Improving Communicative Competence Through Poetry And Lyrics
TABLE OF CONTENTS
Introduction ……………………………………………………..1
Argument ………………………………….
Communicative Competence- Theoretical Background……………………..
EFL Learners' Needs, Attitudes, Learning styles, Multiple Intelligences…………….….3
EFL Learners’ Needs and Attitudes………………………………………………..4
EFL Learners’ Learning Styles, Multiple Intelligences…………………………..6
Communicative Language Teaching…………………………………………10
Origin……………………………………………………………………….10
Characteristics of the Communicative Approach …………………………….11
Language Activities which develop Communicative Competence…………………18
Teaching Foreign Languages Communicatively- A Common European Framework Approach……………………………………………………………………………21
EFL Learner’s Levels according to the Common European Framework of Reference…………………………………………………………………….25
The Common Reference Levels…………………………
Developing Listening Skills ………………………………
Stages of Listening ………………………………….
Developing Speaking Skills ……………………
Communicative activities as to encourage speaking………..
The components of speaking skills…………………………
Developing Writing Skills……………………………….
Developing Reading Skills………………………..
Socio Cultural Aspects regarding the use of Poetry and Lyrics in teaching a language…..
Socio Cultural Aspects regarding teaching a language…………
Poetry and Lyrics- Socio- Cultural aspects…………..
Improving Communicative Competence through Poetry and lyrics……
Reasons to use poetry and lyrics in foreign language class…………
Further exercises and activities for teaching using poetry .…………..
Cons – Concerns related to using poetry and lyrics in language learning…
Improving Communicative Competence through Poetry ..…….
Types of Activities involving Poetry………..
Improving Communicative Competence through lyrics……….
Types of activities involving lyrics ……………
Pop Songs…………………….
Activities involving lyrics with visual resources……..
Types of activities used with small learners …………
Teaching Grammar through lyrics and poetry ………..
Objectives of the Study……………..
Participants and Place of the Study…….
Statistical Procedure…….
Research questions and data organization ……
Conclusions to the Study……………….
Conclusions………………….
Appendix………………………………..
Bibliography………………………………..
1.Introduction
1.1 Argument
“In every job that must be done, there is an element of fun. You find the fun, and SNAP – the job’s a game!” (Mary Poppins, 1964)
Psychology emphasizes the significance of feelings, emotions and social participation as part of the educational process. It is a true fact that learning a language is a process that includes more than just the language itself. According to Brian Tomlinson, the “humanistic approach isn’t an indulgence, but a necessity, if durable acquisition and development is to take place”, and teachers should find “ways of helping the learners to connect what is in the book to what is in their minds.” Humanizing materials means placing the student in the forefront of the teaching–learning process, considering his needs, his preferences and his ways of learning. The choice of the materials should be done according to the belief that, students are individuals who are entitled to have and exchange opinions. As teachers, we often wonder how to motivate our students, as to increase their level of communication and their interest in the English language. I have been teaching all level students, from very beginners, up to advanced level, from children up to adults, and have noticed that poetry is what motivates them all, being very beneficial in the second language acquisition. Poetry is not only a source of language but also one of culture, for EFL students. Poems can open our eyes, souls and minds to new ways of looking at experiences, people, emotions or everyday things. In learning a foreign language, poems are energizers. Because, very often, poems are set on music, and they become lyrics, I have decided to make it my aim, to write about poetry and lyrics, which can easily improve communicative competence. Music is everywhere and students have different musical tastes. I have observed how stimulating a tune can become and how valuable it can be, in developing certain capacities in language comprehension and acquisition. Why should we use poetry and songs for teaching a foreign language? Beside the fact that it provides authenticity, it will always increase rapport with the students. The use of poetry and music in the classroom can underline very positive associations to the study of a language, which could, otherwise, be seen as a laborious task. Using authentic texts, will enable students to use English appropriately, in real life situations, to express emotions and ideas, it will make them aware of the language as a means of communication. In my experience, I have come to realize that the most effective way to teach English is to provide students with different opportunities to learn English in the context of everyday situations, with the emphasize on communicative competence. Mention should be made that the songs are part of the process of native language acquisition, and lyrics are part of the charm that belongs to any language. Understanding the message will make the learners more confident, it will give them access to the real input, to the “core” of the language. They will not feel that they are introduced to English language in an artificially pre-determined way, where the grammatical structure is the main concern of the learning process. The following paper intends to point out the fact that integrating poetry and lyrics into syllabus provides an enjoyable way of improving communicative competence, without the constraints of grammatical accuracy. They provide variety and encourage creativity and development, within a group. As to put it more practically, for language teachers, poems and lyrics are short texts, easy to handle in a lesson, that can be appropriated for special purposes. What is important, the supply is inexhaustible and leads to meaningful language learning.
2. Communicative Competence -Theoretical Background
EFL Learners’ needs, attitudes, learning styles, multiple intelligences
“Language learners should be the main reference point for decision-making with respect to both the content and the form of teaching” (Tudor, 1996).
English is enjoying a prestigious position, being a leading language which is taught as foreign language in many countries. In Romania, English is taught at all levels in the educational system. Children begin to learn English at an early age, even in pre-school time yet, many fail to attain the level of proficiency required by the standards imposed by the exams which they must take at the end of high-school. Despite the fact that they have been exposed to English learning for a long time, many students display a poor communication level. The reasons for these shortcomings have been a matter of debate between teachers and researchers. Since communication should be the main focus of foreign language learning, linguists and practitioners have been continuously trying to identify the best approaches, methods and strategies to be used in teaching English proficiently. In the introduction to his book, Learner-centeredness as Language Education, Tudor (1996: pp …) claims that “language learners should be the main reference point for decision making with respect to both the content and the form of teaching,” and that this approach “should be realized by a process of consultation and negotiation between teacher and learners”. In my endeavor to teach English to the best of my abilities, to stop being an authoritative teacher, that teaches rules, assigns papers and gives tests – without considering students’ individual abilities, I have come to the conclusion that language learners should be the main reference point in deciding the content and the form of teaching. All learners are different. Why are they different? Because they have different previous learning experiences, different personalities and different ways of interaction, different reasons and motivations to learn English, different life backgrounds, different opinions about teachers and teaching, different intelligences, skills, abilities, different speed in working and learning, different preferences in topics and classroom methodology and different sensory preferences. Consequently, an EFL teacher should take all these differences into consideration, when choosing his approach to teaching, so that he can find the best way to cater to every student’s characteristics. He will need to reexamine his techniques and strategies taking into consideration the learner differences, because all students are entitled to be given the best learning opportunities, so as to develop their potential. There is no doubt that there is a need to increase awareness of learner differences within the classroom and address these differences. The teacher must create an atmosphere conductive to learning, and acknowledge the individual differences. Learning and the role of the learner have become more complex with the influence of new research and the results have only pointed out how multifaceted the teacher, learner and context are. Instead of forcing the learner to fit a method of teaching, efforts should be made to understand the learner and tailor the way of teaching, according to student’s needs.
2.2 EFL Learners’ needs and attitudes
One of the most important principles of the teaching/learning process in the communicative approach is the use of authentic materials. The teaching material should be authentic and selected according to the needs of the learners. As to identify students’ needs, it is necessary to carry out a needs analysis. This needs analysis has to first consider the reason for which students are learning the foreign language, the topics they are interested in while using the language, the roles they need to play within those situations. In Romania, like in most of the other parts of the world, students generally learn English because they see as a great benefit in the future, often associated with academic or professional development. This view makes learners become conscious of the use to which they intend to put it. We are experiencing a learner- centered system and the starting point for a curriculum development is to meet the learners’ needs. A “needs analysis” should include the reason why learners need the foreign language in the future, their present language level and current problems, what they would like to learn and how they want to study it. Mention should be made that learner needs should be analyzed on an ongoing basis because they might change in time, depending on contextual and human affective variables. The collected information can serve as input into the content, design and implementation of a language program(Richards, 1984, p.5). Up until now, the learner’s needs have been coined by many researchers and methodologists, such as Mountford (1981), Widdowson (1981),- Berwick (1989), Brindley (1989), – and accordingly, five models of needs have been developed: a systematic approach (Richterich & Chancerel, 1977), a sociolinguistic model (Munby, 1978), a learning-centered approach (Hutchinson & Waters, 1987), learner-centered approaches (Berwick, 1989; Brindley, 1989) and a task-based approach (Long, 2005). Regarding this matter, two concerns are in view: the lack of attention given to learners’ real-world needs and over-reliance on learners’ perception of needs (Kaewpet, 2009). Hutchinson and Waters (1987) provide a learning-centered approach which focuses on how learners learn and how their needs are met from two directions: target needs – which are defined as what the learner needs to do in the target situation (Hutchinson & Waters, 1987, p. 54) -and learning needs – which take more factors into account: learners, learning background, age. Still, the learner- centered approaches analyze the needs of a learner from the following points of view: perceived (which are from the perspective of experts) vs. felt needs (regarded from learners’ view); product vs. process oriented interpretations; and objective vs. subjective needs (Berwick, 1989; Brindley, 1989). The main need of the EFL learner is to communicate his with others and so, the provider of the teaching method should focus on the following aspects: providing relevant contexts for communicating by wide exposure to appropriate models or communicating situations. Teachers should introduce communicative activities that lead naturally from one to the other, or from the use of other skills, so that it is seen as a real activity. Teachers should use a variety of techniques and practice formats in order to avoid students being bored and to cater for the learners’ different levels of understanding. Teachers should provide appropriate support which needs to balance guidance and free expression, give support and be sympathetic. A good teacher should always take learners’ problems into account and should drop the role of a judge and become a helper. One should never underestimate the role of the teacher in what concerns the student’s attitude towards the target language. Expressions of positive or negative feelings towards a language may be the result of several factors, such as: the impressions of linguistic simplicity or difficulty of learning, degree of importance, social status, attitude towards the learning environment, or the teacher. Many teachers realize that their students’ learning potential increases when motivation is high. Taking – into consideration the learners’ attitudes towards learning a foreign language, we discover that they have a deep effect on achievement and the use of the language. EFL learners’ beliefs and notions about language learning are influenced by previous experiences as language learners, or shaped by their own cultural backgrounds as Horwitz(1987) says. The key to this could be changing the negative attitudes through instructional methods such as using materials and activities that help students achieve an “understanding and appreciation of the foreign culture” (Brown, 2000, p.181). Gardner (1985, p.10) sees attitudes as components of motivation in language learning. He maintains that “motivation (…) refers to the combination of effort plus desire to achieve the goal of learning the language plus favorable attitudes toward learning the language”. In Learner Strategies for Learner Autonomy, A. L. Wenden sees attitudes as including three components: a cognitive one which includes beliefs or perceptions about the objects or situations related to the attitudes, an evaluative component which suggests that these objects or situations can generate like/dislike, and the behavioral component which implies that, because of certain attitudes, learners can adopt learning behaviors.
EFL Learners’ Learning Styles, Multiple Intelligences
There are overwhelming individual variations among the students. Therefore, teacher’s awareness of different learning styles and different intelligences can increase learner motivation, can improve the novice’s confidence and self- esteem, and can provide a frame for more effective teaching. In 1983, Howard Gardner, a psychologist and neuroscience professor at Harvard University, developed a theory in which he defines “intelligence” not as an IQ but, rather, as the skills that enable anyone to gain knowledge and solve problems. They are formalized as Verbal-Linguistic (Word Smart), Logical Mathematical (Logic Smart),Visual Spatial (Picture Smart), Auditory Musical (Music Smart), Bodily Kinesthetic (Body Smart), Interpersonal (People Smart), Intrapersonal ( Self Smart), Naturalistic (Nature Smart). The teacher needs to appreciate more the role of the senses in learning a language and should take into account the differences in their students, and learn to work with them in the classroom; herein lies the imperative artistry of teaching (Diane Larsen-Freeman, 1991, p.337).The intelligences established by Gardner (1999, p.41) have each a basis: Word Smart are the learners who are able to work with words, orally or in writing. It is easy for them to manipulate the syntax, semantics and pragmatics of the language. Such students can be engaged in writing activities like journals, story writing, reporting. Logic Smart includes sensitivity to logical relationships and numbers and teachers can involve those students in activities such as problem solving, classifying, placing in categories or conducting experiments. Picture Smart -implies the ability to perceive the visual-spatial world, to use the body to express oneself and the hands to produce or perform. Appropriate activities might be describing pictures, maps, diagrams, charts, posters, videos. Music Smart incorporates sensitivity to music and the ability to create and express musical forms. Activities to try can be: songs, chants, raps. The People Smart category includes learners who are sensitive to other people‘s moods and feelings. Such learners react very well to pair work and group work, cooperative writing, group brainstorming. Self Smart involves awareness of oneself and knowledge. Such learners prefer individual work, options for homework and assignments. Body Smart are the learners with physical skills. They are very good at hand-on activities. Gardner has also considered three more types of intelligences (1999, p. 47): the naturalist, the spiritual and the existential intelligence. The learners possessing the naturalist type can be involved in writing activities such as ecology projects and nature videos. Taking into account the multiple intelligences when teaching, entails abandoning a traditional approach and acknowledging learner uniqueness. What all learners need, universally, is an environment in which they can settle down to productive work, each in their various subtle ways (Allwright and Bailey 1991, p. 150). Thus, the learning environments must include methods beyond the linguistic and logical-mathematical intelligences which are commonly exploited in the classroom because all students have more than just two intelligences. As a starting point, Larsen – Freeman (2000) suggests that teachers should include in their lesson plans items that address all the intelligences no matter how difficult this might be. Contrarily, such intelligences will be neglected in the EFL classes. On the basis of the information of what type of learner one is, it is possible to reconcile learners’ needs, teachers’ beliefs, the institutional requirements as well as tradition and culture. Therefore, the EFL teacher will have a holistic view about how to organize the course. Having been an English teacher for all levels, I have noticed that there are a number of elements that influence foreign language learning such as for example, motivation, age, learning style and learning strategies. Because people learn most effectively when the strategies used are closely matched with their preferred style, I felt I needed to explore the differences on learning styles as they are essential for English teaching. Some students seize the opportunities to participate in conversations, while others put more emphasis on grammar activities. It is obvious that students learn differently and at different paces because they are biologically and psychologically different. Just like people are different in the way they look, act, and feel, they are also different in the way they learn. The language styles point to the characteristics of an individual, to gather, interpret and organize information. Richards and Rogers (1996) suggest that “dispositions to specific ways of learning are largely dependent on personality types”. Students have preferences which are manifestations of their individuality. Some learners prefer to achieve by means of visual forms of information, others from verbal forms, and some, tend to focus on data or facts, while others prefer theories. There are some students who prefer to learn actively, and there are those who favor a more introspectively way of learning. Educational research has proved that not all students learn in the same way (Witkin, 1973; Gregorc, 1976; Jacobs, 1990). Scientific data shows that when exposed to the same material, learners respond differently. There are those who may achieve success without much effort, while others might not feel at ease. Style is the method that gives direction to learning behavior (Cornett, 1983). Gavin Reid, in Learning Styles and Inclusion (2005), defines styles as “individual’s natural, habitual and preferred way(s) of absorbing, processing, and retaining new information and skills” (p. viii). Learners are unique in every way, especially in their way of learning.
Reid (1995, p. xiii) points out that learning styles have some fundamental characteristics:
every person has a learning style, learning strength and learning weakness;
learner-styles are neutral;
learning styles cannot be valued differently, and learners should be encouraged to find their learning styles and be part of a variety of learning situations;
very often, students‘ learning styles are connected to their learning strategies;
Reid (1995) divides the learning styles into: cognitive and sensory. The cognitive is further divided into field-independent and field dependent, reflective and impulsive, analytic and global. The sensory is much more comfortable and includes visual learners, the kinesthetic learners and auditory learners.
What is most important is that inquiry into learning styles, multiple intelligences and learning strategies will not only assist teachers and learners in becoming more effective, but also in gaining understanding from others, of others and of themselves. Understanding and making use of learning styles can be essential in carrying out the purpose of education. Here we are, in front of a transition from the traditional learner who is given virtually no choice to the one who can be a co-driver in his or her learning. EFL Learners’ Multiple Intelligences Gardner‘s Multiple Intelligences Theory looks at the learners’ strengths and weaknesses in light of the eight intelligences that human beings possess. Gardner says that thanks to evolution, each of us is equipped with these intellectual potentials, which can mobilize and connect according to our own inclinations and culture‘s preferences (1999, p. 44). So, according to this theory, each person possesses all eight intelligences. However, to what extent each intelligence is developed will depend on personal, environmental and other factors. Consequently, the combination of intelligences in each and every one of us is unique and mutable and we are all conditioned by our genetic heritage, culture, environment and the period in which we live.
3. Communicative Language Teaching
3.1 Origin
The origins of Communicative Language Teaching (CLT) are to be found in the changes in the British language teaching tradition – dating from the late 1960s.The need to develop alternative methods of language teaching was considered of outmost importance because the social context and the educational realities in Europe were changing. The need to learn a foreign language rose from early age to adulthood, in a context of cultural and educational cooperation, within the increasing interdependence of European countries. Social and political realities, such as the existence of the Council of Europe, or the European Common Market, influenced the linguistic and educational development of language teaching and learning.
Up until then, language was taught by practicing basic structures in meaningful situation based activities. The need of emphasizing another fundamental dimension of language was stronger, so, the linguists started to make use of the functional and communicative potential of language. They felt the need to focus on language teaching on communicative proficiency level, rather than on mere mastery of grammar structures. So, the Communicative Approach originated from the changes in the British Situational Language Teaching approach dating from the late 1960s (Richards & Rodgers, 2001).
The communicative approach in language teaching begins from a theory of language regarded as communication. The aim of language teaching is to expand what Hymes (1972) referred to as "communicative competence." Since the concept of communicative competence was first introduced by Hymes in the mid-1960s, many researchers have helped develop theories and practices of the communicative approach (Brown, 1987; Widdowson, 1990).Hymes framed this term as to contrast a communicative view of language and Chomsky's theory of competence. According to Chomsky, the linguistic theory refers primarily to an ideal speaker-listener in a completely homogeneous speech community, where language is spoken perfectly and is not altered by grammatically irrelevant conditions such as memory limitation, shifts of attention and interest, errors (specific or made at random ) in applying ones knowledge of the language in actual performance. (Chomsky 1965: 3) It has been a rapid development of EFL teaching and teachers have become aware that it takes the use of several teaching methods as to deal with everything that concerns the form, the use and the content of the target language. The communicative approach could be said to be the product of educators and linguists who had grown dissatisfied with the audio-lingual and grammar-translation methods of foreign language instruction. They felt that students were not learning enough realistic, whole language. Hence, the Communicative Approach originated, as a combination of different methods, and as a reaction to the conventional teaching, which had no focus on communication. As mentioned above, the interest in and the development of the communicative teaching style, mushroomed in early 1970s and that what differentiates it from other teaching methods is that the Communicative Language Teaching (CLT) is an approach that lays stress on interaction and on the use of authentic language materials. Learners are encouraged to develop communication skillsand gain the ability to use language in interaction with others. In time, the communicative approach has been adapted to the elementary, middle, secondary and post-secondary levels.
3.2 Characteristics of the Communicative Approach
The purpose of language is to communicate. People use verbal utterances as to express their intentions and so, they are guided by the linguistic principles of the language. The verbal utterance people use in an interaction – are forms which express certain communication functions. Methodologists say that Communicative Language Teaching is designed to promote the learning of a foreign language through interaction and context. Acquiring the Communicative competence is obtaining the ability to send messages while maintaining the social acceptability. In my experience as a language teacher, I have often felt that the foreign language classroom becomes an artificial linguistic environment, where the student is exposed to “samples” of language. As a result, there is a great deficiency in understanding and communicating in a real life frame situation. The Communicative Approach advocates ways of integrating linguistic skills in the classroom. Many Romanian students who learn EFL find that it is difficult to express themselves in spoken English inside and outside the classroom, or to pass their final exam, in the 12th form, which is supposed to test their general English competences. As a result, after years of study, students have learnt a great deal about a foreign language without being able to use it as to express their intentions. Students have difficulties in communicating and in using appropriate social language, gestures or style. Shortly, they are at a loss to communicate in the culture of the language they study. Communicative language teaching makes use of real-life situations that necessitate communication. The Communicative Approach promotes different means of skill integration in the classroom. The teacher sets up a situation that students are likely to encounter in real life. It is common that, for an EFL learner, the skills of listening, speaking, reading and writing are hardly used in isolation outside the classroom in a real-sense. The communicative approach is an effective teaching method, and helps the students grow in the ability to use a new language, by – practically creating a good environment for them to communicate with each other in the language they are learning. Real scenes of communication should be created, so that the students gain confidence for the world outside the classroom. The communicative activities which are developed should foster functional communicative competence. The teacher is the one who provides models for communication usage and learning. As for students to practice different language functions, a variety of situations can be created during lessons. The teacher should consider the cognitive and communication level of the students, so that, the input is not beyond their understanding. According to Carter & Nunan (2001), the communicative approach is a very effective teaching method that helps students develop the ability to use a new language in a practical way. Language environment is one of the initial requirements in this approach, as the students and teachers should put themselves into the real life situations. Many defenders of the Communicative Language Teaching have defended and promoted the use of "authentic," "life-form" materials during the teaching language class. These might include language-based signs, magazines, advertisements, newspapers, or visual sources around which communicative drills can he built, such as maps, pictures, symbols and charts. Different objects can be used to serve as a consolidation for communicative exercises. reformuleaza
Howatt (1984) identifies two types of versions of communicative language teaching: a strong and a weak type of the communicative approach. The weak version stresses the importance of providing learners with opportunities to use English for communicative purposes and attempts to integrate activities into a wider program of language teaching. The strong type of communicative teaching forwards the claim that language is attained through communication, so that it is not a question of activating an existing but unused knowledge of the language, but of simulating the advancement of the language system itself. In time, learners accumulate the perceptual knowledge of the target language, and then develop the sensibility for it, thus, achieving the purpose of grasping a language. The communicative approach emphasizes teaching students the real language and at the same time, emphasizes that the students are the hubs of the class. Unlike other methods of language teaching, which rely on repetition and drills, the communicative approach leaves students in suspense as to the outcome of a class exercise, which will vary according to their reactions and responses. The real-life simulations change from day to day. Hence, the students become motivatedto learn, and their desire – to communicate in meaningful ways about meaningful topics- increases.
In Foreign and second language learning. Language acquisition research and its implications, (1984) Littlewood, states that “one of the most characteristic features of communicative language teaching is that it pays systematic attention to functional as well as structural aspects of language.” In Approaches and methods in language teaching (2000) Richards, J. C. & Rogers maintain that to an extent, communicative language teaching is more than an assimilation of grammatical and functional teaching. For other methodologists, it means using procedures where learners work in pairs or groups employing available language resources in problem solving tasks. Margie S. Berns, an expert in communicative language teaching expounds Firth's view – that "language is interaction; it is interpersonal activity and has a clear relationship with society. In this light, language study has to analyze the use of language in context, both its linguistic context (what is uttered before and after a given piece of discourse) and its social, or situational, context (who is speaking, what their social roles are, why they have come together to speak)"(Berns, 1984, p. 5). C The aim of the teacher becomes one of organizer and guide for the students who are to participate in the communicative activities. From some aspects, applying the process of the communicative activity is more important than its result. The teacher must arouse the students’ enthusiasm to the rein of their subjective initiative completely and he will find himself talking less and listening more, because he will become an active facilitator of his students' learning (Larsen-Freeman, 1986). The students' performance is the target, so, the teacher must just observe and sometimes he can act as helper or monitor. However, mention should be made that,- during a communicative activity, a classroom is far from quiet. The students do most of the speaking, and very often, the scene of a classroom while a communicative exercise is active, with students standing up to complete a task, doesn’t seem very organized. In his book, Second Language Acquisition, (1986) Wolfgang Klein states that a second language can be acquired in everyday communication. “In order to communicate, a learner must learn the language and to learn the language, the learner must use it in communication. Initially he may resort to nonverbal means. These means of communication allows him to start learning and learning in turn allows him to make progress in communication.” Because of the increased responsibility to participate, students may find that they gain confidence in using the target language in general. Students are often very responsible managers of their own learning (Larsen-Freeman, 1986).Chomsky considered that the focus of the communicative competence was to characterize the abstract abilities speakers possess that enable them to produce grammatically correct sentences in a language. Hymes disagreed and he thought that such a view of linguistic theory was sterile, that linguistic theory was supposed to be seen as part of a more general theory which should incorporate communication and culture. Hymes's theory of communicative competence was a definition of what someone needs to know as to be competent from the communicatively point of view, in a speech community. In Hymes's view, a person who acquires communicative competence acquires both knowledge and ability for language use. PUNE SURSA SAU REFRAZ
What is Communicative Language Teaching? Are there some principles that concern the Communicative Language Teaching? What should one understand by communicative language teaching? What are its objectives? – all these are deserved questions, which might help one understand in what way is the communicative method distinct from other language teaching methods. Methodologists have mentioned that CLT is a method of teaching and at the same time, it can be seen as a set of principles concerning the goals of language teaching. They have observed that people can learn better by using a language than by practicing grammar rules. In CLT grammar is no longer the most important factor, because accuracy and fluency are gained by practicing. The Communicative language teaching method withholds the fact that the learner must know how to use the target language for various purposes, to be able to use the language accordingly, to be able to adjust their language to the formal or informal, written or spoken situation they are part of, or to their interlocutor. The EFL learners should know how to produce and understand different types of texts, and last, but not least, they should know how to maintain communication, despite the limitations in a language. An important component of the communicative competence is the ability to choose the linguistic forms that are relevant for a specific situation. Nowadays, language has been redefined as an intrinsic component of the culture it is part of. A good command of English grammar, vocabulary, and syntax, together with cultural knowledge are relevant for a good mastery of English.
Some of the basic characteristics of the Communicative Approach are:
Learn to communicate through interaction in the target language
The usage of real, authentic texts within the learning context, meeting students’ interests
Offering students the opportunity to focus on language and on the learning process, too
Setting importance on oral interaction
Indulgence for errors that sometimes occur in language learning
Grammar is usually taught less systematically
Use of the everyday language
The learning assignment is theme- based or project-based
The focus is set on using language to communicate and learn
Encouragement of students to take advantage of their own experience in the learning process
Visual stimuli are often used
Wesche and Skehan (2002) illustrate that communicative classrooms are defined by use of authentic texts and types of communication activities which require constant interaction among learners, and learner-centered ways which prioritize learners’ language needs. Generally, communicative language teaching stresses the opportunities for learners to focus on the learning process in specific meaningful settings, cooperative learning tasks so as the learners can exchange ideas in real-like situations. However, Kleinsasser and Sato (1999) believe that communicative language teaching is derived from a multi-disciplinary perspective which includes language, psychology, philosophy, sociology and education research. Hutchinson and Waters (1993), agree that the communicative approach is complex and is concerned with three sets: the nature of language, the procedure of learning, and the context within which learning takes place.
Before defining the role of the teacher, it might be good to clarify what is meant by "communicative activities". As far as the class management is concerned, in this particular form of teaching, teachers often use group and pair interactions. Interaction between students is important. The teacher should not be the leader of the discussions that are happening within the class, but class leadership should emerge from within the group. CLT prefers certain activities as: role plays, comparing pictures, pro and cons debates, reaching a consensus, trading in different situations, problem solving, planning for the future, finding common likes or dislikes. Most of these are task-based or project-based activities. The key factor is that the activity is based on a realistic situation. This could range from a specific activity in a certain department, to a group of friends discussing on a specific theme. Within this kind of context, the students should be required to negotiate for meaning. This should require multiple turn taking and so, the CLT aim, communication, is reached. Making language acquisition easier, students need to practice a lot and such the teachers must find the best procedures in getting the students involved into activities. The teacher is no longer the main authority in the classroom, but he is still the one that facilitates the interaction between all learners, providing guidance and advice whenever necessary, being, at the same time, the one that sets the theme. He is never a passive observer, and sometimes, he acts as a participant within the learning-teaching group. He is still the monitor of the students’ potential and he identifies the potential in the students and helps them develop in that direction. In contemporary English teaching, the functions of the teacher have become of outmost importance. He is still regarded as a main provider of resources and sources and as a guide and manager of the activities that take place in the class. Within the Communicative Language Method, the teacher remains a researcher and a learner, making his contribution to bringing in the classroom the appropriate knowledge and abilities.
Within a learning context, the communicative language teaching can be perceived as an approach of intercultural communicative competence. Still, it has been often considered an approach rather than a method. Although a reasonable degree of theoretical consistency can be perceived – in what concerns the language and learning theory, when we consider the levels of design and procedure, there can be a lot of space for individual interpretation and variation than other teaching methods permit. clarify
Many language teaching specialists believe that adequate learning of a language takes place when the learners are intensely involved in the process of learning. Gaining knowledge of grammar rules and vocabulary of the target language is not satisfactory, but as to be able to get the whole meaning, students should be competent from the communicatively point of view. Rephrase! It appears that learners can speak=communicate even if they have no knowledge of grammar and vocabulary! Which is nonsensical, of course! As mentioned above, communication is based on interaction, performance, purpose, and context. The language patterns used in real-life situations vary in accordance with features of role, status, and formality. There are principles which indicate the communicative approach to language teaching, for example: peoples’ interest in and identification with the taught context, enabling all learners to achieve their maximum potential; the content of the lesson which should be interesting and appropriate for both the teacher and students’ level of comprehension and last, but not least, it should integrate all four language skills. To conclude, we should bear in mind that communication, seen as a highly refined human process is linked with other factors which may, at some point, hinder and impede communication- inside and outside the EFL class. In the teaching- learning process, these factors should be considered and used in the advantage of advancing within the learning process.
3.3 Language activities which develop communicative competence
Learners’ needs and interests should be taken into consideration when selecting activities for learning.
According to Lindfors (1980), to plan communication for learners without their active participation and without reference to their interests and concerns is to miss the whole point. Thus, activities must be relevant and purposeful as to make learners engage themselves into the process of learning.
“In every job that must be done
There is an element of fun
You find the fun and snap!
The job's a game
And every task you undertake
Becomes a piece of cake!” (Marry Poppins)
When there is something one person knows which another person does not, there is then a good reason to communicate. The interactive activities should inform learners about how language is used as well as about how it is structured. Different activities can be carried out in the classroom for many various purposes. It is of outmost importance that learners enjoy language activities so that their level of anxiety is low and they are able to comprehend and assimilate the language items taught. Beginners are often able to internalize 'chunks' of language which allow them to participate in social situations (Richard-Amoto, 1988). Richard-Amoto says that during the beginning stages of language development pupils often have the eagerness to communicate but they do not have the necessary skills. So, by having a range of ways to be communicative they will try to communicate. Teachers then will have to provide the language forms which are relevant to the proficiency level of the learners and which they can use in a meaningful way.
Here are some of the activities that can be used:
Games When learners are children, the teacher must take into consideration that they enjoy playing games. Games can be used for teaching language forms and functions. The most important use of games is to enable pupils to communicate. All teachers know that games often give rise to noise. Some games are competitive but the focus should not be on competition. What is important is that the rules of the game are few and they should be very clearly explained.
Songs
Songs provide a lot of fun to pupils and adults alike. Songs can help to lower the learners' anxiety and make them feel comfortable. Songs can also be of high pedagogical value. Pupils can sing and perform actions described in the song. It is difficult to escape music and songs when teaching English, as they occupy a big part of the modern world. The „song stuck in my head’phenomemnon “ (the echoing of the last song one heard) reinforces the idea that songs work on our short and long term memory (Murphey 1990b) Songs can be highly valuable in developing certain capacities if they are used creatively, as to bridge the gap between pleasurable experience of listening, singing, cultural discovery and communicative use of language.
Describing pictures
Pupils can practice language by describing things. Pictures, for example, can give them the possibility to interact in meaningful ways.
Poetry reading or writing
Poems can be used to express feelings and attitudes. Pupils can learn how to express themselves as they read a poem. Using poetry in the classroom may seem discouraging at first, but using the right exercises, will make students love them.
Discussion
Children often agree and disagree among themselves, over several things. This can be more systematically done in the form of a discussion or debate. It will give them the chance to practice language in a pleasant way.
Role-playing
Children go through the imaginative stage as they develop their language. They often give way to imagination and consider roles which are very different from their real self. In role-playing, children should be allowed to be characters which they like, so that, they can express themselves well.
Miming
Miming is a very helpful way of having learners communicate. Performing different activities without talking creates an information gap. The observers will have to ask questions about the performance and practice language speaking, especially the interrogative form.
Story
Children enjoy very much to listen to or to tell stories. Telling stories implies "narrating", which is a very good language exercise. The stories can be real or fantasized. The stories for children should contain structures which are repeated. Children can learn these structures when they say them out loud each time they are mentioned in the story they are listening to.
Problem solving
Problem solving activities determine children to think. They make use of the language in finding solutions to a problem. Studies have shown that as students work in an interactive context they internalize the help received from their teacher and thus are able to achieve the task which they may not have been able to do by themselves. (McNamee, 1979; Cazden, 1983; Greenfield, 1984).
3.4 Teaching Foreign Languages Communicatively – A Common European Framework Approach
“(…) it is only through a better knowledge of European modern languages that will be possible to facilitate communication and interaction among Europeans of different mother tongues in order to promote European mobility, mutual understanding and co- operation, and overcome prejudice and discrimination”(Recommendation R(82)18 of the Committee of Ministers)
There are three sources in what the Common European Framework of Reference (CEFR) says about language teaching and language learning: The Council of Europe Policy, the purpose of CEFR and the learning approaches. It is of outmost importance to equip all Europeans “for the challenges of intensified international mobility and closer co-operation, not only in education, culture and science but also in trade and industry” (Recommendation No. R (98) 6 Of the Committee of Ministers to Member States Concerning Modern Languages – Adopted by the Committee of Ministers on 17 March 1998 at the 623rd meeting of the Ministers' Deputies) by developing the ability of people to communicate with each other no matter the linguistic and cultural boundaries.
The Common European Framework sets the principles of elaborating language syllabuses, examinations, textbooks and educational guidelines across Europe. It refers to what language learners must know in order to develop skills and obtain the knowledge they need in order to communicate effectively. Its goal is to provide “a common basis for the explicit description of objectives, content and methods” and to promote “international cooperation in the field of modern languages”(CEFR:1)
The description also defines the cultural background of the language. The Common European Framework aims to overcome the impediments of communication amid people working with modern languages who belong to different educational systems in Europe. By preserving a common basis of content, methods and objectives, the Framework will enhance the transparency of courses, syllabuses and qualifications, thus promoting international co-operation in the field of modern languages. The criteria for describing language proficiency will facilitate the acceptance of qualifications gained in different learning situations, and so, will aid European mobility.
The Common European Framework is structured as follows:
A. Communication themes
B. Communicative tasks and purposes which are:
1. Oral production
2. Written production
3. Oral perception
4. Visual perception
5. Spoken interaction
6. Written interaction
C.Mediating activities and strategies, which are considered to be:
a. oral mediation:
a. written mediation:
D. Declarative knowledge
E. Sociocultural knowledge
F. Intercultural knowledge
G. Practical skills
H. Inter-cultural skills
I. Existential attitudes
The CEFR is a system which describes the process of foreign language learning and can be used to analyze L2 learners’ needs, as to specify L2 learning targets, to act as a guide to the improvement of L2 learning materials and activities, and provide direction for the assessment of L2 learning issues. The CEFR system is based on an analysis of language use in terms of the strategies practiced by learners as to activate general and communicative competences in order to accomplish the activities and processes involved in the production and reception of texts and the construction of discourse dealing with particular themes, which enable them to accomplish the tasks facing them under the given conditions and constraints in the situations which arise in the various domains of social existence. (CEFR) The communicative language competences are usually approached at three levels: linguistic, sociolinguistic and pragmatic. The linguistic level is divided into lexical (vocabulary), phonological (pronunciation) and syntactic (grammar) knowledge. The sociolinguistic level refers to different cultures with different norms of behavior which include conventions with respect to class, social groups and refinement. Common European Framework implies becoming familiar with the culture of the target language in the classroom. For that reason, the use of authentic materials that bear elements of language and culture is a widely accepted practice (Ciccone, p.203) and constitutes an important element in destroying the artificiality of the foreign language classroom. As Ciccone mentions, “the lack of early exposure to anything other than contrived speech increases students’ later frustration and retards their acquisition of the language” (p.204). Hence, the encouragement to use authentic materials, like poetry and music, in English language teaching. These are great tool to use with your students as it helps practice not only listening, speaking, reading and writing skills all together, but stretches students’ imaginations too. The Common European Framework refers to the pragmatic level, coining things as coherence and cohesion. When communicating, there is always an interlocutor who is implied and this can lead to different misunderstandings, gestures or words not totally understood in terms of connotation, especially when different cultures are involved. The Common European Framework Reference sets the target and it describes what a learner is supposed to be able to do in speaking, listening, writing and reading at each level. The targets set are realistic goals. No matter how long it takes before the students are able to realize these goals, there is a mutual understanding among educators that the adoption of the CEFR is a vital step towards clarifying language goals and raising English language standards. Prior to this situation, Romanian foreign language curriculum was rather ambiguous and often understood differently from school to school, from city to city. This inconclusiveness had hindered attempts to raise English language standards across the country. It is obvious that the implementation of the CEFR is a step forward. Common European Framework indicates that communicative language teaching can be regarded as a set of conventions about the aims of language teaching, how students learn a language, the types of classroom activities that facilitate learning, and the responsibilities of teachers and learners in the classroom. Savignon (2005) points out the fact that communicative language teaching is not only concerned with face to face oral communication, but its principles involve all learning skills activities. The Framework is becoming an essential tool in European countries as to create a European educational area on the ground of modern languages. It has been adopted by the European Union as the standard for defining language levels.
3.5 EFL Learner’s Levels according to the Common European Framework of Reference
Unfortunately for teachers, rare are the cases when the learners in a class are at the same named level. Teachers complain most often that their students seem to be very mixed, which enhances the difficulty of the process of teaching. As a result, when teachers plan the lessons, they need to remember that they are only plans that can be changed if they do not work. Teachers need to observe students on a daily basis and respond to feedback in order to adjust and redirect work, to make it as effective as possible for each individual. In schools students are as: advanced, upper-Intermediate, intermediate, pre-intermediate, elementary and beginner learners. The Council of Europe, according to the Common European Framework of Reference for Languages, categorizes learners as follows: Mastery (C2), Effective Operational Proficiency (C1), Vantage (B2), Threshold (B1), Waystage (A2) and Breakthrough (A1).
3.5.1 The Common Reference Levels
It is well known that the communicative competences are included in the European CV. This is graphically presented below:
3.6 Developing Listening Skills
Learners of a foreign language, no matter the level of development, should spend time listening to the foreign language they are learning because in public examinations for Modern Foreign Languages and in the National Curriculum, listening is seen to be just as equal as speaking, reading or writing. Immediately after arriving in a country where his second language is spoken, the learner grasps the fact that although his speaking ability may allow him to meet the basic needs of communication he has difficulties in the ability to understand the spoken language. Language learning depends a lot on listening. Listening provides the audio input that serves as the basis for language acquisition and empowers learners to participate in spoken communication. Listening to and learning a foreign language in school is different from learning the native language. Karen Turner considers that this difficulty comes from some specific factors:
The listening factor is de-contextualized –the learner has to use his imagination as to create the context of the utterances
If the listening requires a tape, the learner can become confuse, at least, for some moments
Learners might be unfamiliar with certain cultural norms.
According to Theodore B Kalivoda (professor at University of Georgia) there are three major areas relating to the problem:
the difficulty of remembering the messages contained in extended speech
the rapid sounding pace of the speech, with its accompanying slurred qualities, which contrast with the deliberate and well-articulated talk most often heard in the classroom,
and thirdly, the overwhelming number of unfamiliar words heard.
These matters suggest the great difference between listening in a foreign language and listening in the native language.
According to Karen Turner’s ideas exposed in her essay Developing Listening Skills, “listening involves hearing what is said and understanding what is meant. It is the listener who has the job of making sense of what has been heard by reference to what s/he knows.” As mentioned above, the importance of listening extends far beyond academic and professional settings. Being able to practice good communication on a daily basis and no matter the circumstance, it implies fostering good self-esteem, maximizing productivity, improving relationships, and even becoming a better speaker. It is a fact that learners listen to foreign language items for different purposes. The focus can be on the grammatical aspects of language – word order, question patterns, new sounds- or on the information given. According to teaching methodology, there are some stages that compose the listening process: receiving, understanding, remembering, evaluating, and responding. This would be the standard most commonly referred to when analysing good communication, because it helps isolate the necessary skills required at each individual step in the process.
Listening is a process that requires effort. Once one understands how each part builds up the whole, one will come out a better thinker, listener, speaker, and communicator. Effective language teachers show students how they can adapt their listening behavior to face a multitude of situations, types of guidance, and listening aims. Students are helped to develop a set of listening strategies and match right strategies to every listening situation.
3.6.1 Stages of Listening
Receiving
This is the first and most basic stage of the listening process: the act of actually absorbing the information being expressed to you, whether verbally or non-verbally. Not all communication is done through speech, and not all listening is done with ears.
Paying attention is the key in communication. Teachers often advise their students to avoid distractions, advice that applies even for the multi-tasking people.
Never interrupt the speaker is another stage – it is rude to make assumptions about what the speaker has to say, and interrupt him/her. One should avoid completing the speaker’s sentences. It is a rude way to segue into your own response. One can, however, practice nonverbal feedback, for example: nodding, as to demonstrate his attention.
Understanding
This is the point within the listening process where one is able to plan his response. Understanding happens when one has received the information from the speaker, and begins to process its meaning.Understanding can be done by asking questions, or using parts of the speaker’s message. This allows the interlocutor to demonstrate his active engagement with words, and helps to better understand the key points in a message.
Remembering
What would it be ifthe listener forgot everything the speaker had just said?
Remembering refers to retaining information, and the most effective way to do so in a conversation is to move the key elements of a message from a short-term memory into a long-term memory. This can be done by converting small details into a central theme. The details will remain in the short-term memory, but isolating the main ideas will help one understand them better, and remember them longer.
The learner can remember by making the message familiar and relating the idea to something he already knows.
Evaluating
It is the stage when one can begin to prepare the responses, but still, as a listener. Sorting out the information begins immediately after the absorption, processing and remembering the message.
Responding
After completing the above stages – that is, receiving, understanding, remembering, and evaluating the listening item – responding should be easy. One will be prepared to address the speaker with the awareness of the circumstances and context surrounding the subject matter.
Modern methodology often divides listening skills into two groups: bottom-up and top-down. Bottom-up skills are the ones which help decoding the message uttered by the speaker. Examples of such skills are:
Listening for words endings
Recognizing syllable patterns
Finding the stressed syllable
Recognizing words with weak or central vowels
Top-down skills indicate the meaning and involve the listener’s capacity to relate the new input of information with what he already knows about the discussed matter. Examples of such skills are:
Separating emotions
Recognizing the topic
Finding the main ides
Evaluating themes
Identifying the speaker
Listening is a very important part of communication, because if someone fails to understand the message which is expressed, he might also fail in providing a substantial and meaningful response. This is the root cause of many misunderstandings and complications, no matter the circumstance. By raising the learners’ awareness about the importance of listening as a learning skill and by clearly teaching listening strategies teachers help their students develop the ability and have the confidence to handle situations of communication they may encounter outside the classroom. So, they give their students the basis for communicative competence in the new language.
Being able to take control of the listening process means good communication.
3.7 Developing Speaking Skills
According to Stevick (in Fauziati, 2002, p. 126) speaking refers to the void between linguistic expertise and teaching methodology. Linguistic expertise is concerned with language content and language structure.
One of the most challenging tasks teachers have to face in teaching a foreign language is speaking or promoting oral language. Students tend to consider productive skills like writing and speaking difficult because they imply activating previous knowledge of grammar and vocabulary as to use them in real communication. It is a fact that teaching speaking used to be undervalued especially in Romania, and language teachers continued to teach speaking just as a repetition of drills or memorization of dialogues.
Speaking is "the process of building and sharing meaning through the use of verbal and non-verbal symbols, in a variety of contexts"(Chaney 1998, p. 13). The aim of teaching speaking today is to upgrade students' communicative skills, because only in that way can students express themselves and learn how to act according to the social and cultural rules appropriate in each communicative circumstance. Teaching speaking means to teach students to:
produce the English speech sounds ;
use the right stress,(word and sentence) intonation patterns and the rhythm of the language;
be able to select the correct words and sentences according to the opportune social setting, audience, situation and subject of discussion;
organize thoughts in a meaningful and logical sequence;
use language as a means of expressing values and judgments;
use the language quickly and confidently with few unnatural pauses, which is called as fluency. (Nunan, 2003)
In Teaching by Principles: an interactive approach to language pedagogy , Douglas Brown, considers that ‘speaking’, “is an interactive process of constructing meaning that involves producing, receiving and processing information.”Its form and meaning aredependent on the situation in which it occurs. People generally use speaking as a means of communication in daily interaction. Building up mutual communication in speaking activity requires the presence of a speaker and a listener. Speaking is considered to be inseparable to what we call communication. Communication is the way individuals can show their feelings, express thoughts, ask questions, give orders, argue, and ask for help. Improving communication during language classes imply using several different activities.
3.7.1 Communicative Activities encouraging Speaking
According to Yule (1985), “CLT is characterized by lessons organized around concepts such as ‘asking for thing’ in different social contexts, rather than ‘the form of the past tense’ in different sentences.” (p.154). Johnson and Morrow (1981, p.56) define CLT “as second language teaching in which communicative competence is the aim of the course”. Communicative activities encourage students to speak and listen to their classmates. Discussion points are very important and relevant as communicative activities. Still, it should not be done at random, but on specific topics, chosen by the teacher as coordinator. Students can be divided in small groups and asked to work on different drills with specific set purposes. It is of outmost importance that the speaking should be equally divided among group members and the given topics should have real purposes, as: to find information, to break down barriers, to talk about everyday situations and top learn about the target culture, defend ideas, justify themselves, agreeing and disagreeing with each other.
In Techniques in teaching vocabulary, Allen, V.F.(1983) nominates various communication drills for teaching vocabulary to learners of different levels. Presenting some examples of communicative activities, he sustains that “communication activities may be of several different types, but all share certain similar features, and the teacher should structure them in specific ways to ensure that the students will achieve the objectives of the activity” (p.361). He presents some examples of communicative activities which include: affective activities, role-play, open-ended scenario, simulation, interview, survey, dramatization television programs, communication games, discussion and debates; content activities, problem solving, and information gap. These types of exercises develop the critical thinking and students learn how to talk freely on various topics. The main aim is the constant encouragement of the students to communicate. Being demotivated and inactive during the instructional process leads to low speaking abilities and low motivated students who will be defensive to speak or participate in classroom interaction. As a matter of fact, whether or not the students’ speaking ability improves is greatly influenced by their participation in oral communication. It is the responsibility of the teacher to find out effective techniques for presenting the materials in order to stimulate the students’ positive attitude toward the speaking class. (Burns& Joice, 1997:10)
3.7.2 The components of Speaking Skills
According to methodologists, there are three components of speaking and these are:
Accuracy refers to the fact that a student is able to build sentences that follow form rules. A student speaks flawlessly if he uses the appropriate grammar, vocabulary and phonology – if he is able to use word order so that, his speaking can be understood by his partner.
Fluency is another very important component of the speaking skill. It is in fact the natural language that a speaker uses when he interacts in communication. Richard, Platt, and Webber (1985) state that fluency is the feature which gives speech the qualities of being natural and normal, including native-like use of rhythm, intonation, stress, pausing, rate of speaking, and use of interruption and interjections. Webber (1958) sustains that fluency includes:
the ability to produce spoken or written language with ease, the capacity to speak with a good command of intonation, vocabulary and grammar.
the ability to produce continuous speech without causing comprehension difficulties or a breakdown of communication.
Comprehensibility concerns the listener and refers to the process of understanding the utterances of the speaker. In speaking, comprehensibility means that receptor and preceptor understand each other.
There are different types of oral communicative activities, such as the ones which Harmer devised as to develop oral communication or speaking:
Reaching a consensus
Discussions
Simulation and role play
Communication games
Problem solving
Relaying Instructions
Littlewood(1988) has also listed the type of communicative activities in the following way:
functional communicative activities and social interaction activities.
Some activities from the functional communicative activities category are:
sharing information with restricted cooperation
sharing information with unrestricted cooperation
sharing and processing information
processing information
The social interaction activities add a further dimension to the functional activities and students should have in mind the social as well as the functional meaning that language conveys.
Some activities that entail social interaction are:
using the foreign language for classroom management
using the foreign language as a teaching medium
conversation or discussion sessions
simulation and role play
3.8 Developing Writing Skills
“True ease in writing comes from art, not chance,
As those who move easiest have learnt to dance.”
Alexander Pope (1688–1744)
Writing is regarded as one of the most important skills – and this is perhaps, because what Caius Titus said hundreds of years ago – “Scripta manent” – is still true today. When one writes, he has the consciousness that his writing can and will be read by many. Writing can be influential and powerful – hence an old saying “The pen is mightier than the sword”
“A simplistic view of writing would assume that written language is simply the graphic representation of spoken language…” (Brown, 2001:335), but writing is more complex than this. Brown states that writing is “as different from speaking as swimming is from walking” (2001, p. 335). It is a way of expressing feelings and thoughts, research and ideas. It still remains the primary instrument through which to evaluate the success in school and in an academic career. Writing skills have requirements that students of all ages and levels, have to meet. The number of words needed for a simple conversation is usually small, but writing implies the mastery of an extended and varied vocabulary. Written English is linguistically different from spoken English, and it necessitates knowledge of low-frequency words that students rarely use in speaking. It is very often the case that Romanian students are far from attaining the level of proficiency demanded by the requirements of the exams they have to take at the end of high-school. Having all the writing requirements in mind, it is no wonder that learning to write in a foreign language is an uphill for many. Even when it comes to simple writing exercises, students lose interest and fail to complete them. Despite being exposed to instructions for a long time, there still are shortcomings in this particular productive skill. There have always been various opinions and arguments about what the best way to teach writing is, because everybody admits that writing is a complex skill, a social act which involves a purpose to communicate something and an audience with expectations. When teaching writing, teachers need to carefully choose the approach they decide to implement it with, because Romanian students’ difficulties lay within all of the areas connected to writing: content, structure, genre and process. On the other hand, teachers should always remember that teaching writing should not be a one- direction process, and the creative contribution from learners should always be considered. When teaching writing, teachers need to carefully choose the approach they decide to implement it with, because Romanian students’ difficulties lay within all of the areas connected to writing: content, structure, genre and process. On the other hand, teachers should always remember that teaching writing should not be a one-direction process, and the creative contribution from learners should always be considered. Being at ease with the topic they are supposed to write about, could turn EFL writing into a pleasant and motivating activity. For that matter, the activities and the issues are to be chosen very carefully by the teacher. It is very important to remember that writing can be as difficult to teach as it is to learn. Many learners have trouble writing with clarity, consistency and organization, and this often discourages them as they feel frustrated. Mention should be made that teachers must find ways to match the writing techniques and activities they set up for the EFL writing classroom with their students’ levels, needs, learning styles and multiple intelligences. Effective writing requires a high degree of organization regarding the development and structuring of ideas, information and arguments, a clear purpose and a good sense of audience. Additionally, Tricia Hedge mentions in Writing (2005) features as: a high degree of accuracy, complex grammar devices, a careful choice of vocabulary and sentence structures in order to create style, tone and information appropriate for the readers of one’s written text (2005, p. 7). Teachers must make sure that students are accustomed with issues such as determining the importance of correct spelling and punctuation and how to analyze a text for its context and audience. As previously mentioned, there are several barriers that seem to stand in students’ way when it comes to effective EFL writing: the affective factors that involve learners’ intrinsic particularities and the ones which are directly connected with the features of the EFL writing. Referring to the affective category, some EFL students' social and cultural background prevents them from writing about subjects they consider taboo, or are not very familiar with. Students may have problems with the tasks they are asked to perform, on the grounds that they are too difficult, or not right for their level of study, needs, age and even learning style. On the other hand, students may experience difficulties with form, morphology, vocabulary and syntax – that are different from their native language. One reason for which writing becomes so difficult, relates to the fact that besides knowing grammar and vocabulary, a writer’s ideas must be presented in an organized manner. The way students build phrases often influences the audiences' comprehension of the written content. Another problem that students have when learning EFL writing is that of the word order. In their mother tongue, due to the fact that Romanian is an inflected language, meaning can be inferred very easily, while in English, the scarcity of inflections requires a very rigid word order. A change in the word order in a Romanian sentence will not modify the meaning of the sentence, while in English only one order is accepted. The positions of different parts of the sentence cannot be changed at will, especially that of the subject and the object. It takes time and effort to master all the required rules. Good writing skills in English – is not something which is easy to achieve, though the reasons to improve it are numerous. Mastering the writing skill is considered to be essential for success in the modern global economy. Many experts sustain that without certain knowledge of English writing skills, a career would be limited for sure, if it involves doing business in English-speaking countries, even at basic level. Therefore, it is highly recommended that English writing should become a necessity for any global businessman/woman who wishes to have a career in the global marketplace. Many teachers have noted that acquiring the skill of writing seems much more laborious and demanding than any of the other skills. In fact, Nunan (1999, p 271) considers it an enormous challenge to produce “a coherent, fluent, extended piece of writing” in one’s second language. As mentioned above, this fact is magnified by the fact that the rhetorical conventions of the texts in English – for example, structure, style and organization – from the conventions in other languages. It requires effort to recognize and manage the differences (Leki,1991, p 186). Taking into account and applying all the effective components that EFL learning involves – can be the key to successful teaching and learning of EFL writing. Finally, teachers of writing, whether ESL or EFL, should continuously strive to provide the instruction which best meets the real needs and abilities of each and every student. While these instructions might entail some indirect teaching concerning particular structural problems, language study and rhetorical considerations, the primary emphasis should be upon the expressive and creative process of writing. The experience of composing could, in this way, have a purpose, that of communicating genuine thoughts and experiences. ESL students could begin to appreciate English as another language to use, rather than just a second language to learn (Zamel 1976, p. 76). Traditional methodology considers writing as a way of building a fixed structure out of ‘building blocks’. It begins with basics, that is, letters and sounds, which are the smallest components, it moves to spelling and then to sentences, ending up with composition. This approach increases students’ awareness of language structure. The teacher sets up writing experiences as to control the writing produced by students. In most of these cases, the knowledge and experience that they already have is not necessarily valued. Learners’ opinions, beliefs and ideas are not taken into consideration because when focusing on form, students are only given a subject matter and asked to write upon it. What really matters is what students produce and not what writing involves. Consequently, their written product is marked from the linguistic point of view- and errors, the content and the whole process loses importance. The focus on writing so as to pass examination reduces the result to just issuing a product in order to receive a grade from the teacher. The writing becomes de-contextualized and artificial. Zamel (1976) criticized writing classes in the 1970s when teachers and students alike paid too much attention to control and guidance, and hence, the confusion of grammatical ability with writing ability. He is the one who introduced the concept of process writing in L2 in 1976.
Brown (2004: 335) says that in composing their works, students must obey three main requirements. Every composition must:
1) meet certain standards of English rhetorical style
2) use accurate grammar
3) be organized so as to facilitate textual understanding.
It comes down to the cognitive perspective that writing implies so much more than putting words on paper. It is rather about the fact that, when engaged in writing, students are steadily improving ideas and modifying plans about their own ideas. As a process approach, writing is seen as a problem-solving activity, non-linear, exploratory and generative and as “recursive rather than uninterrupted and left-to right” (Hyland, 2002, p 167)
Though considered very important and being often assessed, teaching writing was greatly ignored for many years. It is said that writing was the Cinderella of the four skills – neglected, forgotten, forever tested but seldom taught. Teachers do not do enough writing with their students and so, its communicative essence is neglected, and students are deprived of a wonderful form of human communication.
Teaching writing in school is essential, but unfortunately, very difficult to accomplish. There have been many theories and approaches on how to teach writing. Some of them focus on the product, others on the process. Still, in all of them, students’ texts will be measured based on strict criteria. The criteria of scoring a text commonly involve organization, content, grammar, vocabulary and writing mechanism, as spelling and punctuation. Product-based research focuses on grammatical levels, paying outmost attention to errors, fluency, writing quality and structure. As a result of being so critical, writing is often seen as a chore for both teacher and learners.
A lot of recent research has been trying to prove that a writer has to go through different phases when producing a piece of writing. Accordingly, Cushing Weigle (2002), Graham (1990), Harmer (2007), Hedge (1988), Strömquist (2007) and Unger &Fleischman (2004)are authors who cultivate the Hayes-Flower model from 1981 – ‘A Cognitive Process Theory of Writing’ as the source of writing mechanism. This was further developed and upgraded by Hayes in 1996, and is very complex, but the central idea could be what Unger and Fleischman wanted to explain in a quotation referring to Hayes and Flower: "This approach emerged from researchers’ study of the steps that accomplished writers engage in as they write: planning and organizing ideas, translating ideas into text and reviewing and revising the result" (2004, p 90).Cushing Weigle believes that it is the individual that occupies the central part in the Hayes-Flower model, and not the task. The individual parts of writing engage "interactions among four components: working memory, motivation and affect, cognitive processes and long-term memory" (Weigle 2002, p. 25). Cushing Weigle claims that the Hayes-Flower model of process writing is based on first-language writing, but it suits second-language writing as well (2002, p. 24).
Talking about writing activities, Bedgar and White (2000) consider the four steps in teaching and learning writing: familiarization, controlled writing, guided writing and free writing. In the familiarization stage, learners are introduced to different types of texts, each with their own structures and language features, thus creating an understanding of how each one works and gaining control and mastery of them when writing. In controlled and guided writing stages, students practice the skills, under the teacher’s close observation and guidance, until they are ready for the free production activity, which is the final stage in the writing process.
Vivian Zamel is one of the specialists who sees writing as a process which involves cognition and creativity: “Through the act of writing itself, ideas are explored, clarified and, as this process continues, new ideas suggest themselves and become assimilated into the developing pattern of thought. Understanding that writing may be recursive, non-linear, and convoluted, writers are able to modify or even discard chunks of discourse or original plans, as they review their writing, consider its function, and distance themselves from it, in order to meet their readers’ expectations.” (Writing: The Process of Discovering Meaning, 1982, p 185) According to her, writing helps students develop their thinking and organization skills.
The following quotation strengthens the idea above: “Students and their teachers are finding that writing can be a powerful means of making sense of experience and constructing meaning. Whether first graders or engineering majors in college, students can be shown how to use writing as to think, understand, and learn.“ (R. Indrisano, J.R. Squire, p 14).
Raimes (1983) presents writing as a multifaceted skill which involves several elements. He advocates that producing a written text is a rather difficult and complex skill which forces the writer to consider many factors such as content, word choice, grammar and audience.
Strömquist claims that the process of writing is more complicated than a scheme with pedagogical steps, but from a didactical-pedagogical view it is meaningful to stick to the division of stages and phases (2007, p 33).He surmises that the "arrows do not go in one direction – from prewriting to revising", they move both ways which indicates a dynamic course of events (2007:32). Strömquist thinks that writing offers students the opportunity to use itas a tool for learning and especially for thinking: "Let the students think with a pen in their hand" (2007, p 38). Strömquist, claims that the process of writing is not solely a method. In her opinion "engaging in teaching with process writing involves accepting an approach – a basic attitude towards writing in its own. Writing is perceived as a complicated and complex process and it is this specific insight that leaves traces in the teaching" (2007, p. 4).
The approaches that are used in teaching writing have been influenced by all of the above, and even more. To conclude, one can remember – the traditional approaches which emphasize the knowledge of grammar, the process approach in the current practice, which intends to make the classroom a rich language learning environment, and the genre approach which recognizes the value of learning about the typical text structures and related grammatical features.
I consider that teachers’ teaching should include useful elements of each approach, because all three methods assert the importance of teachers in encouraging students to write and to grant them with useful and appropriate feedback and support. Beside addressing the linguistic, cognitive and socio cultural aspects of learning, teachers need to take into account affective factors as well: generating students’ motivation, holding positive teacher attitudes and expectations and promoting learnerauthonomy .
3.9 Developing Reading Skills
“The more you read, the more things you will know. The more you learn, the more places you’ll go.”(Dr. Seuss, “I Can Read With My Eyes Shut!”)
“Reading is receiving ideas and impressions from an author via the printed word by interpreting signs, letters and symbols by assigning meanings to them” (Stauffer, 1969, p. 5).
Language learning is a demanding process. It doesn’t only imply acquiring vocabulary items, idiomatic expressions, language structures and cultural aspects of the target language, but it also involves being proficient in the skills that help understanding and communicating in the target language effectively.
According to language learning methodology, the main skills in acquiring a language are: listening, reading, writing and speaking. The first two are receptive skills and the other two are productive skills. Learning to read is an important educational goal because it brings forth many opportunities. Reading is a connected with the work of visual, kinesthetic, auditory analyzers, and thinking. “The reader sees the text (visual), “sounds” it silently (kinesthetic),hears it (aural), and as a result, understands the text (thinking).”(Ani Khachatryan, 2002, p 4)
Reading is a receptive skill which is seen as one of the major skills in language teaching and learning. Reading material is language input. It is a complex activity that involves perception and thought. It has always been an important part of language learning at any level because it supports learning in many different ways. Reading involves the writer and the reader alike, and consists of two related processes: word recognition and comprehension.
Communication implies interaction and common knowledge has it that the protagonists are the speaker and the listener.
The question that rises is: is reading a non-communicative activity, since it is often a solitary activity? Of course not, language specialists state, since the reader is interacting with the writer, although their relationship is not as direct as that between the speaker and the listener. The writer tries to convey the message implicitly or explicitly and the reader tries to decode the message. Comprehension stands for what is coded in the text and is closely connected with what the reader feels, needs and has experienced. The reader and the writer become active partners within the meaning- making process of decoding the message. However, it is not as easy as it may seem. There are lots of things to consider while teaching reading in a foreign language. It is important to remember the fact that classroom reading aims in a variety of ways to help students develop a more effective reading method. This can be employed during the “pre-reading”, “while-reading”, and “post-reading” stages. These can help us make reading more communicative. Reading is as communicative as any other form of language use and teachers’ aim should be bringing out that communicative element. Teachers’ aim is to prepare students to react in any communication situation even if they do not maser completely grammar rules and vocabulary. By asking students to read, teachers provide multiple opportunities for them to absorb vocabulary, grammar, sentence structure, and discourse structure as they occur in authentic contexts. Learners gain a complete picture of the ways in which the elements of the language work together to bear meaning. Reading requires the integration of several skills and abilities. Comprehension makes the reader be an active part in building the meaning. Reading comprehension refers to relating prior knowledge to the new knowledge contained in the written texts. One cannot learn to read an alphabetic language as English, unless he understands that the words he hears contain sounds called “phonemes.” Many readers must be taught “phoneme awareness” if it does not come easily to them. Realizing that spoken words are composed of phonemes is important because when one learns how to read, new words are decoded by linking phonemes to the letter symbol. Havinglearned how to apply sounds to letter symbols, students must practice for fluency. ”Most children who have trouble learning to read in the early school years, stumble in mastering the “word recognition” strands. In English orthography, the spelling of spoken words is governed largely by the alphabetic principle, the notion that our written symbols (letters or graphemes) systematically represent the smallest meaningful speech elements (phonemes) that make up the pronunciation of a word.” (Liberman, 1973, p 35) As a teacher for first graders, I have often encountered the difficulty that a child does not grasp the fact that spoken words consist of phonemes, they don’t have that “phonemic awareness” and they do not truly understand what letters stand for. Reading requires several skills, such as: phoneme awareness, phonics, reading fluency, and comprehension skills. All skills are sine qua non. They must be integrated and applied through consistent and frequent practice. Some language specialists think that reading is not a natural process and it requires well-informed instruction. By making students aware that reading is a skill that asks for active engagement, and by teaching or using reading strategies, teachers help their students develop the ability and the confidence to manage the communicative situations they may find themselves in, beyond the classroom. In this way, students are given the foundation for communicative competence in the new language. There are many reasons for its outmost importance. Firstly, it is a fundamental function in today’s society, it develops the mind and the imagination and it develops the creative side of people. Since reading is such an important skill in language learning, it is important to define it. Aebersold and Field (1997): “Reading is what happens when people look at a text and assign meaning to the written symbols in that text” (p. 15). This definition brings forth two necessary entities: the text and the reader. Reading is the interaction between them. According to Stauffer (1969) reading is “to get information from the printed page” (p. 5). One can conclude that the reason for reading is to get information from the text. In order to read a text, readers develop different strategies, depending on the purpose of reading because the purpose for reading determines how the text should be read. While reading a text, there is always a purpose in his/her mind because reading is supposed to be a purposeful activity. Wallace (1992) says that “Experienced readers make judgments during any reading activity about the degree of care and attention which the material warrants. In the real world, effective reading means a flexible and appropriate response to the material in hand, and this is always guided by the reader’s options, including the option to give up” (p. 5).
Wallace (1992) also states that, “Just as we filter spoken messages in deciding what to attend to, so do we filter written messages. And even when we commit ourselves to a full reading, that reading will still be selective, some parts being read with greater care than others.”(p 34) Though it might seem very easy, reading is in fact, a complicated skill. As Richards (quoted in Aebersold and Field, 1997) says, “Reading in a second language is a dynamic and interactive process in which learners make use of background knowledge, text schema, lexical and grammatical awareness, L1- related knowledge, and real world knowledge, as well as their own personal purposes and goals, to arrive at an understanding of written material. At the same time readers’ teachers’ views of the nature of reading are seen to be shaped by their own social, cultural, and personal histories” (p. 56). Great developments have been done in the field of English language teaching. One of them was a new approach to reading. In this approach, two different processes were introduced to language teaching and learning. These were bottom-up and top-down processing. Foreign language teachers are often frustrated by the fact that students seem to forget the strategies used when reading in their native language and they seem to think that reading means starting a sentence and going word by word, looking up every unknown word. This strategy means relying exclusively on linguistic knowledge, a bottom-up strategy. It is the teacher’s duty, as an instructor to help learners overcome this method and use top-down strategies as they do in their native language.
“The teacher, by watching the various ways in which his or her learners process texts, can encourage the use of those strategies which are observed to be most effective” (Aeberson and Field, 1997, p. 59).
Teachers show students how they can tailor their reading style as to deal with a variety of situations, types of input, and reading purposes. They can help students develop a set of reading strategies and match appropriate strategies to each reading situation.
According to Richards, some of the reading strategies and skills are:
predicting- implies reviewing titles, headings and photos as to get a sense of content of a reading selection. It makes use of previous knowledge to make predictions about vocabulary, type of text and it checks understanding; can use knowledge about the author as to make predictions about writing style, vocabulary, and content
skimming and scanning- uses a quick overlook of the text to get the main idea and to identify text structure. It is a speedy reading for general meaning. Reader’s eyes skip over sentences or phrases concentrating as to identify the main points, to quickly gather the most important information, or 'gist'. It's not essential to understand each word when skimming
detailed reading – detailed reading means marking key information in every paragraph, as to make connections between al paragraphs in order to understand the text
guessing unknown words
understanding main ideas
inferring – deducing the ideas from the text, using key words
understanding text organization – each and every text should have a structure and it shouldn’t be just a random collection of sentences. The reader will understand better the way in which a text has been organized if he grasps the meaning of the related sentences.
assessing a writer’s purpose- when reading a text, the aim is to understand what the author intended to transmit
evaluating a writer’s attitude
By using reading strategies, foreign language learners will find that they can master the reading experience and gain confidence in their ability to read. There are several ways in which instructors can help students learn how to use reading strategies
if strategies are explained to the whole class aloud, explaining the processes of previewing, predicting, skimming and scanning, and paraphrasing. Students will know how much they can find out about a text before they begin to read.
allowing time for group and individual activities as preparation for in-class or out-of-class reading. Allocating time to these activities indicates their importance and value. Pre-reading tasks aim to increase students’ awareness, their schematic knowledge, and this is most effectively done collaboratively.
by solving exercises to review vocabulary will help students learn to guess meaning from context.
Reading can be done for different purposes and according to these, certain strategies are used:
1. Reading for content information: Students' purpose is to obtain information about a subject. Reading for content information in the foreign language classroom provides students with authentic reading material and an authentic purpose for reading.
2. Reading for cultural knowledge and awareness: materials written for native speakers can give learners insight into the worldviews of the people whose language they are studying. Having access to “native material”, as newspapers, magazines, and Web sites, students are exposed to culture diversely, and monolithic cultural stereotypes fade away.
3. Reading to learn: one must follow basic steps such as:
– find purpose for reading. One must activate background information on the topic in order to anticipate content and identify suitable reading strategies.
– insist on the parts of the text that are relevant to the purpose. This helps students focus on specific items and reduces the amount of information they have to hold in short-term memory.
– choose appropriate strategies to the reading task and use them interactively. Using top-down and bottom-up skills simultaneously in constructing meaning, makes students understand better and be more confident
– monitoring comprehension while reading and at the end of the reading task. This helps students detect disparities and comprehension failures.
Research has shown that in order to become a proficient and skillful reader, one has to develop advanced skills in using multi-syllable words, in building fluency, in using expanded vocabulary and in developing comprehension skills.“The major strands that are woven together during the course of becoming a skilled reader are: language comprehension (background knowledge, vocabulary, language structure, verbal reasoning, literacy knowledge) and word recognition (phonological awareness, decoding, sight recognition). All these lead to the fluent execution and coordination of word recognition and text comprehension. “(Hollis S. Scarbough- Connecting Early Language and Literacy to Later Reading (Dis)abilities: Evidence, Theory and Practice, 1989) The analysis of theoretical material concerning reading skills, meant to improve communicative competence, lead to the conclusion that learners should engage themselves in purposeful reading and should interact with authentic texts as to develop critical awareness, to expand vocabulary knowledge and become fluent. A good reader reads with accuracy and easiness. Good readers read a lot and so, they increase their vocabulary and knowledge. Any teacher’s aim is to have fluent students and fluency develops with both oral language development and print exposure. The more learners read, the more vocabulary and knowledge they acquire, and the more fluent they become in reading.
4. Socio Cultural Aspects regarding the use of Poetry and Lyrics in teaching a language
4.1 Socio Cultural Aspects regarding teaching a language
In the complex societies that we are part of, English language teaching and learning have become much more than the four skills previously discussed, that have long characterized what it is that we do in the classroom.
Canagarajah stated that “since everything that is taught already comes with values and ideologies that have implications for students’ social and ethical lives, teaching is always problematic” (1999, p 16). In teaching language classes, one must strive – both implicitly and explicitly- to mirror the societies that particular foreign language is part of. A language should not be regarded apart from the culture it belongs to and a teacher must always think beyond the classroom. The issue of conveying socio-cultural aspects in language teaching is an issue of wide interest among theorists in the field of English language teaching.
In this respect, Romanian English teachers often encounter the question -especially when teaching small graders – “Whose English will we be taught? Americans’, Briton’s, New Zealanders’?” or “what kind of English will we learn?” Most often, the answer is, as Carter & Nunan state in their Cambridge Guide to Teaching English to Speakers of Other Languages, “English no longer belongs to the United Kingdom, nor to the United States. It is an increasingly diverse and diversified resource for global communication” (Carter & Nunan 2001: 2). Under these circumstances, the condition would be based on the accomplishment of a balanced organization of the cultural connotations directed on a distribution of the interest among the different spheres and contexts in which English is used in the world.
A language does not exist on its own, it comes with culture and ideological implications and hence, the teachers’ concern with the conveyance of cultural dimensions together with the language teaching and learning process. This issue has caused debates intending to establish how English should be taught internationally, depending on the learners’ particular socio-cultural contexts. Learning a language requires cultural competence. This refers to shifting cultural knowledge into culturally appropriate and effective behaviors. From the communicational point of view, behaviors are either verbal or nonverbal.
As well known, verbal competence refers to an individual’s ability to use a language, while nonverbal competence concerns the employment of nonverbal codes to cultural contexts. One can learn a language naturally (the mother tongue – it refers to verbal behavior obtained from the mother) or through a person’s deliberate effort (foreign language). When learning a second language, the greatest challenge for many is not the vocabulary, the proper pronunciation and the correct application of grammatical rules but it is rather the acquisition of cultural knowledge of the language, or “cultural language” (Wang, 1999-2000).
A good language learner must be culturally competent in that language, and must be appropriate and effective in a particular cultural context. It is inappropriate to “de-culture” teaching, because the result may be a fluent speaker, but lacking basic cultural references. Certainly, acquiring grammar rules and gaining language fluency is not enough to establish meaning negotiation and cross-cultural communication. Therefore, as Kramsch (2001) indicates, the main goal of second language should not simply be communication, but the search for the understanding of cultural boundaries and the attempt to come to terms with those boundaries.
Introducing culture in foreign language teaching can grant a good scheme of knowledge about different English-speaking communities in the world and about the role of culture in communication. Hence, ‘re-culturing’ teaching materials in a balanced and significant manner, would have positive implications on the students’ academic and personal achievements. Using cultural information during the language class, may consequently aid students in developing cultural awareness. This, will for sure, diminish the possibilities of cultural misunderstandings when interacting with members of other cultures. In this respect, a careful selection of cultural information should be carried out and standardized so as to avoid restricted, mono-cultural perspectives.
The aim would be based on the achievement of a balanced organization of cultural connotations directed to a distribution of interest among the different spheres and situations in which the English language is used in the world.
It is said that socio- culturally good and effective verbal and non-verbal behaviors are attained through communication, which plays a pivotal role in our acquisition of cultural competence. By communicating, people learn languages and, therefore, acquire linguistic competences. Through communication, people obtain non-verbal codes that are crucial for our non-verbal competence. “Interpersonal communication patterns establish a framework for how to communicate with people according to their roles and the relationships to them. These also include forms of verbal and nonverbal communication, which help to define behavioral norms and distinguish insiders from outsiders. Furthermore, these patterns serve to determine expected and reasonable responses, certain types of people, categorizing them by importance and intimacy. Because of these factors and more, cultures will remain distinct.” (Lustig & Koester, 2010 p. 139).
“To be culturally literate is to possess the basic information needed to thrive in the modern world” (Hirsch,1988, p. xiii). Hirsch believed that the source of such basic information is very extensive, covering all domains of human activity “from sports to science.” Using reading as an example, he considered that readers must necessarily obtain “an adequate level of comprehension, getting the point, grasping the implications, relating what they read to the unstated “context” which alone gives meaning to what they read” (1988, p. 2). Borden (1991) called this context the “tacit knowledge” which one needs in order to function in a socio-cultural environment. His example is about a man who understands all the words of a joke, but does not get the point. This illustrates the necessity for readers to obtain “an adequate level of comprehension, getting the point, grasping the implications, relating what they read to the unstated “context” which alone gives meaning to what they read” (1991, p. 2).
Without the “tacit knowledge”, one can sometimes fail to understand the meaning of a simple joke. Related to this example, George Borden (1991) considered that, “if the joke is particular to a certain culture, then understanding it is a measure of literacy in that culture” (1991, p. 179).
In Borden’s (1991) view, a person is “culturally literate when he has acquired the language codes and contextual knowledge of a social environment” (1991, p 3). As mentioned above, language codes carry verbal and non-verbal information and the contextual knowledge of a social environment hints to cultural symbols and cultural processes. Though very much criticized by Chomsky (2002), many communication researchers consider both verbal and non-verbal codes important parts of a language. They state that, just like the verbal codes of a language, non-verbal codes have structure and are similarly organized according to a system of grammatical rules, syntax, and vocabulary (Knapp, 1980; Hall, 2005). “Typically, non-verbal codes function to repeat, regulate, complement, substitute, emphasize, and, sometimes, to contradict a communicator’s verbal messages “(Duck & McMahan, 2012, p 63). However, language specialists as Lázár (2003) point out that even if the Common European Framework of Reference to Languages recommends that cultural aspects of language be included in teaching, the focus of language learning is still the study of grammatical and lexical competence. Byram (1997) and Haneda (2007) explain that cultural competence has often been ignored in EFL because language teaching has been influenced by the study of grammatical forms.
To conclude, in addition to speaking the language of a group, that is, being competent from the linguistic point of view, having a good choice of words and a perfect articulation – a culturally literate person must also have contextual knowledge of the social environment in which he lives. Learning a language implies close associations between culture, communication, cultural literacy, and cultural competence. Thus, communication is as much about language as it is about culture. As mentioned, miscommunication often occurs not because of the words uttered, but because of cultural assumptions by the parties on all sides. One way to break the cultural barriers is through music and poetry – which both stand as a universal cultural expression.
4.2 Poetry and lyrics- Socio- Cultural aspects
“There is no human society without its poetry. There is no human society without its music. When put together, they constitute a powerful force for both cultural cohesion and identity and for individual fulfillment” ( Murphey, 2010, p.3)
From epic poems of ancient civilizations to modern poems, poetry has opened an interesting historical and cultural perspective. In addition to grammar content, poems and songs relate to cultural aspects, such as social situations, historical events or geographical descriptions. Poetry carries a rich load of heritage. It creates a specific connection with the writer’s individual world, with his socio cultural environment and has the particular value of uniqueness in terms of entrance into a multileveled socio-cultural linguistic human experience. Consequently, poetry has great value in promoting multiculturalism in the process of second language acquisition.
In 2001, Hanauer indicated in a study that poetry reading can create cultural awareness, and later, in 2003, he outlined the role of poetry in terms of its multicultural significance by reviewing “its epistemological (in regards to the nature and scope of poetic knowledge) and ontological (in regards to two categories of being- individual and social) statuses”(Hanauer, 2003, p 35). Melin (2010) considers poetry as a tool to explore culture and believes that its “role in second language learning goes beyond the benefits acquired from linguistic interpretation” (Melin 2010, p 78). Many learners appreciate its value, as they themselves often come from cultural backgrounds rich in poetry and folktales. In the EFL classes, learners have limited opportunities to speak with native English speakers, as to enrich their cultural heritage, hence, in many cases, teachers use native instructional materials such as poems, songs, videos and movies. Members of the language teaching profession have come to realize that a student’s potential to learn increases when motivations are high and when a positive attitude is involved. Related to this, poetry and poetry on music- that is lyrics- provide a very good background for a learning environment. Using poetry and lyrics in learning a foreign language has proved to be highly motivating, especially for children, adolescents and young adult learners. Still, the motivational appeal of poetry and lyrics is not restrained to these categories of receivers – but it is found in many other different types of learners. Poems and music of all sorts – be it folk, opera, pop, classical, ethnic – have all their devotees. Poetry and lyrics constitute a flexible and attractive resource, a “rich vein” (Maley, 1982: p 65) for language learning as they offer important opportunities for reading, writing, speaking, and listening practice. They give students the chance to enrich vocabulary, to work with language and with different rhythms and rhyme patterns. They provide direct access to the culture of the language they study. The benefits of using poetry have been proved and have been well documented. Dr. Janette Hughes at the University of Ontario demonstrated, after conducting thorough research, the positive effects of poetry on cultural and literacy development. As Dr. Hughes points out, "paying attention to vocabulary and rhythm develops oral language skills," (Hughes, 2007, p. 1) and oral language skills development has a strong correlation to proficiency in reading.
As Çubukçu (2001:1) mentions, poetry is a rewarding experience with properties of rhyming and rhythm which convey “love and appreciation for the sound and power of language.” At this point, it can be stated that by studying poetry, learners become familiar with the supra-segmental aspects of the target language, such as stress, pitch, juncture, intonation. Besides providing excellent language teaching material, poetry has deep cultural roots, giving the opportunity to cast a better glance at what lies behind words. Poetry employs language to evoke and exalt special qualities of life. Poetry is based on feelings and provides emotional benefit. It is one of the most effective and powerful transmitters of culture. Poems comprise so many cultural elements – allusions, vocabulary, idioms, tone- that are not easy to translate and transmit into another language (Sage 1987: 12-13). Just in the same manner, songs can be considered straightforward “reflections” of the culture in which they were produced, from which they emerged. Songs are often used to illustrate a society and are always open to multiple interpretations. Lyrics often express judgments about lifestyles, values, and appearances. Edwards (1997) asked teachers to motivate their reasons for using music in educational training and the highest value was placed on vocabulary, followed by cultural awareness. The richness of using songs as sources for understanding culture lies in the openness to multiple uses and interpretations. The use of songs, according to Jolly (1975), gives students the opportunity to acquire a greater understanding of the culture underlying the target language
5. Improving Communicative Competence through Poetry and lyrics
5.1 Reasons to use poetry and lyrics in foreign language class
The definition of the word “poetry” in Merriam-Webster Dictionary is “something that is very beautiful or graceful”; the same dictionary defines lyrics as ”a poem that expresses deep personal feelings in a way that is like a song: a lyric poem”. Music and poetry have been on a journey together, having a mutual source of creative inspiration and similar mathematically inclined structures “making them feel like fraternal twins able to separate in daily life, but yoked from the womb”. (http://www.webexhibits.org/poetry/index.html) That is the reason why I have chosen to write about them in the same context.
Before the written word, the song was the means to transmit stories of war and poems of praise from generation to generation, from tribe to tribe. Larrick (1991) writes about how wandering minstrels brought literature to the crowds in the village square. The messenger firstly sang the content of the message, so he would not forget it. “Those who came to listen were soon singing or chanting repeated lines and sometimes adding new stanzas on the old pattern.” (Larrick, 1991, p.3). Wilcox (1996) says that work songs were the answer to group efforts: “Work songs comprise a vast literature of music as each country has songs that have been handed down by generations to add rhythm and pacing to group work efforts. Some of these are rowing songs, marching songs, and harvest songs ”(Wilcox, 1996 p. 9).
All these facts make us draw the conclusion that historically, the song made the work easier. Accordingly, it may also make language learning easier.
Livingstone (1973) sustains that songs actually aided the development of speech in homo sapiens and it seems easier to sing language than speak it.
Murphey continues this idea and states that songs seem to precede and aid the development of language in young children, as “a growing body of research indicates that the musical babbling produced by infants, and returned by parents, is extremely important in the development of language in young children” (Murphey, 1992, p 7).
Singing a song, using lyrics repeatedly, reminds us of what Piaget (1923) described as “egocentric language”, when children talk just for the joy of hearing themselves, having little or none concern for an audience. Krashen (1983) refers to this involuntary repetition as a manifestation of what Noam Chomsky referred to as “language acquisition device” (LAD), which lays stress on our brains that might have a natural disposition to repeat what is heard. This function would help children learn rapidly and understand language and would also account for the innate understanding of grammar which children possess.
Poetry is another important source of learning. By using it, second language acquisition can become much more personalized, as a result of placing the learners in situations that seem real. Students learn to communicate, and by using poetry and music they are given the opportunity to experiment with non-verbal communicative aspects of language (body language and facial expressions), as well as verbal aspects (intonation, rhythm, stress, slang, and idiomatic expressions). Students gain confidence to interact outside the classroom using the target language – they compare and contrast cultural behaviors, analyze and explore the linguistic differences and interact cooperatively to orchestrate the dramatizations and improvisations.
The use of poetry and lyrics in language learning classes enables students to explore the linguistic and conceptual aspects of texts without necessarily concentrating on the mechanics of language. They can develop awareness in the passive listening mode, experiencing learning in an exciting way.
Brown and Yule (1983:p.11) sustain that spoken- language uses are divided into “interactional” and “transactional”. In the first type, people are mainly concerned with social interaction, while in the second type, the major concern is communicating a utilitarian message. They continue the classification stating that poetry and song create a special type of spoken-language use: the “reactional” one. Its aim is to make people react to another person’s verbal sensibility. “All literature does this, but songs and poetry have the advantage of doing it in little space” ( Maley, 1997, p.89).
Pinel (1990) agrees with Foster (1993) and Arleo (2000) that music, like poetry, is a motivational factor: “In order to motivate anyone, child or adult, to want to learn a new skill, one starts with a known element. Music is an ideal vehicle since hearing is the first of the senses to develop, and a child is naturally interested in rhythm and musical sounds”(Pinel 1990, p.37).
The dramatization of poetry is a powerful tool which can stimulate learning, because students become intellectually, emotionally, and physically involved in the target language, within the framework of the new culture and so, language is remembered and the teacher has reached the target!
In my experience as a teacher I have come to realize how quick students are at learning poems or songs. For many reasons, poems and songs stick in our minds and it often happens that people forget many things they have learned in a language, except a few poems or songs. It is, what some language specialist call it, “stuck in our mind phenomenon” and this seems to reinforce the idea that songs “work on our short – and long-term memory” (Murphey 1990, p. 23).
Arleo (2000) gives several reasons for the benefits of music in language class: it is a great tool for listening, pronunciation, vocabulary and grammar practice, it teaches about a foreign culture and leads to discussion and communication. “Because it is both similar and different from language, music is a valuable and enjoyable tool in a foreign language classroom. It reinforces classroom cohesion, engages the whole body through a shared rhythmic pulse, and appears to mobilize different patterns of neural resources. Songs, in particular, contribute to better pronunciation, develop fluency, facilitate the comprehension and the memorization of vocabulary and grammatical structures, and promotes awareness of the target culture. Above all, music and song can be used creatively by teachers and learners in relation to their goals” (Arleo 2000, p.18).
Nowadays, when modern technology has universalized access to music, it is difficult to escape lyrics – as they are encountered everywhere in daily life. One of the reasons for which people wish to learn English is that they are much used to hearing international songs, sung in English, and they wish to sing along or to understand the lyrics.
English classroom is thus, a good opportunity for teachers to use songs and keep learners highly motivated. Accordingly, students will be learning and having fun at the same time.
The reasons teachers prefer to use poems or songs in language teaching is because these have generally simple, conversational language, with a lot of repetition and imitation, are affective and motivating and can easily be used for different purposes. Songs and poetry can develop awareness in a passive listening mode and can help to teach the accented syllable of words and the general rhythm of speech. They can create a relaxing learning environment by encouraging good mood within a group. Another advantage is that they are short, easy to handle during a class and the supply is infinite.
They are not only important language tools but also cultural ones, broadening the students’ linguistic and cultural base.
To summarize:
Poetry and lyrics contain authentic, natural language so, they become a good alternative to the formal language in many textbooks;
Important in teaching vocabulary. Students can be introduced to a rich vocabulary – being directed to native-speaking population, they contain genuine idioms and expressions;
Read poetry or lyrics for linguistic purposes, recite poems;
Energize or relax classes, break routines;
Practice pronunciation, intonation and stress;
Nowadays technology eases the access to a rich database with suitable themes, levels and vocabulary;
Poems and lyrics of the songs can easily be selected so as to suit the lesson plan and the interests of the students;
Integrate poems and songs in project work;
The teacher can control the time length, as the use of poetry and lyrics is always flexible;
Students are given the possibility to experience a wide range of accents;
Teach culture. Excerpting cultural elements is always a possibility as poems and song lyrics have always been used in relation to situations of the world around. They have been used as a way of protest for civil rights, have expounded on war, pollution or any other social theme. Songs serve to unify groups of people and help them express common emotions. Certain songs become “anthems” for particular generations, as they express widely-shared values that help define a group’s identity and solidarity;
Students have always thought that poems and songs are natural;
Be the reason of debates, use them as a starting point as to make associations;
Study grammar ;
Provide multi-sensory stimulation;
The performance of music and of writing poetry brings a sense of accomplishment and mastery;
Practice listening comprehension;
Music and poetry have order and predictability, which are both essential for competence;
Compose songs or write poems;
They eliminate competition, encouraging the reluctant learners to participate;
Translate songs or poems;
Do role-plays ;
Use lyrics or poems for different drills (gap-filling, correction, cloze);
Provide for immediate gratification;
Have fun;
These are only some of the reasons for which poems and lyrics should be used in the classroom and which, English teachers should consider as a regular part of their classroom activities.
5.2 Further exercises and activities for teaching using poetry
One of the most important stages when teaching using poetry and lyrics is the process of selecting the right poem and the right song. There are several aspects that need to be considered as to ensure it is the right poem or song.
The teacher must carefully examine what his aim is and what he wants his students to learn in the lesson. He must choose according to lesson focus, either on vocabulary, grammar, pronunciation, or a particular topic.
The teacher has to consider the language level of the class, because the language level will not only determine which song or the poem, but also the types of activities. It can happen that low level students will become frustrated with difficult poems or lyrics, while advanced level learners will reject simple repetitive lyrics or poems.
The age of the learners is important, because all learners will prefer something interesting to their age group.
The teacher should take into consideration the audience’s preferences, so that he can have full attention and participation.
One must consider the access to the poetry and song, and especially to the technical kit, if needed.
Once the teacher has taken into account all the criteria above, he can proceed to choosing the right activities.
Pre-listening/reading activities – that can motivate the students and encourage involvement in the topic of the song/poem.
Students predict the content of the song/ poem by reading the title (Setting the context)
Students read the gapped text of the song/poem and fill in the blanks
Students brainstorm ideas about the topic (Activating current knowledge and acquiring new knowledge )
Students discuss/describe pictures related to the topic (Generating interest)
Pre-teach vocabulary to help students understand the text (Pre-learning vocabulary)
Students predict possible vocabulary items which may appear in the text
Students brainstorm vocabulary associated to the topic (Activating vocabulary/ language)
While- listening/reading activities
Students read the poem or listen to the lyrics to confirm what was predicted in the “pre” stage
Students read or listen to the text and identify stress, rhythm, intonation patterns
Students read or listen to the text and put pictures in order
Students give a title for each stanza and perhaps an overall title for the poem/song
Students listen to the poem/song and take dictation
Students identify deliberate mistakes
After having read the poem/ having listened to the text, students can predict what happens next
Follow-up activities
Students write about the song/poem they have heard/read
Write a summary of the poem/song
Cut up and mix the lines of the text and students order them
Students write a letter to or from one of the characters in the poem/ song
Students write their own lyrics/ poem (they can produce a class song book)
Identify stress, rhythm and intonation patterns
Interview one of the characters
Answer multiple choice exercise
Identify the meaning of words
Students do a role-play of the situation described in the poem/song
Design posters relating to the topic in the song/poem
Invent new titles
Give a speech on the topic
5.3 Cons – Concerns related to using poetry and lyrics in language learning
This paper aims at pointing out how important and how helpful poems and lyrics are in language teaching, but mention should be made that the use of songs during class has often been met with caution. The main motivation is that although students were enjoying class, they were not really learning. Some language specialists sustain that music must be used rarely and with care, since it serves as enjoyment only, and should not rob too much time from necessary lessons. When thinking about the disadvantages such language learning materials imply, we should also remember that no matter how good these might be, if not used properly, if not manipulated correctly, they will become useless. Some of the concerns about using them as learning material refer to the fact that students might not take poetry and music seriously, and reject it, as being unprofessional, or imply that students would just enjoy listening to music, and not work. When working with poems and songs, the teacher might need to explain his pedagogical motivation and the aims of activities very clearly. Another shortcoming is that students who dislike studying literature in general, may need extra motivation. On the other hand, there is the possibility that some students get too enthusiastic and pay less attention, or can disagree about songs. They might have different musical tastes or consider poems out of date. As far as lyrics are concerned, one must take into account that it implies technical equipment and some resources might not be available, or have a poor quality. Besides the concerns relating to the students, there are concerns related to the teaching materials. Some lyrics might not always be suitable, as they can contain objectionable, offensive words, slang and they can contain grammatical mistakes. In this case, the teacher has to pay special attention in screening the lyrics. He also needs to spend a lot of time finding a poem that links thematically with his scheme of work. Some teachers even reject poems on the ground that they are too long or too archaic. To all those concerned about using poetry in class, Jeanette Winterson, a poet and writer, addresses, "when people say that poetry is a luxury, (…) or that it shouldn't be read in school because it is irrelevant, or any of the strange things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language – and that is what poetry is. That is what literature offers – a language powerful enough to say how it is. It isn't a hiding place. It is a finding place." (????de unde)) Fortunately, we know by now that the wrong poem is worse than no poem at all. No learning material will suit all our students’ different needs, or tastes. The hope is that the pros for using poetry and lyrics in language learning will outweigh all criticism. On the whole, in my experience, I think it's worth taking the risk and using poems and lyrics, because besides providing an excellent teaching material, they can foster a love of English.
5.4 Improving Communicative Competence through Poetry
William Butler Yeats stated that poetry "is blood, imagination, intellect running together…It bids us to touch and taste and hear and see the world, and shrink from all that is of the brain only."
The use of poetry can be a fundamental appendix to any language course because it can provide our language learners with numerous benefits – on condition that we do not teach a poem that has a content which is beyond the learner’s comprehension. This issue is very important because if the teacher ends up explaining every word, the poem may lose its spark. On the other hand, students do not need to understand every word as to seize the general idea of most poems so, the language level can be a little above what they normally handle. With poetry and songs, alike, if learners are supported with vocabulary and given some visual aids, they will be able to understand more and more challenging texts. In teaching a foreign language, poetry can be used to practice and to consolidate all four language Skills: Listening, Speaking, Reading and Writing, as well as grammar and vocabulary. Being language authentic, rich in cultural references, and presenting a wide range of learning opportunities, a poem can be a great motivator. Accordingly, the use of poetry in language teaching can bring numerous advantages into the English language classroom. Saraç (2003, p. 17) points out the educational benefits of poetry as “ provides readers with a different viewpoint towards language use by going beyond the known usages and rules of grammar, syntax and vocabulary, triggers unmotivated readers owing to being so open to explorations and different interpretations, evokes feelings and thoughts in heart and in mind, makes students familiar with figures of speech (i.e. simile, metaphor, irony, personification, imagery, etc.) due to their being a part of daily language use”. Çubukçu (2001, p.1) writes that poetry is a gratifying and enjoyable experience with properties of rhyming which carry “love and appreciation for the sound and power of language.” Poems can be used as warmers or as catalyst for many different activities with learners of all levels. Students might enjoy a poem as a change from the daily textbook. Poems can be involving and memorable, and they can supplement and enrich just about any lesson. Poetry is a good language teaching material and language specialists have come to this conclusion starting from the premise that learning a language implies having access to the depths of that language culture. Poetry is part of the deep side of a culture as it promotes literacy, it builds community, and it fosters emotional resilience. It can cross boundaries that little else can. Reading poetry from a literary perspective implies a voyage with poetic devices such as imagery, metaphor, rhythm, and rhyme, ellipsis and highly allusive language, which are not always easy to be accessed to. Though poetry is sometimes considered as an exclusive domain of a cultured minority, it has become common knowledge that it should be accessible to everyone. The traditional perspective that the poem is a sophisticated form of literary and linguistic expression makes it inaccessible to all, except the advanced language learners. Even they would encounter difficulties due to the wealth of literary allusions, to the cultural assumptions and historical references. All these can limit comprehension even for native speakers. As Brindley (1980) points out, “poems often deal with geographical or social settings alien to the students' experience. Perhaps the greatest barrier to understanding poetry, however, is its elliptical, metaphorical, and highly allusive language. Poetry, from this perspective (i.e. as a high-level, individual reading activity), has little to offer the EFL classroom, especially at middle school and high school level” ( Brindley, 1980, p. 1). Still, the present study would only regard poetry in relation to language teaching, from a methodological point of view, without considering the literary depths which a poem brings forth. If we have an extensive view on poetry, we find that “a poem is a piece of writing in which the words are chosen for their beauty and sound and are carefully arranged, often in short lines which rhyme” (Collins Cobuild, 2001, p. 35). Viewing poetry from this perspective, with no reference to comprehending difficult metaphorical or cultural allusions, and not worrying about grammatical precision, sentence structure or logical order of ideas, it gives a chance to pattern poems, pop-songs, haiku, nursery rhymes, picture poems, and folk-songs, all of which can be viewed as poetry. Schools have become places of too much "brain only", as William Butler Yeats said, and poetry is an alternative to bringing in a little bit of soul input. Some reasons why poetry is needed in lesson planning for language teaching in school are:
It has rhythm, which facilitates to remain in the learners’ minds- Young children may not understand the meaning of all the words, but they'll feel the rhythms and get curious about what the sounds mean. It's the most kinesthetic of all literature, it activates heart and soul and sometimes bypasses the traps of the mind and the outcome is that poetry moves people. “Is not something extra (…) it is the guide to the structure of information to the spoken message” (Brown 1977).
Poetry creates opportunities for speaking and listening
The poem offers the opportunity for the written word to be spoken naturally, in choral form, without the feeling that is an unnatural process. Performing in group makes individual error less significant and adds to self- confidence.
Poetry is universal. Learners can read or learn poetry, bridging their worlds.
Poetry builds flexibility in learners, as it contains social and emotional learning. A phrase in a poem can have several meanings. This helps learners see an experience in an entirely new light, as it can have a public and a personal meaning. In teaching, this is an enormous advantage, as it means that we can gain insight to things that we have missed, it gives us new understanding and strength. What is most importantly, each learner’s personal interpretation has validity and hence, an infinite fund of interactive discussion is possible.
Poetry can allow kids to draw sketches of their lives, using metaphor, imagery and symbolic language so as to describe experiences, or parts of themselves. Poetry allows kids to put language to use as to make it serve a deep purpose, to break rules along the way (grammar, punctuation, capitalization) and to find a personal voice, a unique representation.
An important factor in learning a foreign language is the ability to test its elasticity, to play with it. Poetry is, by excellence, a field that allows this.
Taken all the above considerations into account, one might conclude that poetry in the foreign language class is a helpful and motivating resource and provides students with lots of opportunities to improve communicative competence. Learners can practice the skill of reading, of recitation, word stress and intonation. Reciting, they can acquire a "feel" for the language and thus comprehend the importance of pausing, changing the tone of their voice and stressing a specific word or phrase. Poetry can improve speaking- by sharing personal experiences or opinions related to the poem’s topic. Poetry can pave the way to learning and teaching language basic skills. The activities related to poetry can be done with a partner or in small groups, ending up by sharing ideas to the whole class. The teacher can monitor and feed in ideas and vocabulary, if necessary, give brief feedback on language use and make notes for language problems that are to be dealt with later. Worksheets for pre-reading speaking activities can be prepared and might involve a questionnaire, a quiz, or sentence stems to be completed and discussed. For other activities, students can predict endings to verses, to the whole poem, or talk/write about events occurring after the end of the poem, talk about their personal response to the theme of the poem, discuss the characters and theme, or debate the moral issues. Role plays can be done using the scaffolding of a poem, interviewing, or even dramatizing the poem. Students could compare poems on related topics, first within a team, then, with the whole class. (Appendix 1) By inviting students to be “in the poem” (Moore, 2002, p. 44), actively reading in pairs or small groups and by having them create ideas together, poetry can turn into an important part of the EFL classroom and can be a way of investigating issues relevant to the students’ backgrounds, attitudes and experiences. Poems can be a very good pronunciation exercise. The teacher can play a native speaker’s recording of a poem, (Appendix 2) so that the learners can identify the stresses and pauses, to apply them, afterwards, in their speech. As to make students more aware of the rhythm, a line or two can be taken out and one half of the class claps out the rhythm while the other beats time. The teacher can recite and the students can mumble rhythmically, beginning to whisper, as their confidence grows. A poem can be a very good language material for creative writing activities. They can add more lines or stanzas (individually or in groups), they can summarize poems, seize the main idea or write about what happened before or after the ending of the poem, set its cultural background. (Appendix 3) The arrangement of the students in the class can vary, from individual work to group work. Another valuable exercise is to have students find synonyms or antonyms of words used in poems. Poetry writing activities build the learners’ confidence as users of foreign language, often developing their emotional intelligence. Besides developing the skill of writing in the EFL classroom, these activities help learners practice and consolidate the use of punctuation and to understand the importance of the main elements of a sentence: the subject and the verb. Learners need to be reminded of the use of commas and full stops or be introduced to ellipsis (without necessarily using the name of the specific punctuation mark with young learners). Writing poetry helps to assimilate the flexibility of the language, becoming aware of the literal and of the figurative meanings of words. As teaching material, poems offer great opportunities for personalization. This aims to the fact that the students have plenty to say, and the communication is genuine because they can refer to their own experiences or hypotheses. Students become engaged and motivated, which helps to make the lesson and the language memorable.
Studying poetry brings many benefits, but two of them are of paramount importance:
The acknowledgement of the writer’s composition process which is gained by studying poems by components
Developing sensitivity for words and meanings which may later develop into a deeper interest and greater analytical competence
Poetry as learning material can make learners understand the power and impact of words and their metaphorical potential.
5.4.1 Types of Activities involving Poetry
Writing poems exercise. Stages
Poetry is among the most effective teaching techniques which can be used in the foreign language classroom. So as to make use of everything that it can offer, it is advisable to take into account certain stages, when working in language class.
Planning: The teacher has to ensure his students have enough time to plan the poem. Students who have not written poems before, may well need quite a lot of support at this stage. Character: students, together with the teacher, decide the perspective from which they write, either as an ‘observer’ (fictional character) or in ‘first person’ (autobiographically); they must set the time period and the cultural context. Form: the structure of the poems does not have to be complicated, and they do not necessarily have to rhyme. Titles: they can have a huge impact and students are usually very eager to create them; they can set the context, explaining the where, what, when and who. Students can work in groups, deciding on a title, debating on it then, with other groups.
Redrafting: students should have time to check on their creation, and later, read the poems aloud. Encouragement is very important with all level learners, as it gives them courage to continue writing. Displaying the students’ poems may be very rewarding.
Writing practice:
Pattern poems are particularly effective for language practice and can be used with all levels and ages of learners, as they can be adapted to teaching purposes such as grammar and sentence structure. The patterns in these poems usually consist of grammatical items or sentence structures, though they can also include acronyms, alphabetical sequencing or other types of patterning. Despite their simple form, pattern poems reinforce or help to teach multiple language skills while requiring students to share their vision of the world in a personal manner. The poems do not have to be complicated and don’t have to rhyme- even the low level students can write an acrostic poem. (Appendix 4)
Apparently a simple pattern poem, writing it brings a lot of benefits. Learners can:
play with words in a proper format, and see what fits;
create their own piece of writing, experiencing “instant gratification”;
use familiar vocabulary and discover new vocabulary;
practice specific language structures;
gain confidence in their ability to write;
nurture creativity by giving their imaginations free reign;
cultivate logical and sequential thinking skills through storytelling;
use summarizing skills. (Holmes & Moulton, 2001, p. 3)
“I’m (…)”- poem
Level: Beginner – Advanced
Age: Children – Adults
Language & Skills focus: Sentence writing; proofreading and editing; answering Wh-questions; recitation; using imagination; emotional intelligence; intrapersonal intelligence.
Procedure:
1. Ask students to think of nature: green forests and of blue skies, of birds of all kinds: small, large, exotic birds.
2. Write "I'm a bird" – on the board and ask the learners to copy it in their notebook.
3. Ask students to answer each of the following questions, using a complete sentence. Tell them to avoid long sentences, and to write each answer one under the other.
4. Ask the following questions, pausing after each one, so the learners have time to respond:
What kind of a bird?
Where are you?
Why are you there?
What time of year is it?
The students should follow instructions and answered with a complete sentence, repeating "I am." each time.
Example:
I'm a bird.
I am an eagle.
I am up in the air.
I want to be free.
It's winter. . .
6. Teacher should tell learners to eliminate the repetitive "I am," and to use a comma instead of a full stop. They should re-read their poem and give it a title.
"Freedom"
I'm a bird,
An eagle,
up in the air,
I want to be free.
It's winter. . .
7. The students should recite their poems when they have finished it. Young learners need constant encouragement and the classmates can give them a round of applause after having read it in front of the class. (Appendix 5)
The teacher can use the same technique with different themes, such as Christmas, Easter, Summer Holiday, etc.
Through interactive writing tasks of poetry learners can assimilate language in an easy and pleasant manner. Writing of poetry is an ideal task for language learners because for its “tolerance to error” (Widdowson 1983:p. 106). According to Holmes & Moulton, pattern poems can promote a number of positive learning functions (cf. Holmes & Moulton, 2001, pp. 5-7):
Grammar: Students can be involved in interactive and rewarding grammar drills by using pattern poems which focus on a particular aspect of grammar or syntax.
Awareness of phrase and sentence structure: Student can focus attention and write poems on an aspect of linguistic structure (cf. appendix 21)
Interactive modeling: Students can learn from interaction with others or from the teacher. The teacher can provide a framework or a grammar structure and students are encouraged to make compositions on this framework.
Inductive thinking: Students can understand structural patterns or they can figure out the patterns themselves (problem-solving).
Sensory stimulation: Sensory stimuli (pictures, sounds, video clips, textiles, etc.) help the creative process.
Sharing: Students’ poems can be shared in the classroom or even in school (displays, poetry readings, exhibitions, greeting cards, etc.).
Expression: Students can use the target language to express feelings and ideas that have meaning and relevance for them. Thus, appendix D shows an “I am” poem, in which the writer practices sentences, subordinate clauses, relative clauses and metaphors, to express personal characteristics. As a structure, the poem is provided by the combination of personal pronoun “I” with a verb at the beginning of every line, and by the final repetition of line 1 at the end. There is no restriction on the lengths of the lines, and students are free to explore their visions of themselves.
A good vocabulary practice exercise which helps to develop learners’ interest and analytical competence is to start from a poem use the names of colors and to ask them to say, for example, yellow words. This is a good vocabulary revision activity, and learners produce, at the beginning, the literal meaning of yellow, e.g., banana, sun, lemon, etc. Afterwards, they must try to say words related to yellow, and they can produce words like sunshine, warm, light, happy or happiness, etc. Without being totally aware, students utter words which they associate with the way the specific color affects them. This is the first step when they begin to understand the concept of figurative meanings of words. This type of vocabulary exercise can be used with other colors, as well. They end up writing a poem starting from a color and ending writing about feelings.
Writing practice exercise: Color Poem (Appendix 5)
Choose one color to write about;
include senses (taste, touch, sigh, sound, smell)
Include a tone of emotion to your poem
Give a certain emotion to your color
Use rhythm or rhyme
Another word-practice exercise is to ask students to think of beautiful words or of their favorite words in English and write short poems with them. Sometimes, the answer would demand some effort, as learners have not been used to thinking of language from such a perspective.
In the same manner, according to the learners’ age and level of proficiency, the teacher can work with the senses and ask them to think of words which sound : soft, liquid, sweet, or feel harsh, warm, bitter, cruel, and words which taste hard, tender, sweet, etc. The effect is amazing, as learners slowly discover by themselves imaginative and creative meanings of words which they used to consider common and trivial. The techniques described above can be used as warm-ups before poem writing activities. It should be more like a word game than a way to test the learners' knowledge, and it should all come in a light and pleasant manner. In many ways, these are multi-sensory and Emotional Intelligence activities and they help students learn language with minimum effort. Poems are a good way to introduce different topics. By making it a spring board into a topic it will be unforgettable for students. The language is easy and simple and the ideas are clear and can easily be sustained with visual aids for low level students. (Appendix 6) Poems are useful for pronunciation improvement, no matter what the teacher might want to focus on: individual sounds, connected speech, rhyming pairs, or intonation patterns. (Appendix 7) Students can be encouraged to learn verses by heart, because, especially for younger students, it can be very motivating to be able to say whole lines in English, in a flawless manner. Sometimes, the teacher can record the students when reciting, as it is also a good method to help them improve their pronunciation. Higher level students could be asked to create new verses for a poem, or be asked to translate poems. As a literary genre, poetry has rhythm, rhyme, meter, and specific expressions and structures that may not conform to those of the daily language, making its translation more difficult. Even the figurative choice of words burdens the task of a translator. Picture poems are a very good vocabulary exercise as they offer a visual perspective on how words are arranged, such becoming an effective means of encouraging learners to interact with words. By using non grammatical structures, students can play with the language, freely producing visual and verbal output. A basic type of picture poem is one designed to look like the object it describes. The shape of the object is critical and the task-completion comes from arranging words to match that shape. (example:: http://www.finchpark.com/arts/Poems.pdf) Through words, meaning and shape, picture poems encourage creativity and experimentation, helping students to regard the use of English as a pleasant and creative experience. Students can compose poems in small groups, brainstorming, suggesting, agreeing, proofreading and editing draft poems. The final product will be shared to the class, displayed on the classroom walls or can be sent to the school newspaper. If students are able to communicate in English, the process will be of great benefit.
Ordering the poem
Once having chosen a suitable poem for the class, the teacher can make handouts and cut up the verses. If the poem has a story and the lyrics are in a logical order, students should read the verses and arrange them into the correct order. If the order is not clear, the teacher can read the poem aloud for students to put into order. This part of the present paper has attempted to illustrate how poems and poetry-related activities might enrich English language learning at middle school and high-school level. It can be easily seen how the beauty of the words of the target language can promote meaningful and relevant expression of personal meanings, in addition to focusing on particular aspects of structure and syntax.
5.5 Improving Communicative Competence through Lyrics
“Music has the potential to change the atmosphere in a classroom” (Murphey, 1992, p37)
Music started to be used in teaching a foreign language long ago, and in 1979, Georgi Lozanov, a Bulgarian psychotherapist coined “Suggestopedia”, a method mostly used to learn foreign languages, as it claims to produce hypermnesia – an excellent memory. This referred to giving students the right conditions to learn through music, in a relaxing atmosphere so that they could learn more effectively. According to the principles of this method, a relaxing concentration is created that leads to ‘super-learning’. Music is a great manner of providing interesting classes and of helping to establish a good relationship between teachers and students which is necessary for an effective learning. For the English teacher, working with songs is a great way to make the lesson more interesting and intrinsically motivating.
Jusczyk (1986) states that babies have a sensitivity to speech that begins before birth. Mothers “use simple grammar, affectionate terms and a higher voice with their children, and this ‘baby talk,’ rather than hindering a child’s language development, as has been proposed, facilitates speaking”(1986, p. 86).Jesperson (1925), as cited in Murphey, (1990) and Rousseau (1968) has postulated that song preceded speech. Howle (1989) sustained that “lullabies are more than simple nursery songs, serving to set musical patterns to words the child hears but does not yet comprehend”(Howle, 1989, p. 76). She believes that early memory bonding forms the basis of literary repertoire and future creativity. She admonishes both mothers and fathers to “seize every opportunity to sing and read to their children”(Howle, 1989 p. 22). Richman (1993) observes that many researchers classify human vocalization into two systems: expressive sounds (e.g., crying, laughing) and speech. He considers that besides these two vocalization systems, there is a third type, which is singing. Richman thinks that singing is more expressive than speech and it serves as an evolutionary transitional state between “primate-like vocalizations and speech”(Richman, 1993, p 36).
Ward (1991) sustains songs as language teaching material, as they provide authentic language, new vocabulary, motivation and are often part of students’ real life. “Many of our young students may never have the opportunity to visit an English-speaking country but they are very much involved with British and American pop music” (Ward, 1991, p. 189). Therefore, it provides students with authentic language, as they are exposed to the language that is spoken by their favorite singers, English native speakers.
Activities involving music help students to have the right motivation during language classes. Studies have proved that they can stimulate the cognitive function, increasing competence.
As Ward (1991) states, it stimulates the students’ interest, independently of their ages, and so they can learn better and easier. This teaching resource can provide students with a relaxing learning environment, which encourages them to communicate inside the classroom, as they would feel more comfortable to express themselves. Brewer (2005) thinks that music used in lessons, either as a background or as an exercise, encourages communication and builds classroom unity, which eases and increases the joy of learning.
Motivation is a relevant factor in the teaching learning process. According to Ur (1991), if learners are motivated, learning seems easier, more pleasant, and such, more productive. Harmer (1994) sustains this idea by saying that the motivation students have, influences strongly their success. “If we perceive a goal (that is, something we wish to achieve) and if that goal is sufficiently attractive, we will be strongly motivated to do whatever is necessary to reach that goal” (Harmer, 1994a, p. 3).
Students will not be the only ones to benefit from the use of music in the classroom, but also, as Brown (1998) says, music can help teachers as well, as it can combat the stressfulness of teaching. It “[…] can help make teaching more enjoyable by bringing us closer to our students and, more importantly, closer to ourselves” (Brown, 1998, p. 68). In warm-up situations, for example, the teacher can set the mood he wants to have in the class.
The teacher is the main provider of the learning conditions from the class and this is why his role is significant. Teachers must provoke interest and involvement even when students are not initially interested. “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 humor and their seriousness that they may influence their students. It is by their own behavior and enthusiasm that they may inspire “(Harmer, 2004, p. 8).
Music is a learning strategy which develops the four main skills, listening, speaking, writing and reading. The range of exercises is very large. In order to develop the listening skill, teachers can ask students to look for modified words, identify words, expressions and rhymes. The students’ reading capacity can be developed by including in the lesson plan reading exercises as to discover what lies behind the lyrics of a song, to explore about the singer, the composer, or the history of the song. It is possible to identify groups of words, like, nouns, verbs, prepositions, adjectives, so as to improve grammar skills. In order to increase learners’ speaking ability, a discussion can be set, about the subject of the music; students can answer questions, communicate with each other, be motivated to sing songs. So as to develop writing, students can write essays, do grammar exercises or answer questions about the lyrics.
Ward (1991), points out that music contributes mostly to improving pronunciation because it gives students the possibility to learn the correct rhythm and stress while they sing. When learning through music, one can focus on sounds, on words, and on connected speech. Ebong and Sabbadini (2006) observe that songs have many contractions. This offers an opportunity for teachers to work on a grammar level and explain students that contractions are natural in English and they could point out the differences between formal and informal style. In the same context, Marrell ( 2004, p. 9) says that music can be used to “expose students to natural intonation patterns and idiomatic expressions”. He emphasizes the opportunity for students to improve their pronunciation – “Students seem to acquire the correct pronunciation through listening and repetition” (Marrell, 2004, p. 9). “Songs provide examples of authentic, memorable and rhythmic language.They can be motivating for students to repeatedly listen to and imitate their musical heroes” (Ebong and Sabbadini, 2006, p. 54).
Gobbi (2001) agrees, saying that repetition helps students to remember the meaning of words and their pronunciation. By singing, learners seize the opportunity to use language. Music further emphasizes the 'flow' of the words. Language specialists agree that there are lots of possibilities and advantages in using music in the classroom. Ward (1991) and Merrell (2004) agree that music is a good way of teaching vocabulary even at beginning levels, because the unknown words will create a sense of curiosity in the learners. Advanced learners will have more challenging activities, arousing, in the same way, students’ interest in the lesson.
Gobbi (2001) points out other advantages music has, as it helps the development of grammatical structures and stimulates conversation. Besides, students can practice the language not only in the classroom, as “songs are a means of oral reinforcement outside the class” (Ward, 1991, p. 190)
According to Merrell (2004), the management of the classroom is one of the most difficult tasks the teachers have to deal with. An organized atmosphere is vital for an effective learning. In this respect, the inclusion of music in the lesson plan can be useful and beneficial. Merrell (2004, p. 4) says: “[…] it is a tool that can help teachers maintain a positive and productive environment. The calming effects of music have positive effects on the students. Working in a class that has low anxiety and stress level is important to classroom management. It becomes clearer that music brings good results to the teaching learning process. Therefore, the use of music in lesson planning enriches the traditional material and gives more meaning to the lesson, making students engage and be more participative in the class. The learners will be focused on the lesson and disruptions will simply subside” (Merrell, 2004, p. 5).
Music helps to change the rhythm of lessons as it can have a calming effect on restless students and, on the other hand, energizes bored students. In my experience as a teacher for small graders and high-school students, I have noticed that no matter the age and level, students feel more motivated and participate better in the lessons, when music is involved.
Music is an excellent way of input in the foreign language classroom. It is a way of learning with pleasure and it tends to reduce anxiety and inhibition, which is important in language acquisition. ”Learning a new concept through a song or listening to music is less threatening than a lecture or worksheet. Music breaks down barriers and creates an environment that is friendly “(Merrell, 2004, p. 8).
As mentioned above, music is not productive just from the language point of view, but chants are also useful for teaching culture. “Music, if used correctly, can help teach about cultural awareness and values.” ( Jackson and Merrell, 2004).
There are many ways to explore songs in order to improve communicative competence, as, for example, dealing with the lyrics, the singer or composer, and the history of the song. “Finding out more about the background of the music and the composer will help teachers prepare students for listening”(Cranmer and Laroy and Jedynak, 1982, p. 31). Pre-activities, such as a reading, listening or fill in practice can be very helpful, as they prepare students to contextualize the song so that they get used to what they are to hear.
The general idea when working with music inside the classroom is usually connected to hearing sound-only recordings, but every song has possibilities to practice all the four main language skills. According to Murphey (1998, p. 134), “the degree to which any of these skills is emphasized depends more upon the teacher’s desired focus than on the activity or song.” Choosing a song and having an activity like gap-filling, it for sure, implies a listening exercise, and the students must also read and write while completing the task and then, they may also discuss their answer with their desk-mates. Such, all the skills have been used.
It is obvious that songs can improve the teaching-learning process, and besides motivating students, they can also reinforce vocabulary, grammar and cultural aspects of the English language. “Most importantly, songs can make English unforgettable […] the key to success is to choose songs that students understand so that the learning process is enhanced.” (Saslow, Ascher and Notarpietro, 2007, p. 23).
Aspects of Language Acquisition through lyrics.
According to the statistics taken from: “The Effects of songs in the foreign language classroom on text recall and involuntary mental rehearsal” by Claudia Smith Salcedo B.A., Louisiana State University, 1982, researchers have proposed music in the foreign language classroom as to:
lower anxiety and motivation (Aida, 1994; Horowitz, 1986; Jolly, 1975; Trapp, 1991)
provide physiological benefits (Bancroft, 1985; Hanser, Larson, & Connel, 1983; Hodges, 1980; Lozanov, 1978; Zimny & Weidenfeller, 1963)
guide lesson planning and practical classroom use (Bartle, 1962; Dejuán, 1997; García-Sáez, 1984; Gatti-Taylor, 1980; Leith, 1979; Lowe, 1995; McCarthy, 1985; McKenna, 1977; Moussoulides, 1986; Nambiar, 1993; Nuessel & Cicogna, 1991; Purcell, 1992; Richards, 1975; Willis & Mason, 1994; Zola & Sandvoss, 1976)
improve speaking pronunciation (Eterno, 1961; Leith, 1979; Poliquin, 1988; Purcell, 1992; Techmeier, 1969)
enhance cultural awareness and sensitivity (Abrate, 1998; Deliére & Lafayette, 1985; Falioni, 1993; Gatti-Taylor, 1980; Griffen, 1977; Hamblin, 1991; Martínez, 1994; Purcell, 1992; Salcedo,1996) and 62
contribute to the development of the whole being through the aesthetic domain (Abeles, Hoffer, & Klotman, 1994; Claerr & Gargan, 1984; Falioni, 1993; Foster, 1993; García-Sáez, 1984; Giauque, 1985; Jolly, 1975; Zola & Sandvoss, 1976)
5.5.1 Types of activities involving lyrics
"Music is the electrical soil in which the spirit lives, thinks and invents." (Ludwig van Beethoven)
"Music stabilizes mental, physical and emotional rhythms to attain a state of deep concentration and focus in which large amounts of content information can be processed and learned." ( Chris Brewer, Music and Learning, 1995)
Saslow, Ascher and Notarpietro (2007) have outlined some techniques that can be adopted when teaching using songs. They not only involve singing, but other skills, too.
students can sing individually or in groups, with or without reading lyrics, focusing on the rhythm;
teachers can write a list of true or false sentences based on the song so that students can tick the right answer, according to the lyrics;
students read the title of the song and predict what it might be about;
students listen to a song, and create a new title for it, bringing arguments;
young learners can benefit from technology, and read the lyrics on a video recording while playing;
It is extremely significant that “these techniques range from largely receptive to highly productive” (Saslow, Ascher and Notarpietro, 2007, p. 23), because it means that the productive skills – speaking and writing – and the receptive skills – listening and reading – will be involved, no matter the chosen technique. Murphey stated that in the case of song activities, “students are doing something with language: they are participating actively in the game called communication” (1992, p. 8).
Ever since I started teaching, I have often used music as a means of improving my teaching techniques. While preparing the lesson plan that involves music, there is an outline which I always consider with any song. Having in mind the profile of the learners, (age, level of language, needs, attitudes, learning style, multiple intelligence) I follow the steps:
1. Listen to the song. In case there is a video projector available and the classroom has the right equipment, the work of the teacher becomes easier, the activities can be improved and it will cater to more learners’ needs in terms of learning styles. Learners are allowed to enjoy the music.
2. The teacher can ask some questions about the title, using them as conversation starters. This can also be done before the initial listening, asking students to make predictions. As an alternative, prior to listening to the song, the teacher can teach words and give a simple task for the first listening. An exercise which my students enjoy is to give them some words from the song and ask to them to listen out for the words that rhyme with them. Possible rhymes can be brainstormed before listening. Socio cultural aspects can be brought to attention.
3. Listen to the song again, – with lyrics. Students should be able to read the lyrics of the song. At this point, one of the following activities could be done:
Learners read the lyrics during listening and highlight unknown words.
Learners receive a lyric handout as a gap fill, and they fill in the gaps as they listen.
Learners receive word stripes which they have to match to the gaps as they listen.
4. Focus on a certain aspect of grammar – Generally, every song focuses on a particular verb tense, which makes it an excellent grammar source. Students can find examples of verbal forms and look for reasons for having chosen those specific tenses. This acts as a starting line for discussing the function of a specific tense, as well as examining its form. It can raise awareness of grammatical flexibility in within a song, as students would expect songs to follow the grammatical rules. Language specialists state that in a large number of cases, this can lead to the enlightening discovery that rules can be broken!
5. Focus on vocabulary, on idioms and on expressions – songs are a rich source of creative and artistic use of vocabulary. The teacher can ask students to go through the meanings of words, giving synonyms or illustrating with other examples if necessary.
6. Stimulate creativity- creativity maintains motivation. Motivation leads to language acquisition. According to age, language level and cultural specifics, students can be asked to:
– write some lyrics or write a response to the original song, from the point of view of the person the song is being sung about;
– write a video plan for the song, deciding in groups the necessary details. They can later present their plans and their classmates can vote on the best one;
– write a diary entry for a character in the song. Students can examine the thoughts and feelings that inspired the composer for the lyrics; in this case, their involvement crosses the language barrier and their implication is deeper;
Lyrics Activities – Text Completion
Level: all, Time:10-15 minutes, Aim: to improve listening comprehension, reading, composition skills
Preparation:
find a song which is appropriate to the language level of the class
type out the lyrics, leaving out some words or phrases. The teacher can focus on a particular word- class.
In Class
Hand in copies of the song with blanks. Students can work in pairs trying to think of words which might fill the blanks;
Play the recording and ask the students to fill in with the right words (explain words if necessary);
Ask students to tell their answer;
This pattern can go through different variations, according to class type, level and aim of the lesson.
Variation 1: Different words can be deleted, so that students can do a fill in exercise.
Variation 2: With young students, the teacher can include a glossary of the missing words and expect them to do a matching exercise, after having read the lyrics together with them. Variation 3: With young students, the teacher can give a glossary with missing words beginning with the same letter, asking students to choose the right word, according to meaning. Variation 4: With intermediate classes, the teacher can ask the students to find rhyming words. Variation 5: Inserting misspelled words so that the students can correct them. Variation 6: Extra words can be inserted, so that the students can cross out the words they do not hear. Variation 7: Let the students listen to the lyrics and then ask questions about them. Variation 8: Ask the students to talk about the cultural connotations of the lyrics. The aim of this type of activity is to teach students important knowledge about the song, for example, the reason why it was written, and what it means in the context it was created. Using this information is a good excuse for the teacher to go beyond the lyrics, to find out more references which can be interesting to students, and will motivate them to find more about it. A documentary about the history of the song can be a useful tool as well. This type of exercise can be followed by a true or false drill, based on the lyrics or on the documentary. Variation 9: Ask students to write variations on the pattern used as an example. Variation 10: The lyrics are scrambled, written on slips of paper that learners have to organize while listening to the song. Teachers can use the activity according to the conditions of the class, and according to the number of students, this can be done individually or in groups. After having corrected the exercise, the teacher can promote a discussion in class about the message of the song, asking students’ opinion about it. This can be a very good speaking exercise. Jedynak (1982) points out, that it is of outmost importance that teachers listen to students’ opinion, as it is a good chance for teachers to give students the opportunity to practice speaking.
Variation 11: Teach grammar by using lyrics.
Case practice
Song: “Everything At Once”
Artist: Lenka
Album: Two
Genre: Pop
Writer(s): Lenka Kripac
Copyright: Sony/ATV Tunes LLC, Skipalong Music
Lyrics powered by www.musiXmatch.com
“As sly as a fox, as strong as an ox
As fast as a hare, as brave as a bear
As free as a bird, as neat as a word
As quiet as a mouse, as big as a house
All I wanna be
All I wanna be, oh
All I wanna be is everything
As mean as a wolf, as sharp as a tooth
As deep as a bite, as dark as the night
As sweet as a song, as right as a wrong
As long as a road, as ugly as a toad
As pretty as a picture hanging from a fixture
Strong like a family, strong as I wanna be
Bright as day, as light as play
As hard as nails, as grand as a whale
All I wanna be, oh
All I wanna be, oh
All I wanna be is everything
Everything at once
Everything at once, oh oh oh
Everything at once
As warm as the sun, as silly as fun
As cool as a tree, as scary as the sea
As hot as fire, cold as ice
Sweet as sugar and everything nice
As old as time, as straight as a line
As royal as a queen, as buzzed as a bee
As stealth as a tiger, smooth as a glider
Pure as a melody, pure as I wanna be
All I wanna be, oh
All I wanna be, oh
All I wanna be is everything
Everything at once”
Variation 1: Different words can be deleted, so that students can do a fill in exercise. Exercise: Fill in the missing word:
As sly as a ……., as strong as an ox
As fast as a …….., as brave as a bear
As free as a ………, as neat as a word
As quiet as a …….., as big as a house
Variation 2: With young students, the teacher can include a glossary of the missing words and expect them to do a matching exercise, after having read the lyrics together with them. Exercise: Fill in the blanks with the words: bear, hare, fox, ox, bird and mouse.
As sly as a ……, as strong as an …….
As fast as a ……., as brave as a ……..
As free as a ……., as neat as a word
As quiet as a …….. as big as a house. (….)
Variation 3: With young students, the teacher can give a glossary with missing words beginning with the same letter, asking the students to choose the right word, according to meaning. Exercise: Fill in the blanks with one of the following words:
Fun, fine, fox, fire, friends
Hour, his, head, hare, hair
Bun, bird, box, big, bow
Mouse, mother, mall, mud
As sly as a f…….. as strong as an ox
As fast as a h……., as brave as a bear
As free as a b……., as neat as a word
As quiet as a m …….., as big as a house
Variation 4: With intermediate classes, the teacher can ask the students to find rhyming words. Exercise: Find rhyming words for the ones written in bold: fox – ……, hare – …., bird- …., mouse-..….. ;
As sly as a fox, as strong as an ……
As fast as a hare, as brave as a ……
As free as a bird, as neat as a ……..
As quiet as a mouse, as big as a ……..
Variation 5: Inserting misspelled words so that the students can correct them. Exercise: Correct the misspelled words from the text. (sli- sly, breav- brave, queit – quiet)
As sli as a fox, as strong as an ox
As fast as a hare, as breav as a bear
As free as a bird, as neat as a word
As queit as a mouse, as big as a house
Variation 6: Extra words can be inserted, so that the students can cross out the words they do not hear- this would make a very good listening exercise. Exercise: Cross out the words that you do not hear when listening the song. (happy, fat, nice, long, grey, beautiful)
As sly as a fox, as strong as an ox
As fast and happy as a hare, as brave and fat as a bear
As free as a nice bird, as neat as a long word
As quiet as a grey mouse, as big as a beautiful house.
Variation 7: Let the students listen to the lyrics and then ask questions about them. Exercise: Answer the following questions:
Why do you think there have been used these specific associations?
Do you know other animals which these characteristics can be associated with?
As sly as a fox, as strong as an ox
As fast as a hare, as brave as a bear
As free as a bird, as neat as a word
As quiet as a mouse, as big as a house.
Variation 8: Ask the students to talk about the cultural connotations of the lyrics Exercise: What do you think is the meaning of this song? Explain in 150 words.
Variation 9: Ask students to write variations on the pattern used in the example. Exercise: Write your own lyrics starting from the pattern given in this example.
Variation 10: The lyrics are scrambled, written on slips of paper that learners have to organize while listening to the song. Exercise: Organize the pieces of paper according to what you hear on the tape.
As fast as a hare, as brave as a bear
As free as a bird, as neat as a word
As quiet as a mouse, as big as a house
As sly as a fox, as strong as an ox
Variation 11: Teach grammar by using lyrics.
Pre-listening activity: When we compare two objects, degrees, persons, qualities, etc. and they are in some respects equal, we may use the comparison of equality. This is formed by the use of: as… adjective / adverb… as eg. “Your garden is as large as my garden.”
Exercise: Use the comparison of equality :
……. sly …… a fox, ……. strong …… an ox
……… fast …….. a hare, …….. brave …… a bear
…….. free ……. a bird, …….. neat ……. a word
…….. quiet ……… a mouse, …….. big ……. a house
5.5.2 Pop Song
Pop songs are popular in the EFL classroom, no matter if middle school and high school students are involved. They don’t necessarily have to be regarded as poetic texts, or as models of creative English composition, but their lyrics are always valuable sources of contemporary cultural information and models of authentic language use. Their structural patterns make learning of a foreign language become easier; their language is conversational, they contain common, short words, “the lyrics are often sung at a slower rate than spoken words and there is repetition of words and grammar” (Murhpy, 1992, p. 33). Hans Mol fins several contributions of pop songs, to language learning and defines them as:
as socio-emotional growth, because “singing songs in and with a class is a social act which allows learners to participate in a group and express their feelings, no matter what their English is like” ( Mol, 2009).
physical development, pointing out that moving around while singing, associating lyrics with movement, “stimulate memory, which makes it possible for learners to hear chunks of language as they sing and use them in different situations later”. (Mol, 2009)
Cognitive training – relating the repeated rehearsal to the song-that-is-stuck-in-my-head, phenomenon Mol writes about developing a skill which he calls “automaticity”. “Learners get to know what to say and to produce language rapidly without pausing.” (Mol, 2009)
Cultural literacy- pop music has a huge impact on the cultural literacy of a person as it is an easy way to discover and appreciate other cultures. It can be “a rich mine of information about human relations, ethics, customs, history, humor, and regional and cultural differences’ ( Lems, 2001).
Language learning – by listening repeatedly to a song, learners will remember chunks of language which they can use daily. They can improve their pronunciation and become acquainted with different language styles.
A good example of pop song which has influenced generations of people and English language learners is “American Pie” (Appendix!!!) by Don McLean (with a later version sung by Madonna). In addition to interesting lyrics, rhyming lines and pleasant music, it brings forth the culture of the target language. Being asked several times about the meaning of lyrics, McLean has generally avoided responding to direct questions and answered that, "they're beyond analysis. They're poetry”. The song describes the writer’s feeling and attitude related to an important American pop culture event, the death of three pop-music icons – Buddy Holly, The Big Bopper, and Ritchie Valens. This event can be linked with the collapse of the American Dream. The song can be studied for its cultural relevance concerning the evolution of pop in the USA, and in terms of the decline of American institutions, during the Viet-Nam War years. This song, regarded as a contemporary poetic work of art, can promote comprehension of pop-culture and sentence-level pronunciation, being a guide for the composition of a similar poem. Nambiar (1993) recommends using recent pop songs as teaching material, as they enhance motivation in the younger generation: “Songs deal with the whole realm of human emotions and students are often willing to sing a song in a foreign language even if they do not fully understand the meaning of the words” (p. 336).
5.5.3 Activities involving lyrics with visual resources
Music can be accompanied by visual resources, which is a good way to catch students’ attention and sometimes, it can more stimulating than the song itself, because it gives the opportunity to develop activities that are related to the song. For small graders, there are special videos which provide lyrics, giving the opportunity to explore the songs better.
Murphey reviews when and how music videos can be used: “Music videos can be used successfully with any age group or level of students, when the activities are adjusted to them. They can be used at the end of class for a ten minute uplift, or they can be an integral part of one or more lessons. Teachers can start from a text, a sound recording, or an image (or images) and gradually add on the other dimensions.”(1998, p. 101) According to him, teachers have the freedom to choose the best way to use song or video clips in their lessons.
Teachers might sometimes have difficulties in finding songs or videos that match students’ tastes and interest. A solution to this problem is given by Murphey (1998), who says that teachers “ought to share the responsibility of choosing songs and videos with students, letting them select and present them in the classroom, and also prepare activities for their classmates which will give them more responsibilities for their own learning. Students may be content to be passive watchers, but we, as teachers, need to encourage student interaction with the video, and involve the students initially in predicting, describing, commenting, and sharing their perceptions “(Murphey, 1998, p.102).
As Murphey (2008) says, it is the teachers’ duty to make students interact with the video and to engage them in a way that they have the will and courage to share their thoughts. These activities are an attempt to develop the use of songs during the foreign language class, going beyond simply listening to it, what is common in many English classes. The pre-listening activities are helpful to students in a manner that they may feel familiar with the next stage of the lesson. The song is an attractive and motivating tool, because it brings lots of benefits in the classroom. The video clip is a supplementary resource that can be used to enrich the activity involving the song and its visual aspect will certainly provide enjoyment to the teaching-learning process, involving students and teachers in a good learning atmosphere.
Related to students’ feedback, Jedynak thinks that “Teachers should accept students’ negative responses to any music, because these are as important for language learning as positive ones” (Jedynak, 1982, p. 31).
Not only videos, but pictures can be used with songs as to make the experience with music even more engaging. Jedynak exemplifies how this can be done, by using slides, photographs, magazine pictures or reproductions of painted portraits. “First, show a set of portraits to students. Then ask them to write down what distinguishes the three portraits from each other for example: psyche, age, clothes, expression or position in society. After listening to three musical selections, students decide which portrait fits each piece of music and why. This is just an example of how some visual resources can be used in the classroom together with music.” (Jedynak, 1982, p. 32)
As mentioned above, lyrics can be used as to improve any of the skills that communicative competence implies.
Types of activities used with small learners
“Music is the universal language of mankind.” (Henry Wadsworth Longfellow) Oliver Wendell Holmes suggested taking a musical bath once a week, saying that music is "to the soul what water is to the body." Music has been proved to be a great learning tool which can make the classroom a warmer and effective learning environment. Music is a great method for teachers to achieve success with young L2 learners as children are natural music lovers and they don't need to be convinced that it will help them learn.
Due to youngsters’ general overwhelming excitement, songs are a great way to teach them language. Their enthusiasm often compensates the fact that they don’t fully understand all lyrics and the teacher can always accompany language with movement as to explain and remind vocabulary. Due to this, very little pre-teaching is necessary (Apendix 2).
With young learners, songs can be used at any stage of the lesson. Teacher can use songs to welcome students to class, (Appendix) greet (Appendix), remember names (Appendix), signal when it’s time to clean up, (Appendix), as energy boosters ( Appendix), practice ABCs, (Appendix), learn animals (Appendix), colours (Appendix), numbers (Appendix) or any other classroom activities. The students will become acquainted with the task related to the lyrics of the song (“Clean up,” “Make a circle,” “Please sit down,” etc.) and they will quickly follow the teacher’s directions. Teachers can reward hard working students by letting them have “Music time”- when they may listen to music while they work on their written assignments. Songs can often be used as to manage the energy level of the class. Music helps to calm down a noisy, rowdy class, or energize a lethargic one. In case the class is full of energy and students need to let it out before calming down, the teacher can play an active song like : “The Hokey Pokey Shake”, “The Pinocchio”, “We all Fall Down”, etc. If it is an action song you can do actions from the very first time and they can join in with them as soon as they feel ready. (Apendix). On the other hand, if the class is lethargic and needs a boost of energy, the teacher can use “After a While, Crocodile”(Appendix), “ Do you like Broccoli Ice cream?”(Appendix) or “If you’re Happy and You Know It” (Appendix). Once they have heard the song a few times they can start to join in.
Music can be played as to review previously practiced language. Children love to sing their old favorite songs.
5.6 Teaching Grammar through lyrics and poetry
Many authors (Olhaver 1998, Lowe 1998, Guglielmino 1986, Foster 1993 and Karimer 1984) assert the benefits of music and poetry in the classroom: for relaxation, concentration, motivation, cultural awareness, vocabulary acquisition, ear training, pronunciation and grammar teaching. Because music and poetry allow repetition in a pleasant manner during the language class, they are of great importance in language teaching.“ESL instruction, regardless its focus, involves a great deal of drill and repetition” (Guglielmino, 1986, p.19). In the Contemporary Music Approach (CMA), methodology started by Anton (1990) the song is used as a memory prompter. Anton believes that "music is one of the most effective memory aids available to us, especially for recalling grammatical structures” (1990, p. 1169). The CMA method of teaching grammatical structures through different styles, could accompany any textbook. The Contemporary Music Approach correlates different styles of music and rhythms with various grammar structures. Anton believes that a beat can remind students of the song, and the song reminds them of grammar rules. He regards the approach as a method of combining singing and psychology with language learning, as music allows students, even those without musical aptitude, to learn in a pleasant manner. After having learned a song that contains grammar structures, they can continue to practice them by singing out of the classroom. Unlike spoken conversation, music and poetry contain pitches, rhymes, rhythm, beats, and measured phrases that may help a learner remember grammatical structures. Many grammar points and a great variety of vocabulary can be found in poems or musical texts. As Falioni (1993) states, "The new structures that may seem isolated or out of context in pattern drills, are seen in a different perspective when they are part of a song” (p. 101). According to Bartle (1962), fluency is one of the most valuable contributions of songs: “some songs lend themselves to the incidental revision of grammatical points or of verb tenses. Songs are a definite advantage in memorization of phrase constructions. They are more easily learned and tend to ‘stick’ longer than straight-out grammatical examples” (p. 11). Salcedo (1996) suggested using lyrics, so as to review tenses by using multimedia computer software with integrated music video clips. The lyrics could be on the screen and students could click on words and get an explanation of the grammatical structure. After having learned a language structure, students listen to a song focusing on that particular structure. Songs demonstrate authentic language use while reinforcing syntax in a much better manner than the traditional exercises. According to Kind, “It has been found that foreign languages can be taught more rapidly, more effectively and with greater recall through the use of song, rather than the mechanical classroom drills” (1980, p. 49). Kind’s Audio-Lingual Method has been developed and tested at Harvard University and other American and European schools.
Grammar practice through lyrics:
Poems are an excellent grammar teaching material and Holmes and Moulton give an excellent example of adjective placement poem:
Teaching points: Adjectives, Order of adjectives in a noun phrase, Vocabulary (Holmes & Moulton, 2001, p. 25).
The instructions for the 11th formers were:
Write a poem on the given pattern, using as many adjectives as you can, paying attention to the placement of adjectives. (Appendix)
6. Significance of the Study
There are many types of instructional teaching methods so as to improve communicative competence in foreign languages.
The aim of this project is to outline methods and drills which teachers can adopt, in order to help their students improve communication performance and become independent speakers. It will also attempt to assist teachers into finding the best strategies to organize activities related to learning by using poetry and lyrics, so that students become better prepared for exams but also for a broader purpose, real life communication.
This paper explores the following research questions:
What do teachers have to do to ensure that their guidance fulfills both exam and real life communication purposes?
Is there an important increase in text recall when that text is learned through the use of songs or poems?
Is there a significant difference in delayed text recall of students who learned the text with poetry and song, compared to those who learned the text with spoken recordings?
Is there a significant contrast in the occurrence of involuntary mental rehearsal, after having learned a poem by heart or after having listened to a song, rather than text?
What is the teacher’s role in helping students to reach certain standards of coherence and cohesion?
The aim of this research is to point out that students would benefit from using music and poetry during foreign language classes. Results from the study questionnaire show that students display greater enjoyment of class time when music and poetry is involved in the curriculum. The significance of the present study would be to enlarge on the research, viewing lyrics and poem integration in relation to language learning. The thrust is to be aware of the occurrence of involuntary mental rehearsal, which may stimulate the process of language acquisition by repetition of words and phrases. The affirmative result would change the input from a spoken focus, to a musically and rhythmic based focus. This method would stand as a witness that students must enhance the opportunity to practice second language through poems and culturally rich songs. The study investigated the effect of lyrics and poetry in EFL class, and the result is that they may aid in the retention of texts, while producing a mental repetition that may stimulate language acquisition. According to Claerr and Gargan (1984), the incorporation of a musical methodology can be coherent “with some imagination, songs can be used to teach all aspects of foreign languages” (p. 31). These sentiments were echoed by Falioni (1993), who stated that “practically all grammar points can be found in music and poetic texts, and the texts also offer a wide variety of vocabulary, all of which can be utilized to practice the four communication skills” (p. 98). Language teachers (Jolly, 1975; Techmeier, 1969; Urbanic & Vizmuller, 1981), after having experimented teaching methods, draw the conclusion that songs and poems help to develop better second language skills and faster acquisition. The didactic potential of lyrics and poetry in foreign languages is immense and has only begun to be grasped. “As more experimentation takes place and better materials become available, music in all its forms-from opera to popular ballad would probably become an integral part of any sophisticated foreign language instruction program“(Leith, 1979, p. 67). The present study aims to indicate that the addition of poetry and music in lesson planning on a regular basis, could have strong implications in the foreign language class and a long-term influence on language students’ performance. As to answer the above questions, I decided to do active research with two classes of high school students and one class of small graders. Unlike with other classes, with these particular ones, I used poems and songs in teaching grammar points, cultural themes, and vocabulary.
6.1 Participants and Place of the Study
The research was conducted at Gheorghe Cartianu Technical High-School, one of the biggest technical high schools in Piatra Neamt and Middle School Number 3, in Piatra Neamt.
The sample population was taken from two high-school classes (12th, and 10th) containing 20 to 30 students, and a 3rd grade, with 28 students. The study was conducted on a total number of 82 students. All the students attended English class twice a week. The time allotment used in each class is 50 minutes and the project took part in the first semester of the school year: 2014-2015.
In the three classes, the student population is quite diverse. The students are mostly good, eager to come to school, to learn and graduate. Still, there are students, among them who miss classes on regular basis, who do not find a right reason to come to school, and do not wish to graduate, seeing school as something compulsory or as a burden. In this category there are many students who come from low socio-economic status families and miss classes invoking financial difficulties.
Many students from the high-school classes come from rural areas and they did not have the chance to study English in secondary school, at least not in an appropriate manner. Their English is poor and it seems that they have not found any motivation in learning a second language.
On the other hand, there are students highly enthusiastic about learning English and are extremely happy to attend the class. They are always eager to learn and already know why second language acquisition is of paramount importance.
6.2 Statistical Procedure
There are different tools and techniques to design a research. For this paper, I used a pre-written test and different communicative activities, so as to check the understanding and communication performance of the students. For the research be more accurate, students were tested with standardized tests, which included specific grammar issues, vocabulary elements and pronunciation. After three months, during which I used poems and lyrics in the lesson planning, on the same issues which were previously tested, I organized a post test to see if my students improved their communicative skills and to check their progress. At the end of the experiment I prepared a questionnaire to find out their opinions on the activities carried out during the experiment.
At the beginning of my study I had a clear picture of the students’ abilities concerning fluency, accuracy, vocabulary and grammar.
The 10th form students’ reluctance was partly due to their previous experience in learning English and to the fact that they didn’t find the enjoyment to learn to speak a foreign language. Some of them were educated in classes where English lessons were reduced only to reading texts aloud and writing down lists of words or verbs to be memorized. Another reason for the poor results was students’ inability to express thoughts and ideas in English because of the poor range of vocabulary or grammar structures which lead to frustration and rejection.
Because the three classes that were involved in this experiment had different levels of proficiency, I had to choose activities according to their abilities and skills.
During the post-test I observed that most of the students were more confident and more enthusiastic. I was delighted to see the 10th form students participating in class, when lyrics were involved, gaining confidence in speaking and finding use in learning English. They started to gather information about their favorite English or American bands or singers and bring them to school, to present them to their classmates. To do that, we used the multi – media classroom, which has computers and an inter-active board. Although many of them were still hesitant, they seemed to have improved their fluency and they did not seem to make as many mistakes as they had previously.
What I found to be most important is that they were not so afraid to try to express their ideas with the risk of not being perfectly accurate.
I cannot say for sure whether the improvements in the students’ communicative skills are totally due to the poem and song activities carried out during the three months, but I can state that one of the things the results of the study show is that this kind of activities encourages and gives courage for more fluent and accurate production. Students became less concerned about making errors and focused more on communication.
The students were also asked to fill in a questionnaire about their activity during the study. They were asked to answer ten questions. The questionnaire was addressed to seventy-four students from the three classes, the other eight being absent on the day of the questionnaire.
6.3 Research questions and data organization
I decided to show the results in diagrams. For each of them, there is a statement which the students were supposed to rank from completely disagree to completely agree.
Mention should be made that the questions were rephrased and explained to the 3rd graders, whenever it was needed.
I am more confident when I speak English.
As a response, most of the students (79%) stated that they no longer lack confidence, when it comes to expressing themselves in English. Thirty-three students (21%) stated that they still do not feel completely self-confident and four of them are reluctant towards communicating in English. Figure 1. illustrates the distribution of students’ responses to Question 1.
My English fluency and accuracy have improved.
For the 3rd graders, the question sounded: “Do you speak better in English?” 89% of the students agreed and fully agreed that they are able to use English more fluently and accurately when they are supposed to communicate. The rest, 11%, still cannot produce accurate, fluent statements in English.
There is a significant increase in text recall when the text is learned through the use of songs or poems.
For the 3rd graders the question sounded: “Do you remember words faster when you learn them in songs or poems?”
To put this in numbers, 63 out of 74 students (85%) considered that they could really benefit from learning through lyrics and poems, and only 11 students (15%) considered they learn better by using other methods.
Writing poems or lyrics has helped to improve my communication skills
77% of the students considered that writing poems or lyrics, no matter if by themselves, in pairs or in groups, has improved their ability to communicate in English. Only the rest of 23% considered writing as a difficult and unhelpful task.
I would rather work drills on poems or lyrics, than solve multiple-choice exercises.
This question valued the students’ enthusiasm regarding their choice of language practice exercises. 81% of the respondents say that they prefer to work on exercises related to songs or poems, and only 5 students out of 74 prefer the more traditional exercises approach.
6. Songs should not be in school curriculum.
The result to this question reflects the students’ preferences: 93% of the responding students completely disagree or just disagree with taking music out from language class. They do not consider that it would make classes much more “serious” and the students would learn more just using the traditional approach.
7. Poetry should not be in the school curriculum
The results I got in the seventh question came as no surprise. The students prefer to learn by means of poetics, though, comparing with the result to the previous question, it can be easily noted that students prefer songs more than poems. 83% think that poetry should not be banned from the school curriculum, while the other 12 students (17%) state that poems do not help them in second language acquisition.
It is easier for me to pronounce words once I hear them in a song.
So the results of the questionnaire are not surprising at all. 77% of the students pronounce better when having a model which they hear several times, while the rest of 23% think that their pronunciation doesn’t necessarily have to do with the songs they hear. It is well known that music can be effective in improving phonetic skills in many ways. Leith (1979) stated, “There is probably not a better nor quicker way to teach phonetics than with songs” (p. 540).
At home I listen to the song from class, even if it is not part of my homework
It was rewarding to observe the impact that songs have on the students. It was encouraging to know that 79% of the respondents say that they go home and revise what it was done during language class. 3 of the students who completely disagreed to this question, do not have the proper technology to do this, else, they would.
Songs and poems help me find out a lot about the culture they are part of.
For 89% of the students the cultural heritage that comes along with a song or a poem is very clear. They agreed and fully agreed that songs and poems help them learn about other cultures. The rest, 11%, still cannot connect language with culture.
6.4 Conclusions to the Study
According to the study, students’ skills improved in relation to responses to question 2, 3, 4 and 9. The answers to questions 5, 6, and 7 show their preference to study English by using poems and music as learning materials. 1 and 8 are a proof of the fact that they gained confidence to communicate in a foreign language. The answer to question 10 shows that many students are aware of the cultural importance of a language.
Overall results showed a significant difference between the three classes that were taught through music and poetry. Compared to other classes of the same level, they reported higher marks at the end of school year.
Conclusions
As we have already said, the aim of this paper was to show the advantages of using songs in the English classroom and some techniques to explore songs going beyond the lyrics. We could see that music can provide students and teachers with motivation, besides offering opportunities to create a good environment and relationship among them by breaking barriers between teachers and students by reducing learners’ anxiety and inhibition during the teaching-learning process.
Moreover, it can expose students to vocabulary, good pronunciation, grammar and some cultural aspects of the English language through authentic materials. Besides, it is a way of helping them to improve the four main skills. Through the analysis presented in this paper, it was possible to show that teachers should go beyond the lyrics so that students benefit more from what songs provide, which can be anything from information about the singers to the visual resources the DVD offers. It was also possible to suggest a technique that can be used by teachers to go beyond the common gap-filling exercise. Therefore, we can conclude that songs in the classroom is a major tool that brings impressive results to the teaching-learning process.
In this study I am concerned with examining the degree to which musical aptitude might correlate with the learning of a second language.
Conclusion As we have already said, the aim of this paper was to show the advantages of using songs in the English classroom and some techniques to explore songs going beyond the lyrics. We could see that music can provide students and teachers with motivation, besides offering opportunities to create a good environment and relationship among them by breaking barriers between teachers and students by reducing learners’ anxiety and inhibition during the teaching-learning process.
Moreover, it can expose students to vocabulary, good pronunciation, grammar and some cultural aspects of the English language through authentic materials. Besides, it is a way of helping them to improve the four main skills. Through the analysis presented in this paper, it was possible to show that teachers should go beyond the lyrics so that students benefit more from what songs provide, which can be anything from information about the singers to the visual resources the DVD offers. It was also possible to suggest a technique that can be used by teachers to go beyond the common gap-filling exercise. Therefore, we can conclude that songs in the classroom is a major tool that brings impressive results to the teaching-learning process.
The Contemporary Music Approach In the Contemporary Music Approach (CMA) methodology begun by Anton (1990), song is used as a memory prompter. Anton believes that "music is one of the most effective memory aids available to us, especially for recalling grammatical structures” (p. 1169). The CMA method of teaching various grammatical structures of the language through different styles may accompany any textbook (See http://www.viamc.com/About.htm). With CMA, different styles of music and rhythms are correlated with the various grammar lessons, because Anton believes that a certain beat reminds students of the song, and the song in turn reminds them of the grammar. He discusses the approach as a way of combining singing and psychology with language learning. The CMA uses a step-by-step approach to combine active and nonverbal processes of the right hemisphere of the brain with verbal and logic-based processes governed by the left hemisphere to reduce inhibitions and allow the student to learn and remember certain grammatical features. “In a survey of students taking the CMA approach, 98% felt it helped them learn Spanish and 92% played the songs for family and friends” (p. 1169). Language Learning Textbook Methodologies One of the earliest teaching methodologies provided for teachers of German is the “Singlingual Method,” published by Langenscheidt under the title of Eine kleine Deutschmusik. This method, consisting of a well-presented book 17 and a cassette, employs useful phrases from everyday speech set to well-known tunes. Another early method called the Audio-Singual Method by Kind (1980) uses familiar songs to teach the English language. He contends that because the tunes are familiar, a satisfying feeling of recognition helps the learner overcome any fear and resistance to the unknown or fear that a student learning a second language may experience. Kind’s Audio-Singual Method has been developed and tested at Harvard University and other American and European schools. According to Kind, “It has been found that foreign languages can be taught more rapidly, more effectively and with greater recall through the use of song, rather than the mechanical classroom drills” (p. 49). Educators who have noticed a lack of available materials for classroom use often create their own program. To address the need of incorporating foreign language standards including songs, pedagogical supplementary materials were produced for teachers.
.
I am very much aware that it is almost impossible to find an approach to teaching writing that could cover every single problem that Romanian EFL learners come across when confronted with a writing task or when having to best communicate their message in a written form. But in spite of this inconvenience, writing should definitely be taught and this is the conclusion I have reached after completing this paper.
On the other hand, the facts and data presented and commented upon in this paper reinforce old instructional convictions; on the other hand, they also suggest new ways of organizing writing activities in the EFL classrooms in keeping with today’s technology-oriented education.
Accordingly, the following might be suggested. First, before deciding on one approach or another, the teacher has to take some factors into consideration, factors which have to do with the characteristics of the EFL learners. And I refer hereto their preferences related to the topics that will allow them to generate ideas, more or less easily, the materials the teacher brings into the classroom and which will raise more or less interest, their personal learning styles and last but not least, their needs. Connecting writing to a student’s life outside of school is important in making work more relevant and meaningful. The instructor has to be aware of what each student knows, likes, needs and can and go from there. Involving the students in the process of decision making can be of great help.
Secondly, teachers need to provide their students with many opportunities to practice writing. They should offer the learners support and encouragement to write extensively, in and outside the classroom. The students should engage in writing activities on a regular basis until they develop the knowledge, skills and understanding that enable them to write in order to demonstrate achievement. Teachers should make sure that the learners mainly get practice in the range of real-life writing tasks that they will face.
Another good suggestion would be for the teacher to expose the students to as many types of texts as possible so that they could develop awareness of what good writing is. Texts offer a natural context for writing activities. The best source of models is the real world, the texts that the students encounter in their everyday life and that they read, be them traditional or multimodal.
And finally, teaching specific writing strategies through meaningful activities is something the learners will benefit a lot from. The teacher can prepare activities with carefully planned stages of planning, drafting, revision and publishing. Finding the right balance between different types of writing activities and using a variety of them is an important element in organizing the writing class. As students continue to develop an understanding of the writing process; the elements of writing; text forms, genres, and formats; and technology, they are able to express themselves more confidently and effectively.
If students experience some measure of success in the supportive learning environment of the classroom where their ideas, experiences, preferences and abilities are taken into consideration, they will gain confidence, be more motivated and improve their writing performance, which is, in the end, the teacher‘s goal.
Apendix 1 :
One banana, two banana’
One banana, two bananas,
Three bananas, more
Four bananas, five bananas,
Six bananas, more.
Seven bananas, eight bananas,
Nine bananas, more
Ten yellow bananas!
I Can Count
I can count, want to see?
Here’s my fingers- one, two, three (Hold up fingers as you count)
Four and five, this hand is done.
Now I’ll count the other one.
Six, seven, eight and nine (Hold up fingers on other hand)
Just one more, I’m doing fine.
The last little finger is number ten.
Now I’ll count them all again.
One, two, three, four, five, six, seven, eight, nine, ten!
Numbers Song: One Little Duckling
Song: Numbers song – one little duckling
Learning Objectives: Looking for an easy way to teach your learners how to count from one to ten? They this song is all you need. It teachers the numbers and their spellings from 1 to 10.
Key Phrases/Sentences: One little, two little, three little ducklings.
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: One little..
Teacher's Line: two little
After this, change roles.
Teacher's Line: One little
Students' Line: two little
Keep doing this with the other lines and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source: http://www.freddiesville.com/songs/numbers-song-one-little-duckling/
Apendix 2
Source :
http://www.songsforteaching.com/numberscounting.htm
Apendix 3
One More Please
Music, Movement & Magination, Inc.
Source: http://www.songsforteaching.com/math/beginningarithmeticconcepts/onemoreplease.htm
The Alphabet Song
A – B – C – D – E – F – G
H – I – J – K – L – M – N – O – P
Q – R – S – T – U and V,
W – X – Y and Z
Now I know my A – B – C's
Next time won't you sing with me?
What’s your Name song
Song: What's your name? Song
Learning Objectives: This song will help learners review key words and phrases used in self-introduction, especially telling someone about your name.
Key phrases/sentences: Hello! What's your name?
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: Hello, Hello
Teacher's Line: What's your name?
After this, change roles.
Teacher's Line: Hello, Hello
Students' Line: What's your name?
Keep doing this and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source: http://www.freddiesville.com/songs/whats-your-name-song/
How are you? Song
Song: How are you? Song
Learning Objectives: This song will help learners review key words and sentences used in our greetings lesson, especially when asking about the well-being of others.
Key Phrases/Sentences: Hello! How are you? I am fine, thank you.
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: Hello, Hello
Teacher's Line: How are you?
After this, change roles.
Teacher's Line: Hello, Hello
Students' Line: How are you?
Keep doing this and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source: http://www.freddiesville.com/songs/how-are-you-song/
Farm Animals Song
Song: Farm animals song
Learning Objectives: This song will help learners review farm animals vocabulary and help kids remember animal names by the sounds these animals make.
Key Phrases/Sentences: The dogs on the farm go woof! woof! woof!.
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: The dogs on the farm go…
Teacher's Line: woof! woof! woof!
After this, change roles.
Teacher's Line: The dogs on the farm go…
Students' Line: woof! woof! woof!
Keep doing this with the other lines and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source : http://www.freddiesville.com/songs/farm-animals-song/
Family Song
Song: Family song
Learning Objectives: This song will help learners review family members vocabulary and help kids remember key phrases and sentences used when talking about family.
Key Phrases/Sentences: This my family. Father, mother, brother
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: This is my family.
Teacher's Line: father, mother, me
After this, change roles.
Teacher's Line: This is my family.
Students' Line: father, mother, me
Keep doing this with the other lines and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source : http://www.freddiesville.com/songs/family-song/
Colors Song
Song: Colors (Colours) Song
Learning Objectives: This song will help learners review key words and phrases used when talking about colors. The song reviews key phrases used when talking about colors. It also introduces a few nouns and uses key colors adjectives to describe them.
Key phrases/sentences: What color is your shirt today? My shirt is red. It’s my favorite color.
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: What color is your shirt today?
Teacher's Line: What color will you wear?
After this, change roles.
Teacher's Line: My shirt is red.
Students' Line: It’s my favorite color.
Keep doing this and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source: http://www.freddiesville.com/songs/colors-song/
I Can Sing A Rainbow
Red and yellow and pink and green,
Purple and orange and blue.
I can sing a rainbow,
Sing a rainbow,
You can sing one too!
Listen with your eyes,
Listen with your eyes,
And sing everything you see.
You can sing a rainbow,
Sing a rainbow,
Sing a long with me.
Red and yellow and pink and green,
Purple and orange and blue.
You can sing a rainbow,
Sing a rainbow,
Now you've sung one too!
Source: http://www.esl-lounge.com/songs/song-i-can-sing-a-rainbow.php
Source : https://www.youtube.com/watch?v=nRTdq0VsLGQ
What A Wonderful World – Louis Armstrong
I see trees of green, red roses too
I see them bloom for me and you
And I think to myself what a wonderful world.
I see skies of blue and clouds of white
The bright blessed day, the dark sacred night
And I think to myself what a wonderful world.
The colors of the rainbow so pretty in the sky
Are also on the faces of people going by
I see friends shaking hands saying how do you do
But they're really saying I love you.
I hear baby's cry, and I watched them grow
They'll learn much more than I'll ever know
And I think to myself what a wonderful world.
Yes, I think to myself what a wonderful world.
Songwriters: GEORGE DAVID WEISS, GEORGE DOUGLAS, BOB THIELE
What A Wonderful World lyrics © CARLIN AMERICA INC, BMG RIGHTS MANAGEMENT US, LLC, IMAGEM U.S. LLC
Source: https://www.youtube.com/watch?v=A3yCcXgbKrE
Source: http://www.lyricsfreak.com/l/louis+armstrong/what+a+wonderful+world_20085347.html
Body Parts Song
Song: Body Parts Song
Learning Objectives: This song will help learners review key words and phrases used when talking about parts of the body. The focus is on parts of the face. It will also focus on adjectives used to describe the physical appearance of body parts.
Key phrases/sentences: I have a big head. I have a small nose.
How to use: Turn on the music and the video. Let the students listen and watch once or twice. Break down the song and teach. To do that, tell students you will sing one part of each line and they will complete it.
Students' Line: I have a head.
Teacher's Line: a big fat head
After this, change roles.
Teacher's Line: I have a head.
Students' Line: a big fat head
Keep doing this and before you know it, your learners will be singing the whole song without any help. That's how you get these phrases and sentences firmly implanted in their brains.
Source : http://www.freddiesville.com/songs/body-parts-song/
Apendix – learn names
Willoughby Wallaby Woo Lyrics
from The Singable Songs Collection
Willoughby walliby wee
An elephant sat on me
Willoughby walliby woo
An elephant sat on you
Willoughbly Walliby Wusten
An elephant sat on Justin
Willoughby Walliby Wangya
An elephant sat on Tanya
Willoughby Walliby Wenny
An elephant sat on Jenny
Willoughby Walliby Woal
An elephant sat on Joel
Willoughby Walliby Wong
I hope that you sing along
Willoughby Walliby Week
A singa linga longa with me!
A ratatatatat A neenaanananana
A doodaleedoodadoo
A badabadabadada!
Willoughby Walliby Wonny
An elephant sat on Bonny
Willoughby Walliby Warton
An elephant sat on Martin
Willoughby Walliby Woosen
An elephant sat on Susan
Willoughby Walliby Wennis
An elephant sat on Dennis
Willoughby Walliby Wen
An elephant sat on Ken
Willoughby Walliby Waffi
An elephant sat on Raffi
Willoughby Walliby Willoughby
Oooh, look at that elephant sitten there
Willoughby Walliby Willoughby aWallilalalalalala
Source: https://www.youtube.com/watch?v=6pdpBEatep0
Source: http://www.metrolyrics.com/willoughby-wallaby-woo-lyrics-raffi.html
Apendix
Clean Up
Clean up clean up everybody clean up
Clean up clean up everybody do
your
share.
Clean up clean up everybody everywhere.
Clean up clean up everybody do your
share.
Clean up clean up everybody everywhere.
Clean up clean up everybody do your
share
Source: http://www.elyrics.net/read/b/barney-lyrics/clean-up-lyrics.html
Source : https://www.youtube.com/watch?v=lm32iaGesPA
Apendix
The ABC song
Have each child hold a flashcard with a letter. They first have to get themselves into the correct order and then hold their card up when they hear their letter in the song.
A, B, C, D, E, F, G,
H, I, J, K,
L, M, N, O, P,
Q, R, S,
T,U, V,
W, X, Y and Z
Now you know the A, B, C, you can sing along with me.
Twinkle, twinkle little star
The children can make their own stars before singing this song. Give them three strips of pipe cleaners that they have to bend together in the middle to make a six-point star. This is a good way to practise instructions with them. You can hang them onto coat hangers and display like a mobile.
Twinkle, twinkle little star
How I wonder what you are
Up above the world so high
Like a diamond in the sky
Twinkle, twinkle little star
How I wonder what you are.
TV theme songs
Not only do these songs provide a good cultural input to your lessons, the theme songs are catchy and fairly easy to learn as they really tell a story. You need to have access to the cartoons themselves for the songs and opening credits where the songs are sung. Use the video to elicit vocabulary first without the sound.
Postman Pat
Fireman Sam
Bob the Builder
Christmas songs
Christmas songs can be quite long and difficult to learn but these below are relatively short and repetitive so more accessible to children.
Jingle Bells
Jingle Bells, Jingle Bells, Jingle all the way,
Oh what fun it is to ride on a one-horse open sleigh. Hey!
Jingle Bells, Jingle Bells, Jingle all the way,
Oh what fun it is to ride on a one-horse open sleigh.
We wish you a Merry Christmas
We wish you a Merry Christmas,
We wish you a Merry Christmas,
We wish you a Merry Christmas and a Happy New Year.
Glad tidings we bring for you and your kin,
We wish you a Merry Christmas and a Happy New Year.
Appendix 12
IN THE GHETTO
By Elvis Presley
Exercise-4: TENSES
As the snow ……………(FLY) on a cold and grey Chicago morning
A poor little baby child …………… (BE BORN)
In the ghetto.
<>()<>
And his mama …………… (CRY) ‘cause if there……………(BE) one thing she …………… (NEED)
……………(BE) another hungry mouth to feed
In the ghetto.
<>()<>
Ah, people …………… you ……………(UNDERSTAND)?
A child …………… (NEED) your helping hand;
He …………… (GO) to be an angry young man some day
Oh, …………… (TAKE) a look at you and me,
…………… (BE) we too blind to …………… (SEE)?
…………… we simply …………… (TURN) our heads
And …………… (LOOK) the other way?
<>()<>
Well the world ……………(TURN) and a hungry little boy with a runny nose
…………… (PLAY) in the street and the cold wind …………… (BLOW),
In the ghetto
<>()<>
And his hunger …………… (BURN), so he …………… (START) to roam the streets at night
And he …………… (LEARN) how to steal and he …………… (LEARN) how to fight
In the ghetto.
<>()<>
Then one night in desperation,
The young man …………… (BREAK) away.
He …………… (BUY) a gun and (STEAL) a car;
He …………… (TRY) to run, but he …………… (GET) far,
And his mama …………… (CRY)
As the crowd …………… (GATHER) round an angry young man,
Face down in the street with a gun in his hand
In the ghetto.
<>()<>
And as a young man …………… (DIE) on a cold and grey Chicago morning,
Another little baby child …………… (BE BORN)
In the ghetto.
<>()<>
And his mama …………… (CRY)
II.
.
N THE GHETTO
By Elvis Presley
Exercise-5: VERBS/TENSES
(Listening Practice by Bibi Baxter)
As the snow …………… on a cold and grey Chicago morning
A poor little baby child ……………
In the ghetto.
<>()<>
And his mama …………… ‘cause if there…………… one thing she ……………
…………… another hungry mouth to feed
In the ghetto.
<>()<>
Ah, people …………… you ……………?
A child …………… your helping hand;
He …………… to be an angry young man some day
Oh, …………… a look at you and me,
…………… we too blind to see?
…………… we simply …………… our heads
And …………… the other way?
<>()<>
Well the world turns and a hungry little boy with a runny nose
…………… in the street and the cold wind …………… ,
In the ghetto
<>()<>
And his hunger …………… , so he …………… to roam the streets at night
And he …………… how to steal and he …………… how to fight
In the ghetto.
<>()<>
Then one night in desperation,
The young man …………… away.
He …………… a gun and ………… a car;
He …………… to run but he …………… far,
And his mama ……………
<>()<>
As the crowd …………… round an angry young man,
Face down in the street with a gun in his hand
In the ghetto.
<>()<>
And as a young man …………… on a cold and grey Chicago morning,
Another little baby child ………………
In the ghetto.
And his mama ………………
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
(VOCABULARY AID: Remove this section for higher level students)
THE MISSING VERBS
be/be born/blow/break/burn/buy/die/fly/gather/get/go/ learn/look/need/play/start/steal/take/try/turn/understand
IN THE GHETTO
By Elvis Presley
THE FULL LYRICS
As the snow flies on a cold and grey Chicago morning
A poor little baby child is born
In the ghetto.
<>()<>
And his mama cries ‘cause if there’s one thing she doesn’t need
Is another hungry mouth to feed
In the ghetto.
<>()<>
Ah, people don’t you understand
A child needs your helping hand;
He’s going to be an angry young man some day
Oh, take a look at you and me,
Are we too blind to see?
Do we simply turn our heads
And look the other way?
<>()<>
Well the world turns and a hungry little boy with a runny nose
Plays in the street and the cold wind blows,
In the ghetto
<>()<>
And his hunger burns, so he starts to roam the streets at night
And he learns how to steal and he learns how to fight
In the ghetto.
<>()<>
Then one night in desperation,
The young man breaks away.
He buys a gun and steals a car;
He tries to run but he doesn’t get far,
And his mama cries
<>()<>
As the crowd gathers round an angry young man,
Face down in the street with a gun in his hand
In the ghetto.
<>()<>
And as a young man dies on a cold and grey chicago morning,
Another little baby child is born
In the ghetto.
<>()<>
And his mama cries…..
IN THE GHETTO
By Elvis Presley
Exercise-2: SEQUENCING
(Listening Exercise by Bibi Baxter)
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
A child needs your helping hand;
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
A poor little baby child is born
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Ah, people don’t you understand
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And as a young man dies on a cold and grey, Chicago morning,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And he learns how to steal and he learns how to fight
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And his hunger burns, so he starts to roam the streets at night
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And his mama cries
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And his mama cries ‘cause if there’s one thing she doesn’t need
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And his mama cries…..
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
And look the other way?
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Another little baby child is born
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Are we too blind to see?
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
As the crowd gathers round an angry young man,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
As the snow flies on a cold and grey chicago morning
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Do we simply turn our heads
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Face down in the street with a gun in his hand
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
He buys a gun and steals a car;
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
He tries to run but he doesn’t get far,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
He’s going to be an angry young man some day
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
In the ghetto.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Is another hungry mouth to feed
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Oh, take a look at you and me,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Plays in the street and the cold wind blows,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
The young man breaks away.
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Then one night in desperation,
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
Well the world turns and a hungry little boy with a runny nose
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
IN THE GHETTO
By Elvis Presley
Exercise-1: NOUNS
(Listening Practice by Bibi Baxter)
As the ………….. flies on a cold and grey Chicago …………..
A poor little baby ………….. is born
In the …………..
<>()<>
And his ………….. cries ‘cause if there’s one ………….. she don’t need
Is another hungry ………….. to feed
In the ……………
<>()<>
Ah, ………….. don’t you understand
A ………….. needs your helping ………….. ?
He’s going to be an angry young ………….. some …………..
Oh, take a look at you and me,
Are we too blind to see?
Do we simply turn our …………..
And look the other …………..?
<>()<>
Well the ………….. turns and a hungry little ………….. with a running …………..
Plays in the ………….. and the cold ………….. blows,
In the …………..
<>()<>
And his ………….. burns, so he starts to roam the ………….. at night
And he learns how to steal and he learns how to fight
In the …………..
<>()<>
Then one ………….. in desperation,
The young ………….. breaks away.
He buys a ………….. and steals a …………..
He tries to run but he don’t get far,
And his ………….. cries
As the ………….. gathers round an angry young …………..,
Face down in the ………….. with a ………….. in his …………..
In the …………..
<>()<>
And as a young ………….. dies on a cold and grey, Chicago …………..,
Another little baby ………….. is born
In the ……………
<>()<>
And his ………….. cries
– – – – – – – – – – – – – – – – – – – – – – – – – – – –
(VOCABULARY AID: Remove this section for higher level students)
THE MISSING NOUNS
boy/car/child/crowd/day/ghetto/gun/hand/heads/hunger/mama/man/morning/mouth/night/nose
people/snow/street/streets/way/wind/world
Apendix 14 poezii compuse clasa 3 / 10 I
APPENDIX D (PAG 67)
“I am” poem.
Teaching points: Sentences, Subordinate clauses, Relative clauses, Metaphors. (Holmes & Moulton, 2001, p. 112).
Pattern:
I am (2 special characteristics).
I wonder (something you wonder about).
I hear (imaginary sound).
I see (imaginary sight).
I want (actual desire).
I am (first line repeated)
I understand (something you know is true)
I say (something you believe in)
I dream (something you dream about)
I try (something you make an effort about).
I hope (something you hope for).
I am (first line repeated)
Example:
I am a studious girl who loves to read.
I wonder if I could someday be an author, too.
I hear the voices of characters talking as I read.
I see what they look like and what they are doing.
I want to create my own stories for others to read.
I am a studious girl who likes to read.
I understand that I may not be a successful writer
I say that success is in my and I must pursue it.
I dream of the joy my writing could give others.
I try to read and write as often as I can.
I hope my dream can come true.
I am a studious girl who loves to read
DON MCLEAN LYRICS
American Pie
A long, long time ago
I can still remember how that music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while
But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step
I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside
The day the music died
[Chorus:]
So bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey 'n rye
Singin' this'll be the day that I die
This'll be the day that I die
[Verse 1]
Did you write the book of love
And do you have faith in God above
If the Bible tells you so?
Now do you believe in rock and roll?
Can music save your mortal soul?
And can you teach me how to dance real slow?
Well, I know that you're in love with him
'Cause I saw you dancin' in the gym
You both kicked off your shoes
Man, I dig those rhythm and blues
I was a lonely teenage broncin' buck
With a pink carnation and a pickup truck
But I knew I was out of luck
The day the music died
[Chorus:]
I started singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey 'n rye
Singin' this'll be the day that I die
This'll be the day that I die
[Verse 2]
Now for ten years we've been on our own
And moss grows fat on a rollin' stone
But that's not how it used to be
When the jester sang for the king and queen
In a coat he borrowed from James Dean
And a voice that came from you and me
Oh, and while the king was looking down
The jester stole his thorny crown
The courtroom was adjourned
No verdict was returned
And while Lenin read a book on Marx
The quartet practiced in the park
And we sang dirges in the dark
The day the music died
[Chorus:]
We were singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey 'n rye
Singin' this'll be the day that I die
This'll be the day that I die
[Verse 3]
Helter skelter in a summer swelter
The birds flew off with a fallout shelter
Eight miles high and falling fast
It landed foul on the grass
The players tried for a forward pass
With the jester on the sidelines in a cast
Now the halftime air was sweet perfume
While the sergeants played a marching tune
We all got up to dance
Oh, but we never got the chance
'Cause the players tried to take the field
The marching band refused to yield
Do you recall what was revealed
The day the music died?
[Chorus:]
We started singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey 'n rye
And singin' this'll be the day that I die
This'll be the day that I die
[Verse 4]
Oh, and there we were all in one place
A generation lost in space
With no time left to start again
So come on, Jack be nimble, Jack be quick
Jack Flash sat on a candlestick
'Cause fire is the devil's only friend
Oh, and as I watched him on the stage
My hands were clenched in fists of rage
No angel born in Hell
Could break that Satan's spell
And as the flames climbed high into the night
To light the sacrificial rite
I saw Satan laughing with delight
The day the music died
[Chorus:]
He was singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey 'n rye
And singin' this'll be the day that I die
This'll be the day that I die
[Outro]
I met a girl who sang the blues
And I asked her for some happy news
But she just smiled and turned away
I went down to the sacred store
Where I'd heard the music years before
But the man there said the music wouldn't play
And in the streets, the children screamed
The lovers cried and the poets dreamed
But not a word was spoken
The church bells all were broken
And the three men I admire most
The Father, Son and the Holy Ghost
They caught the last train for the coast
The day the music died
[Chorus:]
And they were singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
And them good ole boys were drinking whiskey 'n rye
Singin' this'll be the day that I die
This'll be the day that I die
[Chorus:]
They were singing bye, bye, Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey 'n rye And singin’ this’ll be the day that I die
Writer :Don Mclean
Top of Form
Bottom of Form
Top of Form
Bottom of Form
Writer(s): Don Mclean
Copyright: Songs Of Universal Inc., Benny Bird Co. Inc.
APPENDIX 1
Pathway to English. English News &Views
Student’s Book 11, Oxford University Press, 1998
Autori: Rada Balan, Miruna Carianopol, Stefan Colibaba, Cornelia Coser, Veronica Focsaneanu, Vanda Stan, Rodica Vulcanescu ; Unit 2, lesson 5
APPENDIX 2
Reward Student’s Book, Intermediate
Macmillan Heinemann, 1995 Simon Greenall, Lesson 23
Exercise 2: Listen to the poem.
Appendix 3
Student’s Book 11, Oxford University Press, 1998
Autori: Rada Balan, Miruna Carianopol, Stefan Colibaba, Cornelia Coser, Veronica Focsaneanu, Vanda Stan, Rodica Vulcanescu, Unit 2, lesson 1
Exercise:
Appendix 4
Acrostic Poem
An acrostic poem
Can be easy,
Really
Once you understand
Something important from class
Teaching, you and
I can start to
Create – poems.
( Cemurtan Natalia, 12 A, Colegiul Tehnic Gheorghe Cartianu, Piatra Neamt)
My Name
I come here
Once in a while
And watch
Names floating in the
Air
(Pepelea Ioana , clasa a 12-a, Colegiul Tehnic Gheorghe Cartianu, Piatra Neamt)
My Name
My name is in fact,
A rest of
Remembrances
I got from
A beautiful mom.
(Maria Stavarache, clasa a 3- a, Scoala Generala Nr. 3, Piatra Neamt)
My Friend
Funny
Real
Interesting
Enjoyable
Nice
Delightful
( Matei Marian, clasa a 3-a, Scoala Generala Nr. 3, Piatra Neamt)
Appendix 5
“I am” poem
Example:
I'm a bird.
I am an albatross.
I am over the sea.
I want to be high.
It's spring. . .
(Ganea Matei, clasa a 3-a, Scoala Generala Nr. 3, Piatra Neamt)
"Freedom"
I'm a strong bird,
A hawk,
up high,
I want to fly.
It's winter time.
(Moraru Matei, clasa a 3-a, Scoala Generala Nr. 3, Piatra Neamt)
Appendix 6
Appendix 6
Green
Green is new.
Green is fresh.
Green is a small apple.
Green is a big croaking frog.
Green is spring.
Green is free…
Green is my favorite color.
(Tendeleu Ricardo, clasa a 3-a, Scoala Generala Nr. 3, Piatra Neamt)
Yellow
The sun is yellow
The moon is yellow
The stars are yellow.
My schoolbag is yellow
This is my fellow
His voice is soft and mellow.
(Balut Vlad, clasa a3-a,Scoala Generala Nr. 3, Piatra Neamt)
Appendix 7
Matters Advanced, Students’ Book
Longman, 1988, Authors: Jan Bell, Roger Gower
Unit 8, Section 3
Appendix 8
The Pronunciation Poem
Here is some pronunciation.
Ration never rhymes with nation,
Say prefer, but preferable,
Comfortable and vegetable.
B must not be heard in doubt,
Debt and dumb both leave it out.
In the words psychology,
Psychic, and psychiatry,
You must never sound the p.
Psychiatrist you call the man
Who cures the complex, if he can.
In architect, chi is k.
In arch it is the other way.
Author unknown
Source: http://oud.digischool.nl/en/poetry/poems/pronunciation.htm
Pathway to English. English News &Views
Student’s Book 11, Oxford University Press, 1998
Autori: Rada Balan, Miruna Carianopol, Stefan Colibaba, Cornelia Coser, Veronica Focsaneanu, Vanda Stan, Rodica Vulcanescu
Unit 7, lesson 6.
Pathway to English. English News &Views
Student’s Book 11, Oxford University Press, 1998
Autori: Rada Balan, Miruna Carianopol, Stefan Colibaba, Cornelia Coser, Veronica Focsaneanu, Vanda Stan, Rodica Vulcanescu
Unit 5, lesson 7.
Pathway to English. English News &Views
Student’s Book 11, Oxford University Press, 1998
Autori: Rada Balan, Miruna Carianopol, Stefan Colibaba, Cornelia Coser, Veronica Focsaneanu, Vanda Stan, Rodica Vulcanescu
Unit 2, lesson 6
Pathway to English. English News &Views
Matters Advanced, Students’ Book
Longman, 1988, Authors: Jan Bell, Roger Gower
Unit 8, Section 3
Picture poems (1): words are arranged to make a shape (Picture poem 3 adapted from
Hadfield & Hadfield, 1997, p. 9, section 16. Picture poem 4 adapted from Finch, 1998).
Reward Student’s Book, Intermediate
Macmillan Heinemann, 1995 Simon Greenall, Lesson 23
Appendix
A beautiful big green mountain
Was standing high and proud
Expecting Courageous German guys
To climb and enjoy the beautiful deep, green Austrian heights.
(Bumbu Alin, clasa 11-a, Colegiul Tehnic Gheorghe Cartianu, Piatra Neamt)
Welcome Pupil’s Book 2,
Express Publishing House, Elizabeth Gray, Virginia Evans
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