“The Use of Songs in the Language Classroom in the Language

Schools of the Benemérita Universidad Autonóma de Puebla”

A Thesis submitted to the School of Languages

For the Degree of

Licenciatura en la Enseñanza de Lenguas Extranjeras

by Raúl García Báez

Benemérita Universidad Autónoma de Puebla

December 1999
The Use of Songs in the Language Classroom in the Language
Schools of the Benemerita Universidad Autonoma de Puebla

This thesis has been read by the members of the

thesis committee of

Raúl García Báez

and is considered worthy of approval in partial fulfillment

of the degree of

LICENCIATURA EN LA ENSEÑANZA DE
LENGUAS EXTRANJERAS

________________________
Lic. Marsha Way
Thesis Committee Chairperson

_______________________ ______________________
Lic. Michael Witten Roberto Criollo, M. A.
In Memoriam
Gabriela Yanes Gómez.

Life is too short

Our desire of fighting
It’s endless.
I wanna dedicate this thesis to my mother, Argelia Báez, to my
father Alfredo García and to my family for believing in me.

Thanx to the teachers: Concepción Báez and Ildefonso Ramírez.

To my unbelievable friends: Teresa Reyes and Roberto Criollo,

who always trusted in me. To all my friends; “the gang” that make
this world go on !
ACKNOWLEDGMENTS

“...that the purpose of life

was not the maintenance
of well-being, but some
intensification and refining
of consciousness, some
enlargement of knowledge.”
Aldous Huxley.

Thanks to all my teachers who taught me the importance of learning

and applying the knowledge, and also, to all the educational
institutions I’ve been through.

In the same way, to the teachers who answered the research’s

questionnaire and interview, to Roberto Criollo, Daniel Marcoux,
Marsha Way and Michael Witten for their help.
 TABLE OF CONTENTS
Page

Preliminary Pages
i
Dedication
ii
Acknowledgments
iii

CHAPTER ONE: Introduction

1.1 Introduction
1
1.2 Problem
2
1.3 Rationale
2
1.4 General Objectives
3
1.5 Research Questions
3
1.6 Research Strategies
3

CHAPTER TWO: Literature Review

2.1 Songs
5
2.2 Comprehension in Foreign Language Learning
8
2.3 The Importance of Listening Comprehension in
Language 9
2.4 Comprehensible Input in Listening Comprehension
10
2.5 The Development of Listening Skills
10
2.6 Reading in a Foreign Language
11
2.7 Choosing a Song
12

CHAPTER THREE: Methodology

3.1 Subjects
13
3.1.1. Licenciatura en Lenguas Modernas (LEMO)
 13
3.1.1.1. Teachers
13
3.1.1.2. Target Population
13
3.1.1.3. Coordinator
14
3.1.2. Centro de Lenguas (CELE)
14
3.1.2.1. Teachers
14
3.1.2.2. Target Population
14
3.1.2.3. Coordinator
14
3.1.3. Tronco Común Universitario (TCU)
14
3.1.3.1. Teachers
15
3.1.3.2. Target Population
15
3.1.3.3. Coordinator
15

3.2 Instrument
15
3.2.1. Questionnaire for teachers
15
3.2.2. Interview of coordinators of language schools
16
3.3 Procedure
16
3.3.1. Questionnaires
16
3.3.2. Interview
16

CHAPTER FOUR: Analysis of the Results

4.1 Results from the questionnaire
17

CHAPTER FIVE: Conclusions and recommendations

5.1. Conclusions
24
5.2. Limitations of the Study
25
5.3. Steps to work with songs
25
5.4. Possible Problems
26
5.5. Recommendations
27
5.6. Suggestions
29
5.7. Listening
29
5.8. Speaking
29
5.9. Reading
29
5.10. Writing
29
5.11 Directions for further investigation
30

BIBLIOGRAPHY
31
APPENDIX 1
1. Questionnaire

APPENDIX 2
1. Interview

APPENDIX 3
1. Classification of songs in relation to their grammar
application
2. Songs with a topic for discussion
3. Singers who present a wide variety of songs with topics for
discussion
4. Other activities suggested
5. Web Sites to find lyrics

APPENDIX 4
Songs Examples
4.1. Music genres
4.1.1. Twenty Questions
4.2. Working with Homonyms and Commonly Confused Words
4.2.1.The one
4.3. Music, Comprehension, Grammar and Video Clips
4.3.1.Kiss the Rain
4.4. Singing in Class
4.4.1. Barbie Girl
4.5. Prepositions and Changes
4.5.2. I’ll Be There
4.6. Discussion in Class
4.6.1. Why
4.6.2. Article from the Newspaper
4.7. Love songs

TABLES AND FIGURES

Table 1: Types of songs and their description, proposed

by Hubbard 7
Figure 1: Bottom-up approach, adapted from Nunan
8
Figure 2: Top-down approach, adapted from Nunan
9
Figure 3: Level of English taught by participating teachers
17
Figure 4: Frequency of use of songs
18
Figure 5: Kinds of songs used in class
19
Figure 6: Criteria to choose a song
20
Figure 7: Use of songs with a specific goal
20
Figure 8: Skills developed
21
Figures 9a and 9b: Activities developed in class
22
 CHAPTER ONE: INTRODUCTION

“It’s like ten thousand spoons, when all you need is a knife”.
Alanis Morissette.

1.1 Introduction to the problem

Using songs seems to be a common activity in EFL classrooms.

Teachers enjoy using songs, as this seems to provide them with a
“break” in their every day teaching. Students also enjoy learning
with songs for a variety of reasons—it is fun, it improves their
language skills, and they can finally know and understand what some
of their favorite songs say.
Also, songs can be used according to the objectives of an

English program. When students are learning English for different

reasons, with different objectives, songs will be used differently in the

classroom. This is the case with the language schools at the

Benemérita Universidad Autonoma de Puebla- the Licenciatura en

Lenguas Modernas (LEMO), the Centro de Lenguas (CELE), and the

foreign language courses at Tronco Común Universitario (TCU). The

students at these schools have different reasons for learning English.

In the LEMO, the students must be prepared to work with English in a

communicative way while also having extensive knowledge in

grammar and vocabulary since they will be teachers. In the CELE,

students of all ages receive general English courses to help them

reinforce what they are learning in school or to give them a better

background in language and culture.

The students at TCU are learning English in order to be able to

work with textbooks and materials written in English that they will

need for their major and also for situations they might encounter in

their major where they need to communicate in English. Each one of

the language schools at the BUAP has a distinct purpose and song

plays a role in each one. This thesis will look at those roles.

1.2 Problem

In most EFL classrooms, songs may not be exploited adequately

according to the learning objective in the classroom because for many

teachers, a song in the classroom is a synonym of “fun”. They only

have their students work with songs that they really want to know

the lyrics to, and both teachers and students can take a break from

the regular classroom routine. This use of songs may be problematic,

and it would be necessary to investigate how the teachers in the

BUAP use songs in the classroom. Songs may not be exploited

adequately according to the learning objective in the classroom. In

other words, there may not be a systematic way to use songs. An

optimal use of songs would involve adapting them to specific

purposes and working them out to extended activities, and not only

to fill a space in the class.

1.3 Rationale

A song can be a powerful learning tool in the classroom. Used

properly, it can help students learn and practice all language skills

and sub-skills. It is important that teachers know how to properly

exploit a song according to the objectives of the course and the

specific purposes of the students learning English in order to turn

wasted time in the classroom into wisely used time, focusing on

different aspects of language. The lyrics of the song can focus on

parts of speech, grammar tenses, idioms or slang. The students can

discuss topics brought up in the song. While singing the song or

while listening to it, one can concentrate on pronunciation. Essays or

songs can be written so that the writing side of the skills can be

focused on. In other words, the use of songs and their exploitation

need to be looked at more closely for the teacher to take advantage

of all the different activities, which can be used to teach the different

skills.
 This is especially important at the language schools of the BUAP

since each school has specific objectives and purposes for students

learning English. These objectives have been briefly presented in the

introduction and will be presented again in detail in Chapter 3 along

with the information about the subjects.

1.4 General Objectives:

1) To carry out an investigation looking at the present use of songs

in the language classrooms of the LEMO, CELE and TCU.

2) To suggest ways songs can be used more effectively according to

the learning objectives and context.

1.5 Research Questions

1) How are songs presently used by teachers in their classrooms in

the language schools of the BUAP: LEMO, CELE and TCU?

2) What is the profile of the students who are learning English in

these schools?

3) What are the most effective ways to use songs?

4) What are some advantages and disadvantages of using songs to

teach English?

5) How can the different skills be taught by the use of songs?

1.6 Research Strategies

 In Chapter One, the problem and its rationale establish the

reasoning behind this investigation. The objectives will be stated so

that this work presents a clear purpose. The research questions and

strategies will provide the reader with an idea about the focus of the

investigation.

In Chapter Two, bibliographical material about the use of songs

in the language classroom and the teaching of language skills will be

analyzed and compiled. This will set a background for the research

and back up the researchers use of different activities to use with

songs in the teaching of the language.

In Chapter Three, the methodology of the research presents the

subjects, the instrument and the procedure used in answering the

questionnaires (Using Songs in the Language Classroom) and in the

administration of the interview made to coordinators of the BUAP

languages schools. These questionnaires are important for the

researcher to know how songs are being used currently in the

language classroom. The interviews will allow the profile of the

students to be built up to a certain point.

In Chapter Four, the results of the questionnaire will be

analyzed and discussed, looking at the present situation and setting a

background for the need for information about more effective ways to

use songs in teaching languages according to the different contexts.

Finally, in Chapter Five, the conclusions and closing statements

concerning this topic will be stated. Following the Bibliography, the

Appendix will include the questionnaire and the interview questions

used in this research. The research will conclude with a classification

and suggestions of songs to be applied to specific parts of the speech,

a classification of topics for discussion, singers, activities, examples,

and Web Sites and a list of tables used.

CHAPTER TWO: LITERATURE REVIEW

“There are words that amuse
And the ones that abuse”
François Guy/Francine Raymond

2.1 Songs

Songs have been used for educational purposes since the

beginning of time. History and traditions have been passed down
from generation to generation in illiterate societies through song. In
various school subjects and cultures, songs have been invented and
used as mneumonic devices for learning and remembering. Here we
will look at the use of songs as applied in the language-teaching
context.
Byrne (1991) states that songs provide good listening practice

since the students are concerned with what the song says. The song

is combined with tasks that help the learner to improve language

skills. Authors such as Celce- Murcia and Hilles (1988), Gasser and

Waldman (1979) and Richards (1969) among others, agree that

songs have many benefits as they are used in the language

classroom. Songs can be adapted to a variety of situations. Hubbard

et al. (1983) state as one argument for using songs in the language

classroom that “songs can increase motivation to learn the language

as students, especially weaker ones, feel a real sense of achievement

when they have been able to learn a song” (92). Dubin (1974) points

out that, “songs can be utilized as presentation contexts, as

reinforcement material, as vehicles through which to teach all

language skills, and as a medium through which to present some of

the most important cultural themes which pervade modern life.”

(Cited in a paper presented at the TESOL Convention, Denver, CO, on

March 7, 1974). Using the context is very necessary when working

with grammar and vocabulary, as grammar and vocabulary are not

used in isolation but rather in a context. Songs provide meaningful

practice of the structures, and they are the best resource for

contextualization since they are usually based on cultural situations.

Context is the key to using language. Authentic language is

used in context and songs give context to language. Songs are

culturally rich, full of possibilities to give context in a language class

as well as giving the students a look at the English-speaking culture.

Songs can tell the students about the history of people (“The Legend

of Billy the Kid” or “Davy Crockett), the history of a country (the

History Rock series) or the culture of a foreign land (“Cats in the

Cradle”, for example).

Using songs in the language classroom has many benefits. One

of the greatest benefits, besides the obvious and also very important
teaching of grammar, vocabulary and listening, is the idea that

students can learn about the people and the culture where the songs

are from. “Culturally based assumptions regulate communication and

determine the underlying meanings of the spoken and written word.”

(Abrate 1992, p. 168).

Another benefit, as stated by Hubbard et al (1983) is the

opportunity the students have for cooperation. This makes the

students come together and not be so inhibited, thus helping to make

learning more effective.

Halquist (cited in Celce-Murcia and Hilles 1988), in an

unpublished handbook of activities for adult ESL students, states that

songs, along with other grammar activities, can be effective in five

different ways by:

1) adding variety as well as enjoyment to language learning (all

skills). Using songs as an alternate technique helps to boost

students´ motivation and lets them have fun while learning.

2) presenting authentic language, as well as introducing students to

various dialects. Students have the opportunity to hear and work

with language that is actually used and that may be very different

from “textbook English”.

3) allowing students to practice a previously studied, contrasting

structure along with a new structure. Combination of practice of

structures allows for review and reinforcement.

4) providing an opportunity to apply language skills to real-life

situations by extending the pattern in the song.

5) helping to develop cultural awareness, both of the present and the

past.

(p. 117).

Hubbard et al (1983, p. 93) give a table listing different types

of songs and their description. Depending on the purpose for which

the song will be used, the teacher can choose a song that can be

used effectively. Table 1 shows the types of songs and the

description proposed by Hubbard et al. (1983). p. 93.

Table 1: Songs and Their Descriptions According to Hubbard et al.

Type of song Description

Special occasion Songs which are sung in English-speaking countries only on

songs certain occasions or at certain times of the year. Teaching this
sort of song to students may give them an insight into English
culture.

Songs, usually children’s songs, which are sung to accompany

Songs and games certain games.

Action songs Songs which require actions or some sort of mime to be

performed while singing them. Ordinary songs can be made more
meaningful by devising a series of actions to accompany them.

Songs where one Specially written songs for teaching can be included here.
structure or a lot of
lexis is repeated
over and over
again.
Songs which tell a
story.

Looking at the different types of songs available for use in the

language classroom, one can see the opportunity the language

teacher has to show and teach students through the use of authentic
material. In this way, the students learn about the culture of the

country as well as the language.

2.2 Comprehension in foreign language learning

“Listening comprehension is an act of information processing in

which the listener is involved in two-way communication, one-way

communication and / or self-dialogue communication” (Morley in

Celce-Murcia 1991, p. 90).

Listening comprehension is something that we do not even

realize that we do until we are in an unfamiliar environment. One

listens his whole life- to television, to radio or to other people.

However, we take it for granted that we understand until we are in a

situation like that of a foreign language where proficiency is limited.

Anderson and Lynch (1993) describe some of the processes that one

takes for granted when communicating in his or her first language,

such as “dividing an unfamiliar speaker’s utterances into words,

identifying them, and at the same time interpreting what the speaker

meant and then preparing an appropriate replay” (p. 3). These

common tasks in the first language become difficult tasks in the

foreign language.

Looking at the two dominant views of listening, the “bottom-up

view” and the “top-down view”, it can be seen that the bottom-up

view shows that “listening is a process of decoding the sounds that

one hears in a linear fashion, from the smallest meaningful units (or

phonemes) to complete texts” (Nunan 1999, p. 200). This definition

states that these phonemic units need to be decoded and then put

together to form phrases. The phrases linked together form

utterances. The utterances linked together form whole texts. Figure

1 shows the bottom-up approach (adapted from Nunan 1991, p.64).

Figure 1: The Bottom-up Approach According to Nunan

Bottom-up approach

Recording Every sound Phonemes Blending

Pronunciation Meaning

discriminated

The top-down view of listening states “the listener actively constructs (or,

more accurately, reconstructs) the original meaning of the speaker using incoming

sounds as clues” (Nunan 1999, p. 201). In this view, the listeners´ knowledge of

the context and the situation of which the listening is taking place plays a very

important role in the listening process. Figure 2 shows the Top-down approach

(adapted from Nunan 1991, p. 65).

Figure 2 shows the Top-down approach (adapted from Nunan, 1991 p.65).

Top-down approach

Past experience, language Selective aspects Meaning

Sound, pronunciation

Intuitions and expectations. of listening (recording).

2.3 The importance of listening comprehension in language

Experts have different views about the role played by listening

comprehension. Krashen (1981 in Anderson and Lynch 1993) “has

claimed that listening plays a central- and possibly predominant part-

in the whole process of language learning” (p. 33).

“…Comprehension may be at the heart of the language

acquisition process: perhaps we acquire by understanding language

that is `a little beyond´ our current level of competence. This is

done with the aid of extra-linguistic context and our knowledge of the

world” (p. 107).

Listening is the first skill that we develop as babies. Children

usually have a “silent period” where they are not expected to produce

language yet since listening precedes speaking. Children can

understand more than they can speak. This is also the premise of

the Total Physical Response method that was developed by James

Asher. In order for the child to acquire the language, he or she must

receive comprehensible input.

“Listening is used far more than any other single language skill

in normal daily life.” (Morley 1991, p. 82). Listening is quite an

important skill and cannot be overlooked in foreign language

teaching. It is possible for one to develop speaking and be

incompetent in listening. It was not until 1969 that the experts

began to look more closely at listening.

Most teachers call listening a “passive” skill, along with reading.

However, these skills are very dynamic and are much more than

passive. A person who is listening has a purpose for the listening

task, whether inside or outside of the language classroom. The

students listen for their purpose and are very actively trying to

extract the information that they need while possibly disposing of the

rest. Those experts who take such a perspective on listening “fail to

account for the interpretation listeners make as they “hear” the

spoken text according to their own purposes for listening, their

expectations, and their own store of background knowledge” (p. 85).

2.4 Comprehensible input in listening comprehension

Input, as defined by Anderson and Lynch (1988), is “all

incoming speech and other signals that listeners hear” (34).

Comprehensible input is necessary when learning a foreign language.

Krashen states that even though the input must be comprehensible,

it also must always be a little beyond the levels of the students´

present competence. Krashen´s theory of i+1 (i= input) explains

how one acquires language. Imagine going to a foreign country. If

one read and heard input that was only within his or her present level

of competence, he or she might stay within that level, but not be

challenged to move beyond it. Input that is too high above the

student’s competence will only frustrate him and cause him to raise

his affective filter. Krashen´s input hypothesis states that

“acquisition takes place as a result of the learner having understood

input that is a little beyond the current level of his competence (i+1

level)” (Ellis 1985, p. 262).

2.5 Development of listening skills

As in the development of most knowledge or skills, grading of

activities needs to be carefully planned. Anderson and Lynch (1993)

agree that learners must progress from less complex tasks to more

complex tasks. Their success on the less complex tasks will motivate

them to move on to the more complex ones. The listener needs to

have simple listening activities at the beginning in order to be

successful at these activities and to gain confidence and also to

develop adequate listening skills. A listener who has been given very

complex tasks and incomprehensible input is likely to be frustrated

and “encourage passive and unsuccessful listening habits…”

Also, (Welford 1968) states that since listening is a complex

psychomotor skill, it is best practiced in clusters and not in small

units. With songs, this statement relates to what Celce-Murcia and

Hilles (1988) say about contextualization being important for

meaningful practice. Language is best learned in context and in

larger groups since that is actually how language is used.

2.6 Reading in a foreign language

Reading is an important part of one’s daily life that, like other

language skills is taken for granted by literate people in the native

language. The purpose of reading is to fulfill one’s immediate needs

and also to give pleasure.

“In today’s ESL / EFL classrooms, academic subject content is

frequently the context through which the target language is studied”

(Dubin and Bycina in Celce-Murcia 1991, p. 195). Again, context is

stressed since that is what one must concentrate on – what the

context is. What will be studied? Where will the language be studied?

Where and how will language be used? What is the context of the

situation where this will be used?

Reading activities can be adapted as part of the song.

Exercises such as reading for the main idea, reading for specific

information, understanding colloquial uses, idioms or unusual syntax

are exercises, which can be practiced while working with songs.

“…Combine with biographical or current events materials relevant to

the singer or content to offer valuable reading practice.” (Celce-

Murcia 1991, p. 176).

“…The cultural dimension to reading is central in second and

foreign language classrooms” (Parry 1987; Steffensen and Joag-Dev.

1984; Dubin and Bycina in Celce-Murcia 1991, p. 199). Culture is a

main part of language and using that culture can make reading

activites richer. When using songs, the music and / or the lyrics

should reflect the culture of the native speakers of the language.

2.7 Choosing a song

Many songs can be useful in the language classroom; however,

there are certain criteria that help to make some songs much richer

in content and useful for the objectives of the lesson than others.

Some specific aspects to look at when choosing a song are:

1. that it illustrate the use of past tenses.

2. that it review numerous irregular verbs.
3. that it show many instances of adjective agreement.
4. that it give clear examples of pronunciation.
5. that it provide a variety of vocabulary relating to common
situations such as: vacation, school, meals, etc.
6. that it contain many idioms and puns.
7. that it discuss family or social interaction.
8. that it refer to natural surroundings or environmental concerns.
9. that it draw clearly defined characters.
10. that it present historical figures or events.
11. that it show a well-defined poetic form.
12. that it be especially moving or entertaining.
(Celce-Murcia and Hille 1988, p. 169).

CHAPTER THREE: METHODOLOGY

“Don’t worry about things. Every

little thing is gonna be alright"
Bob Marley

3.1 Subjects

3.1.1 Licenciatura en Lenguas Modernas (LEMO)

The teachers from the LEMO are actually teacher trainers; they

are training future language teachers. In their context, teaching

English to their students is more than just simple comprehension or

production. It is a more in depth study of the language so the

students can teach it some day.

3.1.1.1 Teachers

The teachers from the LEMO were given questionnaires to

answer. These are teachers who are teaching or who have taught

English. Teachers in all levels (1-8) were taken into consideration for

the questionnaire. Fourteen teachers were given questionnaires.

3.1.1.2 Target Population

The objective of this research is to know how the teachers use

songs with their students. In this case, the students of the LEMO are

studying their bachelor’s degree in order to become language

teachers. The range of the students´ age is from 18 to 25 years old.

They have English classes nine hours per week with one hour of

laboratory. This is during eight semesters. The objective of the

course is for students to use the four skills acquired to work later as

an English teacher and to be able to write a thesis in English. More

generally, the objective is for the students to get 550 points on the

Test of English as a Foreign Language (TOEFL). The TOEFL exam is a

standardized English exam used to measure foreign and second

language proficiency. A score of 500 points is a proficiency that is

considered passable by most institutions.

3.1.1.3 Coordinator

The coordinator of the LEMO was asked the above information

about the students´ profile. The list of questions for the interview

was used (see Appendix 3). The present coordinator has been in this

position for almost 2 years.

3.1.2. Centro de Lenguas (CELE)

3.1.2.1 Teachers
 A total of 18 teachers from the CELE were asked to answer the

questionnaire. The teachers chosen for this investigation were those

who teach the regular courses, not the seasonal courses.

3.1.2.2. Target Population

The students in the normal courses at the CELE have a range of

18-25 years old. They take nine hours of English per week. There are

three levels (Basic, Intermediate and Advanced) with two sub-levels

in each (1 and 2). The objective of the program is to develop the

four skills to succeed in communication. The students expect the

acquisition of a foreign language and the abilities necessary for them

to function using the different language skills in their future field of

work.

3.1.2.3 Secretario Académico

The Secretario Académico of the School of Languages was

interviewed in order to get the profile of the students. He was asked

questions from the interview format, (see Appendix 3).

3.1.3 Tronco Común Universitario (TCU)

 The students enrolled in Tronco Comun Universitario are

students from all the different majors of the BUAP. The language

courses in TCU have been included in the curriculum so the BUAP

students would be better prepared to work in their profession. This

may be through reading comprehension in order to understand

professional journals, newspapers, etc.

3.1.3.1 Teachers

Thirty-eight teachers from TCU were asked to complete the

questionnaire. This school has many more teachers than the other

schools.

3.1.3.2. Target Population

In the credit system, all BUAP students are required to take 4

semesters of a foreign language. The students who take English

classes in TCU are BUAP students from all majors in the university.

The students´ ages range between 18 and 21, since the foreign

language courses must be taken within the first four semesters (basic

level) in order to pass on to the next level (formative level). They

have 2 English courses per week for two hours, making up a total of

4 hours a week. The objective of the program is to train the students

to develop the 4 skills, acquiring “survival” English. The students´

expectations of the course are to read and write texts and to

communicate in the spoken language.

3.1.3.3 Coordinator

The coordinator of the Foreign Languages at TCU was asked the

same information as the coordinators from the LEMO and the CELE.

Regarding the purposes for which the students need English and their

expected proficiency level upon finishing.

3.2 Instrument

3.2.1 Questionnaire for teachers

The instrument used in the investigation was a questionnaire,

which was applied to find out how songs are being used, and in what

situations they are being used. The questionnaire consists of 10

questions. (See Appendix 1) The questions ask how often they use

songs, about their criteria for choosing songs, the skills and activities

developed when using songs, and the results of the activities in the

classroom and their opinions about using songs.

3.2.2 Interview for coordinators of language schools

An interview was applied to the heads of each of the schools.

This interview was used in order to find out more about the program,

the objectives, the purposes, and to obtain a profile of the students.

A copy of the interview questions can be found in Appendix 3.

3.3 Procedure
 Two instruments were used, the questionnaires and the
interview. The following are descriptions of procedure.
3.3.1 Questionnaires

With the questionnaire having been designed, it was then

distributed to teachers in the different schools. The teachers were

asked to take about 10 minutes to answer the questionnaire while the

researcher either waited or agreed to come back later to collect the

questionnaire. The results were then analyzed and compiled so that

the researcher could have a clearer view of the actual use of songs in

the foreign language classroom.

3.3.2 Interview

The researcher made an appointment for an interview with each

of the heads of the schools. At the interview, the questions were

asked about how the students would have to use language upon

completion of their course of studies and the answers were written

down.
CHAPTER FOUR: DISCUSSION OF THE RESULTS
“Sometimes the snow comes down in June.
Sometimes the sun goes round the moon.”
Waldman/Lind/Galdston.

The results of the questionnaire showed some very useful

information to the researcher about the use of songs in the

classroom. The questionnaire (See Appendix 1) was designed to

allow the researcher to see the different purposes and ways of using

songs in the language schools of the BUAP- LEMO, CELE, and TCU.

In the first question, it can be seen that more teachers in the

LEMO and the CELE who teach higher levels of English were asked to

answer the questionnaire as part of this investigation. The teachers

who answered the questionnaire in TCU teach more basic levels. Only

25% and 38% of teachers in the LEMO and CELE respectively teach

basic while 63% teach basic in TCU. Among the teachers who

answered the questionnaire, 25% from the LEMO, 20% from the

CELE and 0% from TCU teach advanced. This may have an effect on

the frequency and the purposes for which songs are used. Figure 3

shows the level of English by questioned teachers.

Figure 3: Level of English taught by participating teachers.

 Basic Low-interm Intermediate High-interm Advanced
LEMO 25% 7% 14% 22% 25%
CELE 38% 6% 6% 27% 20%
TCU 63% 32% 5% 0% 0%

Level of English

70%

60%

50%

40% LEMO
CELE
30%
TCU
20%

10%

0%
basic low-interm intermed high-interm advanced

In the second question, it can be seen how often the teachers use songs. It is

surprising to see that the teachers have almost the same averages. Songs are not

used in extreme (very frequently), but normally between once a week and once a

month. In TCU, 21% of the teachers use songs only once a semester while in the

CELE, 28% of the teachers almost never use songs. This is mostly because of the

time factor the teachers have for presenting the information listed as part of the

curriculum in one semester. Other teachers do not think that songs are the

greatest didactic instrument and do not use them often. Figure 4 presents the

frequency of the use of songs.

Figure 4: Frequency of use of songs.

2-3 times/ Once/ two Once/

week Once/ week weeks Once/ month semester
LEMO 7% 22% 22% 42% 0%
CELE 0% 18% 28% 26% 0%
TCU 0% 0% 46% 27% 21%
 Frequency

50%
45%
40%
35%
30%
LEMO
25%
CELE
20%
TCU
15%
10%
5%
0%
2-3 times/ once/ week once/ two once/ month once/
week weeks semester

In question 3, the most popular songs are pop, followed by slow songs, then

by rock. The teachers who filled out the questionnaire never use children’s songs

and only 10% of the teachers in the CELE use traditional songs. In the “other”

category, 30% of the teachers in TCU, 5% in the LEMO and 2% in the CELE use

whatever songs the students want to use. This suggests that those teachers use

songs more for fun rather that for specific purposes. Figure 5 shows the kinds of

songs most popular in the EFL class.

Figure 5: Kinds of songs most used in class.

Pop Rock Slow children’s Traditional

LEMO 30% 20% 25% 0% 0%
CELE 42% 21% 23% 0% 10%
TCU 32% 16% 22% 0% 0%
 Kinds of songs

45%
40%
35%
30%
25% LEMO
20% CELE
15% TCU
10%
5%
0%
pop rock slow children´s traditional

What criteria do the teachers use for choosing the songs? There is a lot of

variation in the answers. Mostly, teachers base their decisions on the students´

taste, their own taste, the skills to be taught, and the grammar that can be studied

through the song. Figure 6 presents the criteria to choose a song.

 Figure 6: Criteria to choose a song.

Skills to singabilit
Ss level Ss taste T taste be taught Lyrics Grammar Vocab Rhythm y
LEMO 17% 10% 12% 15% 10% 30% 15% 2% 2%
CELE 15% 10% 5% 12% 12% 15% 12% 8% 9%
TCU 21% 13% 10% 17% 7% 27% 2% 1% 2%

Criteria

30%

25%

20%
LEMO
15%
CELE
10% TCU
5%

0%
Ss level T taste lyrics vocab singability

Do teachers always use songs with a specific goal in mind? A significant

proportion of the teachers say that they usually use songs with a specific goal.

75% of the teachers in the LEMO say they do, 52% of the CELE answered

affirmatively while 74% of those in TCU say that they do. Figure 7 shows the use

of songs with a specific goal.

Figure 7: Use of songs with a specific goal

Yes No Usually
LEMO 75% 13% 12%
CELE 52% 11% 37%
TCU 74% 1% 25%

Specific goal?

80%

60%
LEMO
40% CELE
TCU
20%

0%
yes no usually
 When the teachers were asked what skills they focus on when using songs,

the answers were almost the same. There is an average of 25% between the 3

schools, meaning that the teachers claim that they work evenly with all four skills.

Figure 8 presents the skills developed in class.

Figure 8: Skills developed

Listening Speaking Reading Writing

LEMO 27% 23% 25% 25%
CELE 31% 28% 22% 19%
TCU 25% 25% 25% 25%

Skills

35%
30%
25%
20% LEMO
CELE
15%
TCU
10%
5%
0%
listening speaking reading writing

It was interesting to see what activities the teachers develop when working

with songs. The activities that got the highest answers were cloze activities (the

lyrics of the song with spaces where the student has to fill in missing words);

grammar exercises and having the students sing the song. This goes against what

was previously answered by the teachers about working the four skills with songs.

Many of them focus only on grammar, vocabulary and pronunciation, sometimes

ignoring the other skills. Figures 9a and 9b, in the next page, illustrate these

results.
 Figure 9a: Activities developed in class.

Distinguish
Cloze Grammar Ss sing Vocab discussion sounds Idioms
LEMO 15% 22% 32% 20% 10% 5% 0%
CELE 13% 12% 8% 9% 8% 7% 9%
TCU 18% 17% 23% 15% 4% 3% 0%

Activities

35%
30%
25%
20% LEMO
15% CELE
10% TCU
5%
0%
cloze Ss sing discussion idioms

Figure 9b: Activities developed in class.

Dictatio Putting in Questions &

n Writing Describing Listen. sp. info. order answers
LEMO 0% 2% 0% 15% 2% 5%
CELE 5% 3% 4% 10% 6% 4%
TCU 0% 5% 0% 2% 0% 13%

Activities

16%
14%
12%
10%
LEMO
8%
CELE
6%
TCU
4%
2%
0%
dictation writing describing listening: putting in questions
spec. info. order & answers

All teachers answered that songs are motivating for students

and that they provide good language practice. They enjoy using
songs since the students really seem to like them and they

participate actively.

In conclusion, it seemed that the teachers contradicted

themselves at times when answering the questionnaire. As teachers,

one is taught the importance of covering all the skills; however, it

was seen through this research that grammar and vocabulary are

focused on more. Furthermore, even though the teachers in the

three language schools have different objectives for their students,

they tend to use songs very similarly. Songs have been found to be

very motivating tools in the language classroom, and they can be

used in a variety of ways.

CHAPTER FIVE: CONCLUSIONS
“In a sky full of people, only some want to fly, isn’t that
crazy?” Seal/G. Sigsworth.

5.1 Conclusions

This research showed that the teachers in all three language schools of the

BUAP use songs in almost the same way, even though their students have different

objectives and purposes for the language. Most teachers do have ideas about the

exploitation of songs in the language classroom. However, by providing them with

clear guidelines, they could improve their teaching practices through the use of

songs according to their students’ specific needs. Not only can songs help in the

teaching of language skills, but they can also help to teach culture when properly

exploited. It is up to the teacher to take the time and initiative to prepare a song

for use in his or her classroom.

The results obtained showed that more teachers in the LEMO and the CELE

teach higher levels of English whereas the teachers who answered the

questionnaire in TCU teach more basic levels. Only 25% and 38% of teachers in

the LEMO and CELE respectively teach basic while 63% teach basic in TCU. Among

the teachers who answered the questionnaire, 25% from the LEMO, 20% from the

CELE and 0% from TCU teach advanced. It was also determined how often the

teachers use songs, and it was surprising to see that the teachers use songs

regularly. Songs are not used very frequently, but normally between once a week

and once a month. In the TCU, 21% of the teachers use songs only once a

semester while in the CELE, 28% of the teachers almost never use songs.

Regarding the kind of music used, the most popular songs were pop,

followed by slow songs, and then rock. The teachers who filled out the

questionnaire never use children’s songs and only 10% of the teachers in the CELE

use traditional songs. In the “other” category, 30% of the teachers in TCU, 5% in

the LEMO and 2% in the CELE use whatever songs the students want to use. This
suggests that those teachers use songs more for fun rather that for specific

purposes. On the other hand, it was seen that teachers base their selection of

songs mostly on the students’ taste, their own taste, the skills to be taught, and

the grammar that can be studied through the song.

The results also showed that teachers use songs with a specific goal, and

that they work evenly with all four skills. Finally, the activities developed with

songs were cloze activities, grammar exercises, and having the students sing the

song.

5.2 Limitations of the study

The present study was based on survey research, eliciting information by

means of a questionnaire. The data collected, then, was about the perceptions and

opinions of teachers about the use of songs in the English classroom. These

perceptions, however, may not reflect reality. The limitations of survey research

are that sometimes the respondents do not provide true answers to the questions.

In this way, the results of the present research may be considered as subject to

some level of inaccuracy. However, it is expected that the information and the

results discussed here will shed some light on the uses of songs in the different

language schools of the BUAP. Some suggestions for using songs, based on the

results of this research are provided below.

5.3 Steps to work with songs

1. Choose a song, following the criteria suggested in chapter two.

2. Adapt the song to the objectives to be worked in class.
3. Look for visual material to support these objectives and activities.
4. Prepare a warm up before presenting the song.
5. Introduce the song’s topic, by creating a link to establish the
context, in clear and specific form. (Boiron 1998).
6. Explain new vocabulary by using key words.
7. Play the song once, to be familiarized with it.
8. Develop the activities designed.
9. Play the song one more time or as many as necessary.
10. Use complementary activities supported by extended exercises.
5.4 Possible Problems:

1. Some pieces of language can change the general idea of the song.

For this, it is better to introduce the main point of the song. (Nunan

1991).

2. If the activities designed for the song are not working as planned,
it is better

to have an alternative activity but keeping the same objective.

3. For the next time that problems appear, the teacher can readapt
the activities

or change them.

4. The teacher must consider the criteria to choose a song and the
steps to use

songs.

5. Avoid that the students be distracted in other parts of the song

that are not part

the objective. Establish the "route" (Boiron 1998).

6. Explaining all the vocabulary is a waste of time, only key words are
required.

7. The pupils are not always in the mood for certain songs, but that
doesn't mean

that the song selected failed.

8. Rap and heavy rock songs are not recommended because of the
fast speed of

the singer's voice or the loudness sound of musical instruments. All

this could

confuse the learners. If the level is advanced and the students are
able to listen

these songs, the teacher can use this music.

9. The selection of songs needs to be conscious.

10.The copies taken from the song have to be clear.

11. Suggestions by the pupils must be considered and discussed.

12. Students are not required to understand the full meaning of the
song, just the

general idea.

13.It is useful to record the song twice or even three times, in order
to avoid

wasting time in rewinding. Nowadays, CD players are more

effective to

repeat the whole song or just a specific part of it.

14. Songs are complements for the class. They reinforce

pronunciation, listening

and comprehension, but this doesn’t mean that learning a foreign

language

will be done only with songs.

15. Wrong application of the internal factors could make listening fail.
These

factors are: interest, motivation, attentiveness and knowledge of

the topic,

(Waston and Smeltzer 1984).

16. Likewise, textual factors (organization of the information,

familiarity of the

topic, explicitness and sufficiency of the information, the type of

referring

expressions used, and descriptions of static or dynamic

relationship) have to

be considered, (Anderson and Lynch 1988).

17. When the song is presented out of context, this becomes

“deauthenticated”,
 (Nunan 1999).

5.5 Recommendations:

1. Choose current or timeless songs that reflect true culture and

standard

spoken English.

2. The songs could be complemented with video clips (when

available). The visual material reinforces and supports the lyrics

from the song.

3. The introduction of the song must be specific and clear.

4. Create a link (Boiron 1998). This means, engage the students into

the song’s topic. This way, they can relate the topic to their reality.

This makes the student want to listen to the songs and therefore,

they personalize the song.

5. Many resources can be used to find song lyrics. One idea of the

teachers from this investigation was to have the students

themselves write the lyrics to the song and make the presentation

in the classroom, conducting the activity. Another resource is the

internet where one can find lyrics to the most current songs and

timeless classics. If the internet is not available, some CDs or tapes

include the song lyrics. Moreover, there are magazines specialized

in lyrics and singers.

6. If you have the lyrics to a song without music, don’t be afraid to

invent music or to ask students to perform. Part of the fun can be

having groups come up with the most creative rhythm.

7. A brief biography of the singer is useful to support the song’s

background.

8. The students are able to apply what they know (top-down), and
relate it to

what they listen to in the song (bottom-up), (Nunan 1999).

9. “The context in which language is used and the purposes to which

it is put will

play a large part in shaping the language”. (Nunan 1991).

10. Very long songs are not recommended, an average of time of the
song could

be around five minutes.

11. The whole song can be played in order to be familiarized with it.

Then, in the second playing, it could be played in parts.

12. Motivation is quite important for this kind of activity.

13. Lyrics are real and living language. So, they present a lot of
contractions and

several pronunciations.

14. “Appropriate listening materials which are calibrated to the

interests and

abilities of the students are needed for systematic growth in

listening skills”.

(Ross 1992, p.192-193).

15. The learners can have a certain degree of control over the
content of the song.
16. After finishing with the activities, the new vocabulary could be
applied by

using it in for the production of sentences.

17. Identifying the song’s mood is useful to encourage sensibility in

the pupils.

5.6 Suggestions

The most obvious suggestion, but the most forgotten one by the

teachers, is to use the songs to practice various skills, not just to look

at the subskills.

5.7 Listening: Obviously, listening to the song for any other purpose

is good practice. The teacher can have the student listen for specific

information or listen for the main idea. Songs can help improve

listening by teachers having students distinguish sounds and extract

more common, but rarely studied reductions, such as “gonna” and

“wanna”, etc.

5.8 Speaking: Besides the obvious reason of having the students

sing the song to practice pronunciation, have the students discuss a

topic that comes up in the song. If there are various characters in

the song, the students can act out the song. The teacher’s

imagination is the limit. The students can make a telephone call to

one of the characters. If there is dialogue, the student can answer

the singer, etc.

5.9 Reading: After having read over the song and one understands

it, the students can:

 Read historical information about an event that comes up in the

song.

 Read biographical information about the singer or about historical

characters.

 Research a historical event and write a song or a dialogue related

to it.

 Work with writing activities and use them for reading practice.

5.10 Writing: There are so many activities the teacher can use for

writing that the teacher may never use them all. Some of them

include:

 Write about characters, or write letters to them.

 Take dictation of the song.

 Brainstorm and write a song of their own or another version of it.

 Write about a historical event related to the song or that could be

related to the song.

5.11 Directions for further investigation

The previous suggestions are part of a very small list of ideas

from the researcher of this project. Ideas for using songs in the

language classroom are endless and the teacher can use them for

much more than just fun. This investigation just focuses on the

present use of songs by the Language schools of the BUAP. In the

same way, it can be continued with another research like using

specific songs, singers or video clips in the EFL classroom.

 BIBLIOGRAPHY

Abrate, J. (1992). “The Popular Song: An Authentic Tool for

Enriching the EFL Classroom. Creative Approaches in FL
Teaching. William N. Hatfield (ed.). Illinois: NTC. Anderson, A.
and T. Lynch (1993). Listening. Oxford: Oxford University
Press.

Anderson, A. and T. Lynch. (1993). Listening. Oxford: Oxford

University Press.

Boiron, M. (1998) “Approches Pédagogiques de la Chanson

Contemporaine”: Presented in XI Encuentro de formación
continua y de centros de autoaprendizaje. Puebla: BUAP.

Bygate, M. (1993). Speaking. Oxford: Oxford University Press.

Celce-Murcia, M. (1991). Teaching English as a Second or Foreign

Language. Boston: Heinle 1& Heinle.

Celce-Murcia, M and S. Hilles. (1988). Techniques and Resources in

Teaching Grammar. Oxford: Oxford University Press.

Collie, J. and S. Slater. (1987). Literature in the Language Classroom.

Cambridge: Cambridge University Press.

Dubin, F. (1974). Paper presented at the TESOL Convention, Denver, CO. On March
7, 1974. Cited in Halquist in Celce-Murcia.

Dubin and Bycina, cited in Celce-Murcia. (1991). Teaching English as

a Second or Foreign. Language. Boston: Heinle & Heinle.

Ellis, R. (1985). Understanding Second Language Acquisition.

Oxford: Oxford University Press.

Gasser, M. and E. Waldman. (1979). “Using Songs and Games in the

ESL Classroom.” Teaching English as a Second or Foreign
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MA: Newbury House.

Hamilton, D. (1999, May 26). NATO Approves ‘Big Stick’ Peace Force.

The News, p.7.

Hubbard, P. et al. (1983). A Training Course for TEFL. Oxford

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Kniveton, J. and M. Monterrubio. (1997). Singing in English. Mexico

City: Delta.

McCarthy, M. (1995). Vocabulary. Oxford: Oxford University Press.

Morley, J. (1991). “Listening Comprehension in Second or Foreign

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Murphey, T. (1992). Music and Song. Oxford: Oxford University

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Nunan, D. (1991). Language Teaching Methodology (A text book for

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Nunan, D (1999). Second Language Teaching and Learning. Boston:

Heinle & Heinle.

Parry. (1987). Cited in Celce-Murcia 1991. Teaching English as a

Second Foreign Language. Boston: Heinle & Heinle.

Pomeroy, C.A. (1974). Songs for Intermediate ESL. Master’s Thesis;

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Richards, J. (1990). Interchange. Cambridge: Cambridge University Press.

Rost, M. (1996). Listening in Language Learning. London: Longman.

Shaw, A.M. (1970). “How to Make Songs for Language Drill.” English
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Steffenson, M. and Joas-Vev. (1984). Cited in Celce–Murcia.

1991.Teaching English as a Second Foreign Language.
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Wallace C. (1992). Reading. Oxford: Oxford University Press.

Welford, A. (1968). Fundamentals of Skill. London: Methuen.

Appendix 1

Questionnaire

Using Songs in the Language Classroom

You may check as many answers as apply on this questionnaire.

Name:

(optional)_______________________________________________

___

Name of school:

___________________________________________________

1. Level of English presently teaching:

__basic

__low-intermediate
__intermediate

__high-intermediate

__advanced

2. How often do you use songs in teaching your English class?

__2-3 times a week

__once a week

__once every two weeks

__once a month

__once a semester

__almost never

3. What kinds of songs do you usually use?

__pop

__rock

__slow

__children’s

__traditional

__other (specify) ____________________

4. What criteria do you use when choosing a song?

__students´ level __grammar

__students´ taste __vocabulary

__your taste __rhythm

__skills to be taught __sing ability

__clearness of lyrics __other

_______________________

5. Do you use songs according to a specific purpose or goal?

__yes

__no

__usually

6. What skills do you develop?

__listening __reading

__speaking __writing

7. Within those skills, what activities do you develop?

__cloze exercises __students sing

__grammar exercises __vocabulary

__discussions about topic __writing about song

__listening for specific information __describing

__distinguishing sounds __putting in correct order

__idioms __question and answer

__dictation __other

8. What are students´ reactions when using songs?

9. What results do you get from using songs?

____________________________

_______________________________________________________

_________
10. In general, what is your opinion about using songs in the

language classroom?

APPENDIX 2
Interview with coordinators of the language schools

1. Learners Profile

a. What is the average age of the students?

b. What is the students´ major?
1. Are they studying at university level yet or are they high school
level or below?
2. Are they adult learners who are working besides taking classes?
c. Are the groups homogeneous heterogeneous (according to age,
major, etc.)

2. Frequency

a. How many hours a week do the learners attend English classes?

3. Objective

a. What is the goal for them to learn English?

b. What are the objectives of the program or course?
c. What results are obtained? (Do the results match the objectives?)
Appendix 3

1. Classification of songs in relation to their grammar application.

Nowadays, some EFL materials offer a variety of songs

recommended for academicals purposes. On the other hand,
commercial music is an option that is renewed everyday and offers a
lot of possibilities to exploit songs. Therefore the teacher must select
an adequate song, in relation to an objective and level. Suggestions
by the students also should to be considered. The following list of
options and songs was carefully selected from many lyrics and
different times, and by checking their topics and by classifying them
into categories. In the case of grammar, the selection considers the
most basic grammar tenses and other elements of language. For
this, the songs that only include one grammar tense that is repeated
several times were not considered. Instead of this, the research
focused on the same tense but with several verbs, e.g.: (“we were
walking, we were talking, we were laughing…the moon was
rising…the night was falling,” etc). Songs like the previous mentioned
present more forms and examples. And also, some songs designed
for teaching EFL/ESL were included to complete this list. Finally, a
list of singers and songs that offer several themes to be discussed in
class is provided. Timeless songs were not considered, however,
they can be adapted to the following classification suggested.

Songs are rich in grammatical structures; they also are real

language. Thus, because of repetition they engage students easily.
The following list gives a classification of songs, which can be applied
to specific grammatical points.

Simple present
1. “Alright”, Supergrass.
2. “Across the lines”, Tracy Chapman.
3. “June afternoon”, Roxette.
4. “Hand in my pocket”, Alanis Morissette.
5. “You learn”, Alanis Morissette.
6. “Love hurts”, Nazareth.
7. “That’s what love is”, Amy Grant.

Present continuous
1. “Don't dream, it's over”, Crowded House.
2. “Lemon tree”, Fool’s Garden.
3. “June afternoon”, Roxette.
4. “Shopping at the K-mart”, (Finch) *
5. “Missing you”, John Waite.

Simple past
1. “Stars”, Simply Red.
2. “Norwegian Wood” (This bird has flown), The Beatles.
3. “Anything can happen”, Was (Not Was).
4. “La isla bonita”, Madonna.
5. “Hazard”, Richard Marx.

Past continuous
1. “La luna”, Belinda Carlisle.

Present perfect
1. “What have they done to the world? (Bryam Abbs & Nola York). *
2. “Nothing compares to you”, Sinèad O’Connor.
3. “True blue”, Madonna.

Present perfect continuous

1. “Waiting for a girl like you”, Foreigner.

Future
1. “Love will lead you back”, Taylor Dayne.
2. “Runaway”, Janet Jackson.
3. “Crying in the rain”, AHA.
4. “Rush, rush”, Paula Abdul.
5. “I’ll be there”, The Escape Club.

Question structures
1. “Where does my hear beat now?” Céline Dion.
2. “Why is it so hard?” Madonna.
3. “Kiss the rain”, Billie Myers.
4. “Eternal flame”, Bangles.
5. “Drive”, The Cars.

Imperatives.

1. “I'll stand by you”, Pretenders.

2. “Don't speak”, No Doubt.
3. “The hokey pokey”. *

Conditionals and modals

1. “Blame it on the rain”, Milli Vanilli.
2. “Could have been”, Tiffany.
3. “Lend a hand”. *
4. “More than words”, Extreme.
5. “One of us”, Joan Osborne
6. “You scratch my back”, I’ll scratch yours. *
7. “Change”, Lisa Stansfield.
8. “Hat full of stars”, Cyndi Lauper.

Tenses review
1. “You don't understand me”, Roxette.
2. “All by myself”, Céline Dion.
3. “True blue”, Madonna.
4. “Where do broken hearts go?” Whitney Houston.
5. “Alone”, Heart.
6. “Hat full of stars”, Cyndi Lauper.
7. “Piano man”, Billie Joel.

Pronouns and possessives

1. “My heart will go on”, Céline Dion.
2. “Mystical experience”, Boys Zone.
3. “Paradise”, Sade.
4. “And I love her”, The Beatles.

Nouns, adjectives and adverbs

1. “I don't wanna talk about it”, Rod Stewart.

2. “Creep”, Radiohead.
3. “I'll be there”, The Escape Club.
4. “True colors”, Cyndi Lauper.
5. “The one”, Elton John.
6. “Alone”, Heart.
7. “Forever young”, Rod Stewart.
8. “Hand in my pocket”, Alanis Morissette.

Prepositions
1. “I'll be there”, The Escape Club.
2. “Against all odds” (Take a look at me now), Phil Collins.
3. “Two steps behind”, Def Leppard.
4. “Tom’s dinner”, Suzanne Vega.
5. “Kiss of life”, Sade.
6. “Hotel California”, The Eagles.

Idioms, opposites and vocabulary

1. “Fast car”, Tracy Chapman.
2. “Sing a song of opposites”. *
3. “Opposites attract”, Paula Abdul.
4. “Clothes line”. *
5. “Give me the alphabet”. *
6. “Magical colors”. *
7. “Playful Saturday”. *
8. “Splish, splash” (parts of the body). *
9. “The leader” (parts of the body). *
10.“The haunted house” (there is/are/was/were). *
11. “The twelve months of the year”. *
12. “Eat you broccoli” (food). *
13. “The hokey pokey”. *

2. Songs with a topic for discussion

Contemporary themes
1. “Everybody wants to rule the world”, Tears for Fears.
2. “Man in the mirror”, Michael Jackson.
3. “We are the world”, USA for Africa.
4. “Wind of change”, Scorpions.
5. “Subcity”, Tracy Chapman.
6. “Dirty cash”, Adventures of Steve V.
7. “Forever young”, Alpha Ville.
8. “Money for nothing”, Dire Straits.

Nature
1. “Chorus”, Erasure.
2. “Don't kill the world”, Boney M.
3. “Heal the world”, Michael Jackson.
4. “Promise of a new day”, Paula Abdul.

Drugs
1. “Toy soldier”, Martika.
2. “Hotel California”, The Eagles.
3. “Street soldiers”, Hammer.
4. “Games”, New Kids On The Block.
5. “Black Balloon”, Go Go Dolls.

Saying good bye (death and leaving).

1. “Praying for the dying”, Seal.

2. “Father and son”, Cat Stevens.
3. “Bohemian Rhapsody”, Queen.
4. “Wild world”, Cat Stevens.
5. “The power of goodbye”, Madonna.
6. “Tears in heaven”, Erick Clapton.

Family relations
1. “Cats in the cradle”, Cat Stevens.
2. “Keep it together”, Madonna.
3. “Ode to my family”, The Cranberries.
4. “Oh father”, Madonna.
5. “Papa don't preach”, Madonna.
6. “You’re no son of mine”, Genesis.

Education and cultural awareness

1. “Another brick in the wall”, Pink Floyd.
2. “Fast car”, Tracy Chapman.
3. “Material world”, Tracy Chapman.
4. “Get up, stand up”, Bob Marley.
5. “11mph”, Was (Not Was).
6. “What up dog?” Was (Not Was).
7. “I love rock ‘n roll”, Joan Jett & the Blackhearts.

Racism
1. “Somewhere in America”, Was (Not Was).
2. “Across the lines”, Tracy Chapman.
3. “Born to fight”, Tracy Chapman.
4. “Get up stand up”, Bob Marley.
5. “Working for the fat man”, The Escape Club.
6. “Hazard”, Richard Marx.
7. “Rhythm nation”, Janet Jackson.

War and peace

1. “Imagine”, John Lennon.
2. “Happy Xmas” (War is over), John Lennon.
3. “War is stupid”, Culture Club.
4. “Zombie”, The Cranberries.
5. “Goodbye Joey Rae”, The Escape Club.

Food for thought and reflection

1. “Crazy”, Seal.
2. “Ironic”, Alanis Morissette.
3. “One of us”, Joan Osborne.
4. “Return to yourself”, Enigma.
5. “Sweet dreams”, Eurhythmics.
6. “What's up”, 4 Non Blondes.
7. “Piano man”, Billie Joel.
8. “Why?” Tracy Chapman.
9. “Dust in the wind”, Kansas.

Motivating songs
1. “Alright”, Supergrass.
2. “Let your soul be your pilot”, Sting.
3. “Life is a flower”, Ace of Base.
4. “Here comes the sun”, The Beatles.
5. “Ray of light”, Madonna.
6. “Heaven is a place on Earth”, Belinda Carlisle.
7. “Three little birds”, Bob Marley.
8. “Don’t worry be happy”, Bobby McFerrin.

Love
1. “All I wanna do it’s make love to you”, Heart.
2. “For my lover”, Tracy Chapman.
3. “Sacrifice”, Elton John.
4. “Seasons change”, Exposé.
5. “Tie a yellow ribbon round the old oak tree”, Tony Orlando &
Dawn.

Loneliness
1. “Lemon tree”, Fool’s Garden.
2. “Somebody to love”, Queen.
3. “True blue”, Madonna.
4. “I still got the blues”, Gary Moore.
5. “I remember you”, Skid Row.
6. “Time after time”, Cyndi Lauper.

Friendship
1. “Hmm bop”, Hanson.
2. “Say you, say me”, Lionel Richie.
3. “When I’m 64”, The Beatles.
4. “With a little help from my friends”, The Beatles.
5. “You got a friend”, Carole Kim.
6. “We are the champions”, Queen.

Escapade
1. “All I wanna do”, Sheryl Crow.
2. “Hotel California”, The Eagles.
3. “Land of dreaming”, Masterboy.
4. “Over the rainbow”. (Arlen-Harburg). *
5. “Escapade”, Janet Jackson.
6. “Octopus garden”, The Beatles.
Poverty
1. “Another day in paradise”, Phil Collins.
2. “Gypsy woman”, Crystal Waters.
3. “Talkin’ bout a revolution”, Tracy Chapman.
4. “Working for the fat man”, The Escape Club.
5. “Why?” Tracy Chapman.
6. “Dirty cash”, Adventures of Steve V.

Religion
1. “One of us”, Joan Osborne.
2. “Love thy will be done”, Martika.
3. “Like a prayer”, Madonna.
4. “From a distance”, Bettle Midler.
5. “My sweet lord”, George Harrison.
6. “Losing my religion”, R.E.M.

Being a woman
1. “You oughta know”, Alanis Morissette.
2. “All that you have is your soul”, Tracy Chapman.
3. “She works hard for the money”, Donna Summer.
4. “Gloria”, Laura Branigan.
5. “Uninvited”, Alanis Morissette.
6. “Torn”, Natalie Imbruglia.
7. “Pearls”, Sade.
8. “That don’t impress me much”, Shania Twain.

* These songs are available in EFL/ESL materials.

3. Singers who present a wide variety of songs with topics for

discussion.
1. Alanis Morissette.
2. Billie Joel.
3. Bob Marley.
4. Cat Stevens.
5. John Lennon.
6. Madonna.
7. Sting.
8. The Beatles.
9. Tracy Chapman.
10. Was (Not Was).

More classifications and options could be added, in the same

way these songs could be substituted by the new songs, which are
related to the same topic. The activities developed from songs
emphasize prediction, reflection and learning. In the same way,
songs offer a variety of expressions and idioms, which show the
language in context as it is spoken in real life. “Authentic spoken
language presents a challenge for the learner to attempt to
understand language as native speakers actually use it”, Rost (1994:
141-142). Similar like this, to exposing pupils to authentic texts it is
benefical because “nonauthentic listening texts differ in certain ways
from authentic texts”, Nunan (1999: 212). The first ones used to
include linguistic functions that are more applied in writing rather
than in spoken language. For this reason, songs like any other
sources of authentic material facilitate learning, listening and
comprehension.
4. Other activities suggested

As it has been seen, the possibilities for exploiting songs are

unlimited. However, here is a list of possible activities for EFL classes.

1. Cloze exercises.
2. Mixed up song. (A puzzle song).
3. As a quizz.
4. Just for singing and having fun. (To review pronunciation).
5. For discussion.
6. Background music.
7. For translation.
8. Discrimination of sounds.
9. Find out vocabulary.
10.“Recreating a song” (Rewriting a song).
11.To review a grammar element.
12.Comprehension and writing exercises.
13.For dictation.
14.A combination of these activities.

5. Web sites to find lyrics.

www.summer.com.br
www.seas.upenn.edu
www.lyrics.ch
-http://barstop.com/wwwboard/Musicians/messages/6.html
--
http://www.komando.com/other/kool_sites/music/1998080
7_17...
--
http://207.200.73.135/Arts/Music/Bands_and_Artists/M/Mo
od...
--http://www.interagora.gr/candbot/lyrics.htm
--http://netsurf.citylink.de/users/gpavicic/music/lyrics_e....
--http://www.home.sk/www/search/lyrics.htm
--http://ambrosia-net.virtualave.net/lyrics.html
--http://whiplash.net/letras.html
--http://mud.ncte.org/lists/ncte-talk/nov98/msg00382.html
--http://ww.mp3now.com/html/lyrics.html
--http://www.top3.net/fleetwood_mac/
--http://www.deadinv.com/resource/RNETmusic.htm
--http://www.swissonline.ch/de/alpha/i.shtml
Appendix 4
Examples
In the English class the songs could be used in several forms with
different objectives. Here are just some possibilities.

1. Music genres.
Teaching grammar can be easily while the learners have fun. The
following activities are designed to complement some grammar
exercises

Level: Basic.
Time: 15-16 Min.
Age: 18-24 years.
School: Universidad Realística.

Background information
In this university the students have been working with the well-
known book "Interchange". The following activity was applied to
introduce the unit 4 of the book mentioned. This part of the book
shows some common rhythms: pop, rock, country, gospel, jazz,
classical music and blues, as the most sold in the USA.

General objective
To introduce different musical genres the learners should identify that
by listening to some popular songs.

Specific objective
Students will be able to make questions, to express agreement and
disagreement and use object pronouns.

Warm up
To ask questions like: Do you like music? -Yes, I do.
Do you love rock? -No, I don't.
Material
A tape recorder and a tape with some samples of well-known songs.
Each one of 10 seconds in average.

Activities: The tape is played, this one includes these genres:

Genre
1. New Age
2. Rock & Roll
3. Pop
4.Opera
5. Classical.
6. Jazz.
7. Rap
8.Techno
9. Ranchera
10.Tango
11.Banda
12.Norteña
13. Heavy metal
14. Hard Rock
15.
Romantic/Ballad
16. Dance/Disco
17. Reggae
18. Waltz
19. Hip Hop
20. Country
21. Can Can
Then, as the samples are played, the teacher asks: What kind of
music is it?
The pupil’s answer: it's pop; it's classical, etc.
Later, the activity continues with a conversation from the textbook:

Conversation: Like and dislikes

Listen and practice.

Liz: Do you like jazz Tom?

Tom: No, I don't like it very much. Do you?
Liz: It’s OK. What kind of music do you like?
Tom: Well, I like rock a lot.
Liz: What's your favorite group?
Tom: U2. How about you? Do you like them?
Liz: No, I don't. I can't stand them!
(Richards 1990: 23).

And finally, a cloze exercise is answered to practice yes/no questions

with “do” and the adequate use of object pronouns:

Complete these conversations. Then practice them.

A: Do you............... disco music?

B: Yes, I really like..…..How about you?
A: I......….... like it very much.

A: Who's your favorite actress?

B: Jane Fonda. I really like.. …....
A: Jane Fonda! I can't stand!
A: …... you.....…... Anne Murray?
B: No, I ….…. like …....... very much.
But I like Whitney Houston. Do you?
A: Yes, I …...… She's terrific!
(Richards 1990:23).

Option 1
The songs presented can be changed in accordance with the students’
age and time. Pictures that show singers or musical genres can
support this activity.

Option 2

Icebreaker
It can be developed as an "icebreaker”.

Option 3

Countries and nationalities

This exercise can present nationalities and countries, for example, to
play the samples of the songs, and ask about the country where the
song is from.

Observations
It really works in class to motivate and engage the pupils. In the last
example, the activity was planned in accordance with the course test.
The students paid attention, and were involved in the topic and
exercises. They could recognize many of the songs and almost all the
classifications. Grammar exercises were answered with few or no
mistakes.

Music genres is a topic that can be exploited in several ways.

Not only does it present rhythms, but also, it is culture and fun.
Option 4
Complementary activity

Twenty questions

Group work. Now you play the game. Take turns. One
student thinks of a famous person. Then group can ask up
to twenty questions like these.
The answers are "Yes" or "No.”

Is it a man? (Or) Is it woman?

Does he live in the United States?
Is she American?
Is he a singer?
Does she wear glasses?
Is he in his 30s?

When you think you know the person's name, say:

Is he.... (name)? (or) Is she .... (name)?

(Richards 1990, p. 31).
2. Working with homonyms and commonly confused words.

Homophone and homonym sounds can be worked out in two forms.

Many times, sounds confuse students. Because of this; the following
activity combines a reading and comprehension exercise with a song.

Level: Intermediate or advanced.

Age: Young learners or adults.
Time: 40-60 min.

Warm up
To provide the students a list of homonyms and commonly confused
words.

advice recommendation
advise to recommend
are plural form of to be
buy to purchase
by next to
fair light-skinned; just, honest
fare money for transportation; food
hour sixty minutes
our plural form of my
to toward
too also; indicates degree (too much)
two number following one

Exercise
Select the appropriate homonym from each group in parentheses:

According to (Council, Counsel) on Aging, the North American population over 85 is growing faster
(than, then) any other segment of society. The (council, counsel) (cites, sites) statistics indicating that
elderly people who have access (to, too, two) good health care (are, our) likely to outlive (their, there,
they’re) parents. If elderly parents grow (to, too two) (weak, week) to care for themselves,
responsibility for them (maybe, may be) (passed, past) to children (know, no) longer young themselves.
(Formally, Formerly) (use to, used to) (their, there) parents making independent decisions, adult
children must now learn to (accept, except) that parents may need (assistance, assistants) with some
decisions. Aging parents must be treated with courtesy and handled with (patience, patients). Frequent
(personal, personnel) visits help to keep parents’ (moral, morale) high or to (raise, raze) low spirits. In
(principal, principle), adult children (all ready, already) (know, no) how to behave with aging parents;
they must sometimes be prepared to reverse their (respectful, respective) roles.

(Troyca et al. 1996, p. 424-429).

Main objective
Learners will be able to discriminate homophone and homonym
sounds, by making sense of the context provided.

Second objective
To adequate the nouns, adjectives or verbs that better fit to the
content of the song.

Warm up to the song

The song “The One” will be introduced. The song is about the
moment when a couple finds out love.
Before listening to the song, the teacher will ask the pupils about
their opinions and personal experiences. Then, if there are strange
words, they will be explained, however the vocabulary is not difficult.

Activities for the song

The pupils listen to the song and select the best option. The song can
be played as many times as required. Later, they compare their
answers in pairs. Then, each one reads a line from the lyrics and the
whole group compares results. Afterwards, they discuss with the
teacher, why some words are not possible. To conclude, the students
give opinions about the song, what they liked or not, and why.

Observation
A brief biography of the singer could attach the song.

Option 2
It can be used as a test/quiz.

Option 3
It can be adapted for a phonetics exercise.

Option 4
The use of the video clip shows the scene.
 The One
By Elton John.

Select the adequate word:

I so/saw you dancing out the ocean/notion

Running fast/last along the land/sand
A spirit born of ear/earth and murder/water/wallet
Fire flying from your hands/heads.

In the instant that love someone

In the record/second that the hammer hits/beats/kicks
Reality runs up your spine/pine/smile
And the pieces finally be/bit/fit.

And all I ever needed was the one

Like freedom feels/fields where wild/wire horses run

The stars/starts collide like you and I
No shadows block/lock the son/sun
You’re all I’ve ever needed
Baby you’re the one.

There are carebands/caravans we follow

Drunken/broken nights in far/dark hotels
When changes/chances breathe between the aliens/silence
Where sex/six and love no longer gel/yell.

For each man/men in his time is cane/Cain

Until he walks along the dish/beach
And sees his future in the wallet/water
A long host/lost heart within his rich/reach.

3. Music, comprehension, grammar and video clips.

Reading and comprehension exercises used to be based on articles,

short stories, etc. This activity suggests listening to a song and
checking comprehension. And also, to review some grammar
structures to make questions and conversations. On the other hand,
by using a video clip, culture can be presented and compared.

Song: Kiss the rain, by Billie Myers.

Level: Low-intermediate or high intermediate.
Age: Young learners or adults.
Time: Variable (Depending on extended exercises).

General objective
To check listening and comprehension, review some adjectives and
nouns
and to talk about the content.

Specific objective
Students will be able to make questions in simple present and be able
to make a phone conversation.
Warm up
To ask the students how do they talk in the phone and what
questions they make.

Activities
Firstly, to introduce the context, so the pupils can make more sense
of the lyrics, (Nunan 1999). The song is about a couple that broke
up; one day she calls her old boyfriend.
Then, the learners follow the sequence/situation till find the end.
Some words will be explained (dawn, fall over, tempted, and so on.)

The activity continues with a writing, reading and comprehension

exercise:

I. Choose the best sentence that answers the following question:

What is the intention of the girl?

1. To hurt herself.
2. To get back her boy.
3. To say goodbye.

Write true or false:

1. She is on the street _____

2. The boy is alone _____
3. It’s a sunny day _____
4. He lives far away _____

In your own words, explain what do you understand by:

1. Am I getting through to you?:

2. Keep in mind, we’re under the same sky:
3. What I’m left imagining:
4. Whenever I’m gone too long:

Explain with your own words, the story of the song:

How does the rain play a role in the song, what is its meaning?
_______________________________________________________
_____
If you really love somebody, what would you do to comeback?

The learners will continue with the second option, to extend the
activities:

Option 2
Making questions
The students will look for the questions asked in the song; in pairs
they will answer them. Then, they will discuss which questions are
really important and what other questions they would do to the
person from the song, and they will add more questions with
answers.

Option 3
Phone conversation
As homework, the pupils can elaborate an informal conversation, like
talking to a friend.

Option 4
Watching a video clip
Using the clip from the song lets to predict or anticipate, what is
going to occur in the video clip. After watching it, they will compare
it to the song; saying if it was what they expected, what changes
they noticed, and what they liked more or not and why? Also, what
other elements they would add or take out?

Option 5

Cultural elements
To look for cultural elements and the differences and similarities in
relation to students’ culture.

Option 6
Filming a clip
If there were time and equipment available, this would be an
interesting follow-up alternative.

Option 7
Vocabulary game
From the song are taken the new words or expressions and written in
a piece of paper, and in slips of paper the definitions of this
vocabulary. So the learners relate both papers to find out the
meanings.

Kiss The Rain, By Billie Myers.

Hello
Can you hear me?
Am I gettin’ through to you?
Well hello
Is it late there?
There’s a laughter on the line
Are you sure you’re there alone?
Cause I’m
I’m trying to explain
Something’s wrong
You just don’t sound the same
Why don’t you
Why don’t you
Go outside
Go outside.

Kiss the rain

Whenever you need me
Kiss the rain
Whenever I’m gone too long
If your lips
Feel lonely and thirsty
Kiss the rain
And wait for the dawn.

Keep in mind
We’re under the same sky
And the nights
As empty for me, as for you
If you feel
You can’t wait the till mornin’
Kiss the rain (x 5).

Well hello
Do you miss me?
I hear ya say you do
But not the way I’m missin’ you
So what’s new?
How’s the weather?
Is it stormy where you are?
You sound so close but it feels like you’re so far
Oh would it mean anythin’
If you knew
What I’m left imaginin’
In my mind
In my mind
Would you go
Would you go
Kiss the rain
Kiss the rain.

As you fall over me

Think of me (x 3)
Only me
Kiss the rain
Whenever you need me

Kiss the rain

Whenever I’m gone too long
If your lips
Feel hungry and tempted
Kiss the rain
And wait for the dawn.

Keep in mind
We’re under the same sky
And the nights
As empty for me, as for you
If ya feel
You can’t wait till mornin’
Kiss the rain (x 5)

Go outside
Go outside
Why don’t you kiss the rain
Kiss the rain.

Hello
Can you hear me?
Can ya hear me?
Do you miss me?
Do ya
The way I miss you
Goodbye.

4. Singing in class.

The purpose of this song it is to have a good pronunciation, just by

singing a happy and simple song.

Song: Barbie girl, by Aqua.

Level: Any.
Age: Any (Children and adolescents enjoy more this
song).
Time: 15-20 minutes.

Objective
The students will be able to sing and have and fun.

Warm up
To talk about the childhood, the pupils’ favorite games, cartoons,
toys, dreams, places, etc.

Activities
The teacher introduces the context: It is about a very famous doll
and her fantasy world. Then, he asks, have you ever listened to the
song “Barbie girl?” So, do you like it and why?

The song is played once just to listen to it. Then, it is played again
and the teacher divides the class in two groups: the girls will sing the
part by Barbie (in Times New Roman) and the boys the part by Ken
(in Comic Sans MF). The group can sing as many times as they want.

Option 1
Another song, which could be divided in two different parts is “The
land of dreaming”, by Masterboy. Or any other with these
characteristics.

Option 2
As a complement the students could write about their childhood,
including their favorite games, cartoons, movies, toys, dreams, etc.

Observation
The song is quite successful with children and adolescents. But it
could also be applied to adults. It depends of the characteristics of
the group.
“Barbie Girl”
By Aqua.

Hi Barbie!
Hi Ken!

Do you want to go for a ride?

Sure Kent!

Jump in!

I’M A BARBIE GIRL

IN A BARBIE WORLD
LIFE IN PLASTIC
IT’S FANTASTIC
YOU CAN BRUSH MY HAIR
UNDRESS ME EVERYWHERE
IMAGINATION
THAT’S YOUR CREATION.

Come on Barbie, let’s go party.

I’m a blond

Single girl
In a fantasy world
Dress me up
Make shine
I’m your dolly.

You’re my dolly
Rock and roll
Feel the glamour and pain
Kiss me here
Touch me there
Hanky panky.

You can touch

You can play
 You could say
I’m always yours, ooh

Make me walk
Make me talk
Do wherever you please
I can act like a star
I can beg in my knees.

Come jump in!

Be my friend
Let us do it again

Hit the town

Fool around
Let’s
Go party.

You can touch

You can play
You could say
I’m always yours, ooh.

(Repeat chorus).
5. Prepositions and changes.

The activities for this song are focused on the right use of
prepositions. The song includes a lot of prepositions with different
examples and combinations.

Song: I’ll be there, by The Escape Club.

Level: Intermediate.
Age: Young/adults
Time: 20 min.

General objective
To practice speaking and listening through discussion of the song. To
talk and write about favorite places using prepositions.

Specific objective
The learners will be able to fill in the blanks with the correct
prepositions.

Activities
Before giving the song, ask about places where people can go to look
for someone. The students will give examples. The song is given.
They will identify all the places that they can. Here the teacher, could
mention the movie “Ghost” and explain that the situation of this song
is similar to the movie content. With this they can have a link and be
engaged in listening to the song.

Next, they look for some nouns like, rain, trees, whisper, miles,
etc. Pupils look for unknown words and the teacher guides the
learners to guess the meanings of these words. Then, they will be
asked to place the prepositions that in the blanks. Later, they will
compare responses and discuss why they used those prepositions.

The song will be played once, pausing to check their answers. Then,
the whole song will be played. Students explain/describe the song.
The teacher asks, “Would you do that for somebody?” The pupils
discuss why or why not.
Option 1
Homework
Have the learners write a description of their favorite place,
describing it using prepositions. For example: “My favorite place is
my bedroom. When I walk in my bedroom, I feel comfortable. I lay
on my bed and imagine that I go to many places. I look at my
posters on the wall,” and so on.

Option 2
Several prepositions could be written in the blanks.

For example: In/under/round the mountains, over/in/under trees.

The students and teacher can discuss all these possibilities and what
prepositions are not possible, in accordance with the lyric’s topic. The
same exercise can be done with adjectives, nouns or verbs.

Option 3
Recreating a song
To make a new written version of the song. This activity emphasizes
creativity. The following example includes the possible changes and
the original lyrics.

Observations
“Fill in the blanks”, it is the most frequent application of songs,
however, by adding some variations it could be more useful in EFL
class.
I’LL BE THERE
By Escape Club.

Over/behind mountains/volcanoes, over/under trees/pines

Over/under oceans/lakes, over/round seas/pools,
Across/inside the desert/forest, I’ll be there.
In/behind a whisper/noise on the wind/ring
On/in front of the smile/laughing of/with a new/old friend/girl
Just think of/about me, and I’ll be there.

Don’t be afraid/hungry/angry, oh, my love

I’ll be watching you from above/below

And I’d give/run all the world tonight/right now
To be with/by you
’Cause I’m on/by your side/life,
And I still care, I may have died/married
But I’ve gone nowhere/somewhere,
Just think of/about me, and I’ll be there.

On/up the edge/end of/in a walking/sailing/funny

dream/joke/ship
Over/across rivers, over/under streams
Through/in/by wind/car and rain/train, I’ll be here.
Across/around the wide/short and open/close sky/skin/time,
Thousands/hundred of miles/times/snacks I’d fly/buy

To be/eat with/for/by you. I’ll be there

Don’t be afraid… (repeat)

In the breath of a wind/bear that sighs/fights

Oh, there’s no need/more to cry/hide/buy,
Just think of/by me, and I’ll be there.

6. Discussion in class.

“Why”, it is a song which presents many topics to debate in class. In

the same way emphasizes the four skills. The English teacher can
adapt the activities and options to the class interests.

Song: Why? By, Tracy Chapman.

Level: High intermediate or advanced.
Age: Young/adults
Time: Variable.

General objective
To talk about contemporary themes, to emphasize discussion in class.
To reinforce the four skills.

Specific objectives
Learners will be able to identify and discuss different topics. Then, be
able to identify general and specific information.

Warm up
What are some contemporary problems for human beings? Do you
have one of these problems? Teacher asks.

Activities
Divide the class into groups, have the learners listen to the song.
Then, students identify the situations presented in the song (poverty,
war, loneliness, safety of women, and so forth).
They will discuss the topics and express what they agree with and
what they don’t. So, each group will defend their point of view.

Option 1
Newspaper
As homework, they will look for articles about the themes from the
song. The following day, they show what they found, exchanging the
articles and sharing opinions in relation to the topics.

One of the articles is selected; this one is about the conflict in

Kozovo. Then, it is related to the lines of the song:

“Why are the missiles called peace keepers?

When they’re aimed to kill”.

With this, the point to debate will be focused on this part of the song.
Teacher and learners will discuss, who is right/wrong. What would
you do if you were the USA or Yugoslavia president?

This activity emphasizes speaking in class, reading, comprehension,

writing reflection and personal points of view.
Option 2
Reading and comprehension exercise
By considering this article, an exercise of reading and comprehension
will be answered in class. They can read aloud the article, and then,
they will work with the following questionnaire:

General information
1. What can you infer by the title? (NATO: North Atlantic Treaty
Organization).
2. What is the general idea of the whole text?

Specific information
3. Who are Javier Solana and Jamie Shea?
4. What is Aznar’s opinion, in relation to the conflict?

Talking and writing about points of view

5. If you had the opportunity to solve the conflict what would you do?
Give your opinion:

Option 3
The chart called “Latest Developments” can be discussed in class,
point by point.
Option 4
Another article can be chosen to work in class and related to the song
content.

Option 5
As a final assignment, the students can develop an essay about one
of the themes offered in the song and presented it in class.

Why?
By Tracy Chapman.

Why do the babies starve

When there’s enough food to feed the world
Why when there’re so many of us
Are there people still alone?

Why are the missiles called peace keepers?

When they’re aimed to kill
Why is a woman still not safe
When she’s in her home

Love is hate

War is peace
No is yes
And we’re all free
But somebody’s gonna have to answer
The time is coming soon
Amidst all these questions and contradictions
There’s some who seek the truth

But somebody’s gonna have to answer

The time is coming soon
When the blind remove their blinders
And the speechless speak the truth.

7. Love songs.

Love songs are without doubt, the most popular kind of songs. The
students can analyze their content and express opinions about love.

Level: Any.
Age: Young/adults.
Time: 15 minutes.

General objective
To analyze a love song, through a simple questionnaire.

Specific objective
Learners will be able to express and talk their feelings.

Warm up
To ask the students, what do they think about love, their
expectations and opinions.

Activities
The learners will bring to class their favorites love songs. Then in
groups, they will choose a song and answer the following
questionnaire related to the song.

Write notes on the lyrics of the song you have chosen, answering the
following questions.

1. What is “love” like, according to this song? Choose a spot on the

continuum. Is it …

supremely important relatively

unimportant
marvelous, full of joy terrible, painful

lasting ephemeral

what else?
_______________________________________________________
________

2. Words that describe love (does the song have any images or
comparisons?)
_______________________________________________________
______________

3. Words that describe the loved one (images? Comparisons?)

_______________________________________________________
______________

4. If you’re in love, according to the song:

How do you behave?

_______________________________________________________
_______________
How do you feel?
_______________________________________________________
_______________
How does the person who is loved behave / feel?
_______________________________________________________
_______________
Answer the following questions about the nature of love.
1. Which of the following statements comes closest to your idea of
what love is? (Check one or more)
___ Love is a paradise.
___ Love is hell.
___ Love is a disease.
___ Love is a state of madness.
___ Love is a religion.
___ Love is an all-consuming fire.
___ Love is a kind of warfare.
___ Love is an ephemeral nonsense.
___ Love is ________________.

2. How important, how valuable is it for you? Which of the following

sentences comes closest to your opinion?
___ The most important thing, the only valuable thing in the world.
___ A good thing, but not the only good thing in the world.
___ A mixed blessing.
___ A disaster; it always ends in tragedy.
___ A pleasant illusion, cloaking the reality of sex.
___ An unpleasant illusion, distorting our idea of relations between
the sexes.

3. If you love someone, what would you be most likely to compare

him or her to?
___ a flower: __________
___ a bird: _________
___ an animal: ___________
___ a celestial body: __________
___ a part of nature: __________
___ something else: ___________

4. If a man loves a woman, this is how he behaves:

___ Writes poems to her.
___ Sends her flowers and gifts.
___ Weeps and sighs if she doesn’t respond.
___ Acts in a mainly, masterful way.
___ Conceals his love.
___ _______________________________

5. If a woman loves a man, this is how she behaves:

___ Gives him gifts.
___ Pretends to love someone else.
___ Conceals her love.
___ Tells him about it.
___ Sighs and weeps if he doesn’t pay attention to her.
___ _____________________________
(Collie, J and S. Slater 1987, p. 174-175).

Option 1
Exchanging answers and points of view