to get the best of it in a lesson.
There are several good reasons for being prepared for every lesson both for
students and for teachers. Two convincing Jeremy Harmers reasons for having a
lesson plan from the students point of view are: 1) Evidence of a plan shows them
that the teacher has devoted time to thinking about the class. 2) It gives students
confidence: they know immediately whether a teacher has thought about the lesson,
and they respond positively to those who have (p. 121).
Jim Scrivener offers two compelling reasons for having a lesson plan for
teachers. 1) The better prepared a teacher is, the more likely it is that he/she will be
ready to cope with whatever happens. 2) Planning increases the number of options
and in doing so, increases chances of a successful lesson (p. 109).
In the following sections we will focus on some specific areas closely related
to teaching which should be taken into consideration when planning a lesson.
29
6.1.2 MOTIVATION
Every activity we do is motivated by something. Either it is our own need,
feeling, wish, idea, interest (intrinsic motivation) or it is a duty, necessity, order, or
promised reward (extrinsic motivation), the motivation is the basic and first kick
to do something. In the process of teaching it is one of the most important tasks for
teachers, especially those teaching children who, in comparison with adult learners,
30
usually lack the motivation for learning, which is a claim based on my own
experience. Teachers have to provoke interest and involvement in the subject even
when students are not initially interested in it. It is by their choice of topic, activity
and linguistic content that they may be able to turn a class around. It is by their
attitude to class participation, their conscientiousness, their humour and their
seriousness that they may influence their students. It is by their behaviour and
enthusiasm that they may inspire. (J. Harmer, p. 8)
I would go so far to say that motivation is an utterly essential part of
successful learning and teaching. When we are well-motivated we try to do our best,
which is the best presumption for a good result. Jeremy Harmer also says that
highly motivated students do better than ones without any motivation at all (p. 8).
Songs can help the teacher with the initial motivation because the fact itself
that they are so pleasurable to listen to is motivational enough, moreover, see in
section 4.5, motivation can be increased if we let the students choose their songs,
which is a fact I used in my research.
31
Traditionally the most frequent use of visual aids has been simply to
illustrate what words are saying (E. W. Stevick, p.106). However, recently, miming
and acting have also become popular visual aids. Penny Ur claims that if the visual
aids are conspicuous, colourful, humorous, dramatic, or in motion so much the
better: striking and stimulating visual aids are likely to heighten students
motivation and concentration (p. 30). These were used in various forms in my
poem-lesson (see more in section 8.6).
At this point I will let my experience speak again. Sometimes it may take
time to prepare something nice, entertaining, useful, and at the same time instructive
(I mean for instance diverse cards, pelmanism, games etc.). Nevertheless, it is worth
investing our effort! When there is something the students can touch, can move, can
play with, it seems (to me) that they are feeling more at ease, as though just the idea
of playing would calm them down from the demanding process of studying,
involving the threatening thoughts of being always prepared, not making a mistake,
and hard thinking. The described process of studying is nicely and ingeniously
hidden in games the students like and appreciate very much.
On the basis of the fact that every student prefers different form of work, I
combined all four sorts of groupings in both of my research lessons.
6.2 PLANNING A LISTENING LESSON
In the previous section it has already been pointed out that setting teaching
aims, preparing teaching aids, making up suitable motivation and students grouping
are necessary components of the process of planning a lesson. These are also,
undoubtedly, valid for planning a listening lesson, so there is no need to mention
them again. On the other hand we can be more specific, since the main aimlistening has been chosen. According to Shelagh Rixon there are three main
considerations when planning a listening lesson:
1) Choosing one of the types of listening experience that you have previously
identified as relevant or interesting for your students
2) Finding exercises that both fit what the passage has to offer and practise skills
connected with listening that will be useful for your students
3) Bringing these exercises together and putting them into a sequence which
forms a coherent lesson. (S. Rixon, p. 63)
As far as the first consideration is concerned I let the students choose their
favourite songs whereby their interest was aroused, and then I chose the most
suitable song according to particular criteria (see 8.4 question 4).
The exercises were all closely connected with the song. Except for the main
aim to practise listening, reading and speaking were also included. Even though
writing was not in the song-lesson, there are some activities connected with songs
focusing on writing (see 3.4.4).
The exercises in the research concurred and formed a coherent listening
lesson (see 8.5).
33
34
fully in order to achieve the lesson aim, clear instructions are one of the
presumptions how to succeed.
However, there is something more to add when giving instructions. Even
when the teacher thinks he / she gave clear instructions enough for everybody to
understand, it does not have to mean that the situation corresponds to his / her
supposition. Therefore the teacher should check the instruction.
6.3.3 FEEDBACK
Everyone was once a child and everyone, certainly, experienced the need for
praising or evaluating something they had done (for example a painted picture,
recited poem, built castle etc.), and also the disappointment when this need was not
satisfied. Actually, this need has never left us. Of course, it is not so intensive like in
childhood, but the need still remains. Thinking deeply, it even seems that this need
is reintensified as far as students are concerned. No wonder. Learning simply
demands praise, correction and evaluating. Jeremy Harmer (p. 10) expressed it more
precisely saying that: Giving feedback involves praising students for things they do
well, and offering them the ability to do things better where they were less
successful. It involves teachers in judging their students responses to correction so
that they can act accordingly. And so students want to know the correct answer
immediately they have done a task, are frustrated if it is delayed, and may very well
lose some of their interest by the time it does appear (P. Ur, p. 29). Therefore after
every activity in both research lessons a feedback followed - in various forms.
Reading and writing do not need immediate feedback because the students can
reread the relevant material, but speaking and listening, however, need to be
reacted immediately (P. Ur, p. 28). The reason for the need to be checked
immediately is that what a listener has heard is still echoing somewhere in their
mind and there is still a possibility of hearing it again (P. Ur, p. 28).
CONCLUSION
This chapter started with a thinking skill of planning a lesson, which is a
process running in a teachers mind and which consist of many other thoughts. The
name of the first thought is a teaching aim an abstract spot, where the students
should find a piece of, already mentioned, language treasure. For this journey it is
necessary to prepare good nutrition called motivation, and moreover make clear
35
7. POEM
The original idea, at the beginning of my diploma thesis, was to concentrate
fully on the use of music in teaching English, and to support the idea of positive
influence of music in language teaching, both from theoretical and practical point of
view. My intention was to carry out research based only on a song, however, during
my investigation an interesting subject matter, proposing a comparison of the
influence of song with a poem, appeared. Because it turned out it could be beneficial
for my thesis, I carried out research based on a poem (see 8.6) which not only
helped when evaluating the final results, but it also enriched me and my teaching in
many directions. Let us now have a brief look at the theoretical background of
literature supporting its incorporation into language teaching. The first section
explains the terms: literature, poetry and poem, and the second section gives various
explanations and reasons why to teach literature.
The explanations were provided to bear in mind that these terms are in
hyponymic relation, which means that a poem is a part of poetry which is a part of
literature, so using the terms literature or poetry always includes the presence of a
poem, as well.
36
According to R. A. Carter there are three main reasons for teaching literature.
These are: the cultural model, the language model, the personal growth model.
a)
37
Alan Duff and Alan Maley offer another three types of justification for using
literary texts: linguistic, methodological, and motivational.
a)
b)
c)
Literary texts offer genuine samples of a very wide range of styles, registers,
and text-types at many levels of difficulty.
Literary texts are open to multiple interpretations. This ready-made opinion gap
between one individuals interpretation and anothers can be bridged by genuine
interaction.
Literary texts are non-trivial, they deal with matters which concerned the writer
enough to make him or her write about them. This genuine feel of literary
texts is a powerful motivator, especially when allied to the fact that literary texts
so often touch on themes to which learners can bring a personal response from
their own experience. (A. Duff & A. Maley, p. 6)
Although the explanations and given reasons for teaching literature are
convincing looking through TEFL / TESL writings in the seventies or early
eighties, we find surprisingly little about the teaching of literature. Nevertheless,
during the 1980s the situation has changed quite radically and literature is
undergoing an extensive reconsideration within the language teaching profession.
(R. A. Carter, p. 1)
38
8. MEDINA RESEARCH
Suzanne Medina is a professor of School of Education in Carson, California,
who conducted research in an area similar to what I am interested in, in my diploma
thesis. Her pieces of knowledge and findings support my research which is the
reason why there is a reference to her investigation.
She carried out research focused on the effect of music on second language
acquisition. Her research was based on a story song. The theoretical support was
largely based on Krashens second language acquisition hypotheses, which we will
highlight the main ideas from.
Two best known Krashens hypotheses, from his five, are the Input and
Affective filter hypotheses. According to Krashens Input Hypothesis, new,
unfamiliar vocabulary is acquired when its significance is made clear to the learner.
Meaning is conveyed by providing extralinguistic support such as illustrations,
actions, photos, and realia. This in turns results in what Krashen refers to as
comprehensible input since the linguistic input is made comprehensible to the
second language learner (S. Medina). In the Affective Filter hypotheses Krashen
says that the extent to which linguistic input is received from the environment
largely depends upon the learners affect, that is his inner feelings and attitude.
Negative emotions, functioning much like a filter, can prevent the learner from
making total use of the linguistic input from his environment. Therefore, if he is
anxious, unmotivated, or simply lacks confidence, language acquisition will be
limited. Music evokes positive emotions which can lower the affective filter and
bring about language acquisition. (S. Medina)
The research was carried out in a group of 48 second grade limited-Englishproficiency children. These were divided into four groups, each of which had
different presentation of the story song that was sung or spoken with or without
illustrations. After the four-day treatment there was the first test to measure
vocabulary acquisition and the second test was two and half weeks later in order to
determine the short-term and long-term effects of music and illustrations. Despite
the fact that when evaluating the data Medina consulted various factors (e.g. high
proficiency and low proficiency subjects) the results show that while the effect of
illustrations was seemingly quite powerful, it was the addition of music which
appeared to boost the positive effects of the illustrations. (S. Medina)
39
40
9 RESEARCH
The practical part of my diploma thesis will be dealing with research I
carried out in the time span of seven months, with 53 subjects (students), in four
different groups (see 7.2). The research consisted of five different parts (see 7.1) by
means of which I wanted to find out the answer to the question if music can help the
learners with vocabulary acquisition, and to what extent.
The first two sections describe in detail the parts of my research and the
researched groups. The third section provides the results of the first questionnaire,
the fourth section covers the song-lesson experiment describing the sequence of
activities, the course of the lesson in the groups, evaluation and its results. The fifth
section describes the poem-lesson experiment including the sequence of activities,
description of the course of the lesson, evaluation, plus results. At the end of this
chapter a comparison of the results will be provided.
The last part included a worksheet with pictures next to which the students
were supposed to write the denotations and the worksheet also included lines where
they could write anything extra they remembered from the poem (other words,
phrases, or sentences). At the end I did an interview evaluating the lesson in
comparison with the previous lesson based on song. These data were gathered in
June.
USUALLY
SOMETIMES
SELDOM
NEVER
5
7
2
1
10
5
2
3
15
12
4
4
1
2
1
3
1
2
3
2
2
4
4
5
0
0
0
0
1
0
1
1
1
0
1
1
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
68%
65%
66%
32%
26%
28%
0%
9%
6%
0%
0%
0%
0%
0%
0%
43
This question was the most significant since the research was not only based
on listening to music, but its main aim was to find out if music can help when
learning vocabulary. The results show that the vast majority of younger learners
(SSG and GSG) always like listening to music. Approximately half of the adult
learners in LSGA and LSGB like always, or usually listening to music. Even though
there is one person in three of these four groups that likes listening to music only
sometimes, there is nobody who does not like listening to music, which is a very
positive fact.
2) What kind of music is your favourite?
SSG
Pop
music
F
M
T
Hip-hop F
/
M
Rap
T
Country F
M
T
Rock
F
M
T
Drum & F
base
M
T
(Heavy) F
metal
M
T
Jazz
F
M
T
Reggae F
M
T
Techno F
M
T
Brass /
F
folk
M
music
T
5
0
5
0
5
5
0
0
0
1
1
2
0
1
1
0
0
0
0
0
0
0
2
2
0
3
3
0
0
0
GS
G
4
2
6
0
4
4
0
0
0
3
1
4
0
0
0
0
1
1
0
0
0
0
0
0
0
1
1
0
0
0
LSG
A
LSG
B
total
2
4
6
0
0
0
1
0
1
0
2
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
3
4
0
0
0
1
1
2
2
2
4
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
55%
29%
40%
0%
29%
17%
9%
3%
5%
27%
19%
22%
0%
3%
2%
0%
3%
2%
0%
0%
0%
0%
6%
4%
0%
13%
8%
0%
0%
0%
44
Pop
music
F
M
T
Hip-hop F
/
M
Rap
T
Country F
M
T
Rock
F
M
T
Drum & F
base
M
T
(Heavy) F
metal
M
T
Jazz
F
M
T
Reggae F
M
T
Techno F
M
T
Brass /
F
folk
M
music
T
No
F
M
T
SSG
GS
G
0
0
0
0
0
0
1
1
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
0
2
3
10
13
0
1
1
0
0
0
0
0
0
0
1
1
0
0
0
0
0
0
3
1
4
0
0
0
0
0
0
2
0
2
4
5
9
0
0
0
LSG
A
LSG
B
total
0
0
0
0
2
2
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
0
2
0
2
2
1
2
3
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1
0
1
0
0
0
0
0
0
2
5
7
1
0
1
0
1
1
0%
0%
0%
0%
6%
4%
5%
6%
6%
0%
0%
0%
0%
0%
0%
18%
3%
9%
0%
0%
0%
0%
0%
0%
36%
15%
25%
36%
55%
47%
5%
13%
9%
These two questions can be evaluated together as they closely relate to each
other. The purpose of these questions was to find out the favourite music style of the
majority in each class in order to choose a suitable song, and to know which music
styles are not much-favoured. The outcomes show that pop music and rock are the
most preferred in every group and brass music with techno the least.
4) What is your favourite English song? (See below the questions 7 and 8)
CZECH
F
4
8
1
1
M
9
7
4
2
T
13
15
5
3
F
2
1
2
3
M
3
0
2
4
T
5
1
4
7
64%
71%
68%
36%
29%
32%
OFTEN
SOMETIMES
SELDOM
NEVER
F
2
2
1
2
M
3
2
2
2
T
5
4
3
4
F
3
5
0
1
M
4
3
2
2
T
7
8
2
3
F
1
1
2
1
M
3
1
1
2
T
4
2
3
3
F
0
1
0
0
M
1
0
1
0
T
1
1
1
0
F
0
0
0
0
M
1
0
0
0
T
1
0
0
0
32%
29%
30%
41%
36%
38%
23%
23%
23%
5%
7%
6%
0%
3%
2%
The results of questions number five and six indicate whether the
respondents prefer English to Czech songs and the frequency they listen to English
songs and in doing so indirectly exposing them to the sound of songs (see more
section 3.4.3.1.1). It is obvious that younger learners prefer more English to Czech
songs than the adult learners, however, students in every group listen to English
songs, except for one secondary pupil.
45
NO
F
5
6
1
0
M
0
5
2
3
T
5
11
3
3
F
1
3
2
4
M
12
2
4
3
T
13
5
6
7
55%
32%
42%
45%
68%
58%
As we can see the group of boys from the secondary school extremely
increases the percentage of those who do not, or did not play any musical
instrument, which may be the consequence of the fact, that they are hockey players.
8) Do you like singing?
ALWAYS
SSG
GSG
LSGA
LSGB
TOTAL
USUALLY
SOMETIMES
SELDOM
NEVER
F
2
4
2
1
M
1
2
0
2
T
3
6
2
3
F
3
2
0
1
M
0
3
3
0
T
3
5
3
1
F
1
2
1
2
M
1
0
0
3
T
2
2
1
5
F
0
1
0
0
M
2
1
2
1
T
2
2
2
1
F
0
0
0
0
M
8
1
1
0
T
8
1
1
0
41%
16%
27%
27%
19%
22%
27%
13%
19%
5%
19%
13%
0%
32%
19%
This question was very important since singing was a part of the research
and was regarded as a significant instrument of repetition (the song was sung three
times). The chart shows positively that in three groups the respondents like singing
in general, however in the secondary school group the number of pupils who do not
like singing is quite high, which became evident during the song-lesson experiment
(see more 7.5.1).
4) What is your favourite English song?
The answers to this question differed in every group from student to student.
These are some examples of favourite songs in the groups.
SSG London Bridge, Fergie; No woman no cry, Bob Marley; Pump it, Black Eyed
Peas; Californication, Red Hot Chilli Peppers; Perfect, Simple Plan
GSG Perfect, Simple Plan; Numb, Linkin Park; Was it all worth it, Eminem
LSGA Beautiful Day, U2; Perfect Day, Lou Reed, Swanheart, Nightwish
LSGB Let it be, Beatles; Sorry, Madonna; Daylight, Cold Play
46
For the song-lesson experiment in SSG as well as in GSG I chose the song Perfect
by Simple Plan because, firstly, in both groups the choice of popular music
prevailed, secondly this song was mentioned several times by the students in the
questionnaire, and lastly the lyrics of the song were suitable for pre-intermediate and
intermediate learners. For LSGA group the song Perfect Day by Lou Reed was
chosen and for LSGB Let it be by Beatles because of the same reasons mentioned
above.
9.5 DESCRIPTION OF THE SONG LESSON EXPERIMENT
The lesson consisted of seven different activities, one of which was repeated
three times. This was the order of the activities:- Grab a word; Cut up lyrics;
Singing; Translation; Find the word; Singing; Underline these phrases;
Comprehension check; Singing.
1st activity GRAB A WORD
Aim to tune the students in. To have fun (T. Murphey, p. 10).
Description
Twelve words from a song plus four arbitrary words were chosen, written on big
pieces of paper with points (100-300) under each word, and stuck on the board.
Students were standing in front of the board and while the first listening they were
supposed to grab a word immediately they had heard it or thought they had. Before
playing the song, I read all the words loudly. Unknown words were not translated.
At the end the students were instructed to take and keep their grabbed words with
them.
47
These were the words they had to find the explanation to:
Perfect: - waste, wanna, disapprove, proud, pretend, pain, hero, seem, stand, gonna
Perfect Day: - feed, reap, sow, glad, hang on, keep, movie, weekender
48
Let it be: - agree, darkness, trouble, until, broken heart, wisdom, whisper, shine
6th activity SINGING
Aim to repeat pronunciation, intonation, vocabulary, to have fun(T. Murphey, p.
94)
Description
Students and I sang with the lyrics.
7th activity UNDERLINE THESE PHRASES
Aim to repeat the vocabulary, to practise orientation in the text
Description
The students had to underline the expressions in the text I wrote on the board in
Czech. Then I checked the correct answers.
8th activity COMPREHENSION CHECK
Aim to practise speaking, comprehension of the text
Description
The students were supposed to answer the questions related to the lyrics of the song.
9th activity SINGING
Aim to repeat singing the song with bigger confidence
Description
Students and I sang with the lyrics.
a coherent text, but this was basically the aim, to show them how difficult it is to
translate something meaningfully into Czech even when they understand. However,
their age and level of English might have been a part of the troubles.
As far as the GSG is concerned the lesson ran without any problems, on the
contrary, the students were very active, and everybody was singing with pleasure
from the very beginning.
The lessons in LSGA and LSGB were very similar. Some difficulties
appeared in the fourth activity translation, mainly in LSGB whose lyrics to Let it
be were more difficult. Their first singing was quite cautious, but during the last
singing everyone sang.
When I evaluate these lessons in general, every lesson ran very well, and the
most important fact was that the majority of students was singing. In my opinion, all
of the lessons were very positive, relaxed, and I had a very good feeling after every
lesson. How much these lessons, based on a song, helped the students acquire the
target vocabulary, and how the students perceived and felt during the lesson, are the
questions that will be answered in the next sections.
50
1) What was the song-lesson like for you? (Circle all the answers you agree
with)
INTERESTING
ENJOYABLE
NORMAL
BORING
SSG
GSG
LSGA
LSGB
F
4
6
3
3
M
4
5
6
5
T
8
11
9
8
F
3
4
1
2
M
4
4
3
3
T
7
8
4
5
F
1
0
0
0
M
4
0
0
1
T
5
0
0
1
F
0
0
0
0
M
0
0
0
0
T
0
0
0
0
TOTAL
73%
67%
69%
45%
47%
46%
5%
17%
12%
0%
0%
0%
These numbers say that the vast majority of the respondents perceived the
song-lesson as interesting and enjoyable, which corresponds with the theory where
the fact that songs are highly enjoyable has been mentioned several times. The
students also described this lesson as: splendid, relaxing, and English through
games.
2) Was the song-lesson instructive?
YES
SSG
GSG
LSGA
LSGB
TOTAL
NO
F
M
T
F
M
T
6
8
14
0
3
3
8
6
14
1
1
2
3
6
9
0
0
0
4
6
10
0
0
0
95% 87% 90% 5% 13% 10%
While all the adult students in language school groups think the song-lesson
was instructive, and they learned something, some of the younger students have
different opinions. Nevertheless, there was no one who would not recall at least
something from the song (see more questions number 5, 6).
NO
F
M
T
F
M
T
5
8
13
1
3
4
7
7
14
2
0
2
3
6
9
0
0
0
4
5
9
0
1
1
86% 87% 87% 14% 13% 13%
51
Eighty - seven percent of all respondents wrote that the lesson went quickly.
The highest number of those who did not perceive the course of the lesson as quick
can be seen in the secondary school group.
4) How did you feel during the lesson? (Circle all the answers you agree with)
POSITIVE
RELAXED
NORMAL
STRESSED
NEGATIVE
SSG
GSG
LSGA
LSGB
F
2
4
2
3
M
3
3
2
3
T
5
7
4
6
F
3
5
3
4
M
5
5
4
4
T
11
10
7
8
F
3
2
0
0
M
5
3
1
2
T
8
5
1
2
F
0
0
0
0
M
0
0
0
0
T
0
0
0
0
F
0
0
0
0
M
0
0
0
0
T
0
0
0
0
TOTAL
50%
37%
42%
68%
60%
69%
23%
37%
31%
0%
0%
0%
0%
0%
0%
The results of this question clearly show that most of the students (69%) felt
relaxed, and moreover during this lesson many students felt also positive. Despite
the fact that some students wrote normal, there was nobody who would have felt
stressed, or negative, which is a very satisfying result. To this question more
students comments were added: e.g. I felt at ease, during good songs I have a
unique mood, rather indefinable, it was very pleasant.
5) Were you able to recall any words, phrases, or text without melody?
YES
1 20 WORDS
SSG
GSG
LSGA
LSGB
TOTAL
NO
SOME PHRASES
SOME SENTENCES
/ TEXT
NOTHING
F
3
1
2
2
M
6
3
2
1
T
9
4
4
3
F
2
5
1
1
M
4
0
4
3
T
6
5
5
4
F
1
3
0
0
M
1
4
0
2
T
2
7
0
2
F
0
0
0
1
M
0
0
0
0
T
0
0
0
1
36%
40%
39%
41%
37%
39%
18%
23%
20%
5%
0%
2%
According to this chart there was only one woman who did not recall
anything without the melody which makes only 2% of the 52 respondents. The
prevalent majority (98%) recalled some words, phrases, or sentences which is an
important fact.
52
6) Were you able to recall any words, phrases, or text with melody?
YES
1 20 WORDS
SSG
GSG
LSGA
LSGB
TOTAL
NO
SOME PHRASES
SOME SENTENCES
/ TEXT
NOTHING
F
0
0
0
2
M
3
0
1
0
T
3
0
1
2
F
4
5
3
2
M
6
2
5
4
T
10
7
8
6
F
2
4
0
0
M
2
5
0
2
T
4
9
0
2
F
0
0
0
0
M
0
0
0
0
T
0
0
0
0
9%
18%
12%
64%
57%
60%
27%
30%
29%
0%
0%
0%
As we can see in this chart the amount of vocabulary the students recalled
with music considerably increased, mainly as far as phrases are concerned.
CONCLUSION
According to the results of the second questionnaire the song lesson
experiment can be summarized. The lesson was interesting for 69 percent of the
respondents and 46 percent perceived it as enjoyable. For 90 percent the lesson was
instructive and 87 percent wrote that the lesson went quickly. Moreover, 69 percent
of the students were feeling relaxed and 42 percent also positive during the lesson.
Nobody felt stressed or even negative. Furthermore, the charts number five and six
partly answer the main question of this diploma thesis if music helps with
vocabulary acquisition and to what extent. The numbers in chart five say that there
were 39 percent of the students who recalled some words, 39 percent recalled some
phrases and 20 percent recalled some sentences without music. The amount of
vocabulary dramatically increased with the help of music, mainly as far as phrases
are concerned (by 21%). These numbers will be further compared with the results of
the poem lesson experiment (see 8.6.2).
53
Description
The students were asked to fill in the rhyming words. After their filling in we
checked their answers together, and stuck the rhyming words (written in red) into
the poem on the board. The words the students still were still not sure about were
described more precisely.
5th activity STUDENTS RECITATION
Aim to practise pronunciation, and rhythm of the poem
Description
We recited the poem loudly together.
6th activity DRAMA ACTIVITIES
Aim to practise the words through drama, experience; to have fun (T. Murphey,
p. 10)
Description
Three groups of two were given different situations from the poem written on small
cards. They had to perform them, and the other guessed. The rest of the students,
who were not involved into performing a situation, got a card with only one word of
the poem which they had to mime.
7th activity COMPREHENSION CHECK
Aim to practise speaking, comprehension of the poem
Description
The students were supposed to answer the questions related to the poem.
8th activity WORD DRILL
Aim to memorize the rhyming words through drill
Description
The instruction was to say the rhyming word which rhymed with the one I said (e.g.
I said: Fence, the students: Dense). I kept on saying and repeating the words till
the moment I was sure everyone was saying the right rhyming word.
9th activity 2ND STUDENTS RECITATION
Aim to practise the rhyming words
55
Description
The rhyming words were removed. I recited the poem without them, but asked the
students to say them instead of me.
10th activity EXPRESSIONS WITH MIND
Aim to learn other common, useful phrases
Description
Three other expressions with mind were explained. These were Mind the gap /
Mind the step / Mind your head.
11th activity RAP22
Aim to use the rhythm for better memorizing the target vocabulary; to have fun
(T. Murphey, p. 10)
Description
Firstly I rapped the poem alone to get the students into the rhythm, and then we
rapped together.
Rap is the rhythmic delivery of rhymes. Sometimes it has been claimed to be a backronym of the
phrase Rhythmically Applied Poetry, or Rhythm and Poetry. Rap describes quick and slangy
speech or repartee long predates the musical form. Rapping can be delivered over a beat or without
accompaniment. (http://en.wikipedia.org/wiki/Rapping)
56
The poem-lesson with the GSG passed very well, without any problems.
Their poems were the best from all four groups, and even though I did not write
them down, two poems stuck in my mind. The first was I lost my eye, and I cannot
cry, and the second was I lost my puppy and I was sad, but then I found it under
the bed. While reciting their poems there was very comfortable atmosphere in the
classroom.
The course of this lesson in LSGA and LSGB was also very pleasant.
However, the troubles appeared in totally different activity than in previous groups.
It was the word drill when they had to say the rhyming words. It took them much
more time to say them without looking at the board. As far as writing a poem is
concerned the students had the biggest difficulties to make something up. From
these two groups only one poem stuck in my mind: I am lost, I went to the post,
and met a ghost.
In spite of the fact that the poem-lesson experiment was carried out only in
order to provide results that could be comparable with the results of the song-lesson
experiment, I was very nicely surprised by the course of the lessons, which
convinced me to use this way of teaching more often. I do not only think it is a very
nice way to break the routine, but it also turned out to be useful vehicle for
different purposes: vocabulary, spelling, pronunciation, speaking, listening, reading,
language awareness, critical thinking, literary appreciation, and writing (V. L.
Holmes and M. R. Moulton, p. 1).
The items in the chart (e.g. 1 word, 3 words etc.) do not refer to the numbers
of pictures on the worksheet (see appendix 8). The words written below the pictures
were counted together with the words written extra. Those who wrote extra words
mentioned the title of the poem Lost, way, and slowly. As far as the phrases are
concerned only one was mentioned in a few cases (strike a match). Few students
also wrote some sentences. Either it was I lost my way, or Mind the wet paint.
0 WORDS
1 WORD
2 WORDS
3 WORDS
4 WORDS
5 WORDS
SSG
GSG
LSGA
LSGB
TOTAL
5%
7%
6%
5%
23%
15%
23%
19%
21%
32%
10%
19%
27%
23%
24%
5%
58
6 WORDS
7 WORDS
8 WORDS
PHRASE/S
SENTENCE/S
10%
8%
5%
10%
8%
0%
0%
0%
0%
0%
0%
9%
6%
8%
9%
10%
9%
In this chart we can see certain differences among the four researched
groups. The grammar school group recalled the highest amount of vocabulary, and
on the contrary the secondary school group recalled the lowest number of words.
The language school group B was slightly better than language school group A.
According to these results it can be said that the students achievements correspond
with their level of English.
59
Question: What did you like more: the song lesson or the poem lesson?
SONG - LESSON
POEM - LESSON
SSG
13
GSG
14
LSGA
LSGB
TOTAL
85%
15%
In three groups there were some students (15% of all respondents) who
preferred the poem lesson. The explanations for their choices were that the poem
lesson was more entertaining with the drama activities than the song - lesson, the
lesson went more quickly, and they liked the final rapping more than singing.
It needs to be said that evaluation of the poem lesson results turned out to
be more complicated than I had expected, and other ideas of collecting the results
came to my mind when evaluating the data. Firstly, there could have been one more
activity after filling in the worksheet - we could have tried to rap the poem (like we
sang the song), and perhaps the students would have recalled more words. Secondly,
after these two activities (worksheet + rapping) the students could have been given
another questionnaire including the questions similar to the last two questions in the
second questionnaire (see appendix 3), which would be: Were you able to recall
some words with / without rhythm? Furthermore, it would have been easier to
evaluate the questionnaire which would have made it possible to arrange the results
in better way.
60
The outcomes of the research lessons show that only 2 percent of the
students did not recall any word after the song lesson. As far as the poem lesson
is concerned this number is higher by 4 percent. Considerable differences can be
seen in the amount of recalled phrases and sentences. Thirty-nine percent of the
students were able to recall some phrases from the song, but only eight percent from
the poem. Twenty percent were able to recall some sentences from the song, and
nine percent from the poem. According to these outcomes the question if music
helps with vocabulary acquisition can be answered saying that it does. Furthermore,
eighty five percent respondents preferred the song lesson since they felt relaxed
(69%), positive (42%), the lesson was interesting for 69 percent and enjoyable for
46 percent of students.
10. SUMMARY
Music and songs in the context of teaching English were the areas which the
main attention of this thesis was devoted to. We analysed their importance,
character, use and in doing so we got deeper into the bottomless well of knowledge
from which some information was taken out - to show and explain particular
connections among these areas. This information was also supposed to support both
the theory holding an opinion that music has the ability to help acquire and
remember vocabulary and subsequent research seeking to prove this assertion.
The beginnings of music, various theories about music and a lot of examples
from everyday life have shown that music belongs to mankind from its very first and
it is a common and necessary part of our lives. There is a special power hidden in it,
which can bring about required atmosphere, evoke particular feelings, moreover,
influence physical as well as mental condition of our bodies. As someone wise said
that even though all remains mystery, its power should be used to its fullness.
One of the best examples of how to use this mysterious power of music also
in language teaching is songs that were used in the research of this thesis. The
outcomes of the investigation have proved that music has the ability to help acquire
and remember vocabulary. Furthermore, music incredibly helps to recall the lyrics
of songs when listening to them, and thus encourages learners confidence in
language.
The teachers can, by using songs in lessons, also contribute a great deal to
help learners improve listening skills because teachers who make it clear that they
61
believe in the value of listening work and who plan and conduct listening sessions in
a purposeful way will find that their students grow in confidence and soon begin to
experience the pleasure that listening successfully can bring (M. Underwood, p.
28).
What speaks in favour of using songs in language teaching is also the fact
that, according to the research results, the students perceived the lessons with songs
as interesting, instructive, positive, relaxing and enjoyable and nobody experienced
redoubtable J. A. Komensks satiety and repugnance poison of teaching.
Songs can become a tool which we can use to animate and facilitate
language learning and acquisition stated Tim Murphey (p. 16), and Mario Papa
with Guiliano Iantorno concisely described this tool saying that it is an exceptional
teaching tool: in fact, students will take songs outside the classroom and will go on
performing them long after the lesson has finished, purely for their own pleasure.
Songs are unforgettable, can last a lifetime and become part of ones culture (M.
Papa & G. Iantorno, p. 8).
I am convinced of the truthfulness of their statement as in my case songs
create an indispensable part of my culture and life. They cherish both a treasure of
music that enriches my soul and a treasure of language that enriches my mind.
Songs enrich the world I live in.
62
SOURCES
BIBLIOGRAPHY
Anderson, A. and Lynch, T. Listening. Oxford University Press, 1988
Carter, R. A. Teaching Literature. New York: Longman, 1991
Dakin, J. Songs and Rhymes for the teaching of English. Harlow: Longman Group
Ltd, 1992
Duff, A. and Maley, A. Literature. Oxford: Oxford University Press, 1992
Gavora, P. vod do pedagogickho vzkumu. Brno 2000
Griffee, D. T. Songs in action. Hertfordshire: Phoenix, 1995
Harmer, J. How to Teach English. Addison Wesley Longman Limited, 1998
Hedge, T. Writing. Oxford: Oxford University Press, 1991
Holmes, V.L. and Moulton, M.R. Writing Simple Poems. Cambridge University
Press, 2001
Komensk, J.A. Didaktika Velk. Brno, 1948
Lindsay, C. and Knight, P. Learning and Teaching English. Oxford University
Press, 2006
Macmillan publishers. My English Songbook. University of York/Macmillan Press,
1981
McDowell, J. and Hart, Ch. Listening plus: authentic recordings with tasks to
develop listening skills and teacher training. Edward Arnold (Publishers), 1987
Murphey, T. Music & Songs. Oxford University Press, 1992
Oxford Advanced Learners Dictionary, Oxford University Press, 2000
Papa, M./Iantorno, G. Famous British & American songs. Longman Group Limited
1979
Revel, J. and Breary, B. Listening Advanced. Oxford University Press, 1988
Rixon, S. Developing listening skills. Macmillan Publishers Limited, 1986
Rosen, M. Childrens Poetry. London: Kingfisher Books, 1985
Rost, M. Listening in action. Prentice Hall International, 1991
Scrivener, J. Learning Teaching. Macmillan Publishers Limited, 2005
Stevick, E.W. Teaching and learning languages. Cambridge University Press, 1982
Underwood, M. Teaching listening. Longman Group Limited, 1989
63
64
WEBLIOGRAPHY
Affective filter [online]. SEE AT
<http://en.wikipedia.org/wiki/Affective_filter>
Alliteration [online]. SEE AT
<http://en.wikipedia.org/wiki/Alliteration>
BROWNING, B. Elizabeth. How do I love thee? [online] SEE AT
<http://www.cs.rice.edu/~ssiyer/minstrels/poems/269.html>
Definition of music [online]. SEE AT
<http://en.wikipedia.org/wiki/Definition_of_music>
DORRELL, Philip. Music Perception [online]. SEE AT
<http://www.1729.com/blog/MusicPerception.html>
EBONG, Balbina and SABBADINI, Marta J. British Council, Cameroon
Developing pronunciation through songs [online] SEE AT
< http://www.teachingenglish.org.uk/think/pron/song_pron.shtml>
Hudba a jej vliv na tlo a mysl [online]. SEE AT
<http://www.dk-studio.net/eblog/1142348400-hudba-a-jeji-vliv-na-telo-amysl.php>
KIPLING, Rudyard. If. [online] SEE AT
<http://www.swarthmore.edu/~apreset1/docs/if.html>
MEDINA, Suzanne. Acquiring Vocabulary through Story-Songs [online]. SEE AT
<http://www.forefrontpublishers.com/eslmusic/articles/01.htm>
<http://www.forefrontpublishers.com/eslmusic/articles/05.htm>
<http://www.forefrontpublishers.com/eslmusic/articles/06.htm>
Mirror neuron [online]. SEE AT
<http://en.wikipedia.org/wiki/Mirror_neurons>
Music [online]. SEE AT
<http://concise.britannica.com/ebc/article-9110117/music>
Nursery rhymes [online]. SEE AT
<http://www.nurseryrhymes4u.com/>
<http://www.rhymes.org.uk/>
Onomatopoeia [online]. SEE AT
<http://en.wikipedia.org/wiki/Onomatopoeia>
65
66
APPENDIX 1
DOTAZNK
Mil holky, mil kluci,
jmenuji se Veronika Rosov a studuji poslednm rokem na Pedagogick Fakult v
Brn. V m zvren diplomov prci budu zkoumat vztah mezi anglitinou,
hudbou a vmi.
Prosm vs, abyste odpovdli na nsledujc otzky.
kluk
holka
(zakroukuj)
67
..
c) nkdy
d) vtinou ne
e) nikdy
69
APPENDIX 2
DOTAZNK
Mil studentky, mil studenti,
jmenuji se Veronika Rosov a studuji poslednm rokem na Pedagogick Fakult v
Brn. V m zvren diplomov prci budu zkoumat vztah mezi anglitinou,
hudbou a vmi.
Prosm vs, abyste odpovdli na nsledujc otzky.
mu
ena
(zakroukujte)
70
..
71
72
APPENDIX 3
DOTAZNK
Mil studentky, mil studenti,
V lednu letonho roku jsem vs jednu hodinu uila na zklad vmi vybran psn.
Prosm, abyste mi v nsledujcch esti otzkch poskytli zptnou vazbu na tuto
hodinu.
mu
ena
(zakroukujte)
2)
5) Byli jste schopni si vybavit njak slova / frze / text bez melodie?
(zakroukujte jednu z odpovd)
a) ANO (Pokud ANO, zakroukujte jednu z odpovd)
mezi 1 20 slovy
urit frze
urit vty / text
b) NE
Jin:
Jin: ..
...
Veronika Rosov
74
APPENDIX 4
PERFECT SIMPLE PLAN
75
76
APPENDIX 5
PERFECT DAY LOU REED
Just a perfect day
Drink Sangria in the park,
And then later, when it gets dark,
We go home.
Just a perfect day,
Feed animals in the zoo
Then later, a movie, too,
And then home.
Oh it's such a perfect day,
I'm glad I spent it with you.
Oh such a perfect day,
You just keep me hanging on,
You just keep me hanging on.
Just a perfect day,
Problems all left alone,
Weekenders on our own.
It's such fun.
Just a perfect day,
You made me forget myself.
I thought I was someone else,
Someone good.
Oh it's such a perfect day,
I'm glad I spent it with you.
Oh such a perfect day,
You just keep me hanging on,
You just keep me hanging on.
You're going to reap just what you sow,
You're going to reap just what you sow,
You're going to reap just what you sow,
Youre going to reap just what you sow
77
APPENDIX 6
LET IT BE - BEATLES
When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be
Let it be, let it be
Let it be, let it be
Whisper words of wisdom, let it be
And when the broken hearted people
Living in the world agree
There will be an answer, let it be
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be
Let it be, let it be
Let it be, let it be
Yeah there will be an answer, let it be
Let it be, let it be
Let it be, let it be
Whisper words of wisdom, let it be
Let it be, let it be
Ah let it be, yeah let it be
Whisper words of wisdom, let it be
And when the night is cloudy
There is still a light that shines on me
Shine on until tomorrow, let it be
I wake up to the sound of music,
Mother Mary comes to me
Speaking words of wisdom, let it be
Yeah let it be, let it be
Let it be, yeah let it be
Oh there will be an answer, let it be
Let it be, let it be
Let it be, yeah let it be
Oh there will be an answer, let it be
Let it be, let it be
Ah let it be, yeah let it be
Whisper words of wisdom, let it be
78
APPENDIX 7
LOST JAMES GODDEN
In a terrible fog I once lost my way,
Where I had wandered I could not say,
I found a signpost just by a fence,
But I could not read it, the fog was so dense.
Slowly but surely, frightened to roam,
I climbed up the post for my nearest way home,
Striking a match I turned cold and faint,
These were the words on it, Mind the wet paint.
79
APPENDIX 8
80
APPENDIX 9
THAT DON'T IMPRESS ME MUCH SHANIA TWAIN
I've known a few guys who thought they were pretty smart
But you've got being right down to an art
You think you're a genius-you drive me up the wall
You're a regular original, a know-it-all
Oh-oo-oh, you think you're special
Oh-oo-oh, you think you're something else
Okay, so you're a rocket scientist
That don't impress me much
So you got the brain but have you got the touch
Don't get me wrong, yeah I think you're alright
But that won't keep me warm in the middle of the night
That don't impress me much
I never knew a guy who carried a mirror in his pocket
And a comb up his sleeve-just in case
And all that extra hold gel in your hair oughtta lock it
'Cause Heaven forbid it should fall outta place
Oh-oo-oh, you think you're special
Oh-oo-oh, you think you're something else
Okay, so you're Brad Pitt
That don't impress me much
So you got the looks but have you got the touch
Don't get me wrong, yeah I think you're alright
But that won't keep me warm in the middle of the night
That don't impress me much
You're one of those guys who likes to shine his machine
You make me take off my shoes before you let me get in
I can't believe you kiss your car good night
C'mon baby tell me-you must be jokin', right!
Oh-oo-oh, you think you're special
Oh-oo-oh, you think you're something else
Okay, so you've got a car
That don't impress me much
So you got the moves but have you got the touch
Don't get me wrong, yeah I think you're alright
But that won't keep me warm in the middle of the night
That don't impress me much
You think you're cool but have you got the touch
Don't get me wrong, yeah I think you're alright
81
But that won't keep me warm on the long, cold, lonely night
That don't impress me much
Okay, so what do you think you're Elvis or something...
Oo-Oh-Oh
That don't impress me much!
Oh-Oh-Oh-Oh-No
Alright! Alright!
You're Tarzan!
Captain Kirk maybe.
John Wayne.
Whatever!
That don't impress me much!
82
APPENDIX 10
HOW DO I LOVE THEE?
Elizabeth Barrett Browning
83
APPENDIX 11
IF
Rudyard Kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or, being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;
If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build 'em up with wornout tools;
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on";
If you can talk with crowds and keep your virtue,
Or walk with kings - nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!
84
APPENDIX 12
NURSERY RHYMES
SNOW
The snow comes down
In the dark of night.
When we awake,
The world is white.
CHRISTMAS IS COMING
Christmas is coming, the geese are getting fat
Please to put a penny in the old man's hat;
If you haven't got a penny, a ha'penny will do,
If you haven't got a ha'penny then God bless you!
85
APPENDIX 13
TO A STRANGER
Walt Whitman
Passing stranger! you do not know how longingly I look upon you,
You must be he I was seeking, or she I was seeking, (it comes to me as of a dream,)
I have somewhere surely lived a life of joy with you,
All is recall'd as we flit by each other, fluid, affectionate, chaste, matured,
You grew up with me, were a boy with me or a girl with me,
I ate with you and slept with you, your body has become not yours only nor left my
body mine only,
You give me the pleasure of your eyes, face, flesh, as we pass, you take of my
beard, breast, hands, in return,
I am not to speak to you, I am to think of you when I sit alone or wake at night
alone,
I am to wait, I do not doubt I am to meet you again,
I am to see to it that I do not lose you.
86