Top 10 Songs About School
TEACHING AND LEARNING SCIENCE THROUGH SONG: EXPLORING THE. EXPERIENCES OF teachers and students suggested about using songs for middle-school classroom science music and spatial relationships. Jensen ( ). Bollywood has till date come up with a number of Hindi songs on teachers, reflecting their importance in the society and in the lives of students. Sung by Shivangi Kolhapure, the song is bound to make you run down the memory lane and. Today is National Teacher Appreciation Day, a time when we reflect on the These are songs that give a whole new meaning to the phrase “After-school special” affair between a teacher and the student object of his obsession. QUIZ: Can You Match the Artist to the Classic Disney Soundtrack Song?.
Songs in EFL: From Learning Strategy to Teaching Technique | Ahlem Faraoun - guiadeayuntamientos.info
Likewise, one cannot assume that rewriting song lyrics is a form of parody and therefore is protected free speech, both because parodies are defined as works that comment upon the works upon which they are based which is not generally true of science songs and because parodies are judged according to the same four factors as other derivative works Keller and Tushnet, As a practical guideline, creating new versions of copyrighted songs should generally be acceptable in the context of a class lecture or assignment, but sharing these songs outside of the classroom is not risk-free.
Copyright issues aside, several other concerns consistently arise in discussions of educating with music. The diversity of students' musical tastes poses practical challenges, for instance. If no individual song about transcriptional regulation will appeal to all students, does one need to offer a hip-hop version, a techno version, a country version, and a hard rock version?
Previewing prewritten songs and selecting those in one or more preferred genres is possible via the SingAboutScience. For student songwriting projects, I suggest that each student or group be permitted to create a song in their preferred genre sas long as the science is well covered. Another frequent concern is the feasibility of getting nonmusician students to write songs. Several strategies can be applied here. First, tell the students why you created this assignment, so they understand the rationale behind it Felder, Second, have the students work in groups, allowing them to specialize according to their abilities and comfort zones; for example, those who do not like to sing might lead the writing of lyrics or creation of visuals to accompany the song.
Third, model the behavior expected of the students Lesser, —for example, be willing to sing for the students, demonstrating that imperfect pitch is acceptable—and, more generally, create a trusting environment in which creative risk-taking is supported and students can receive advice on their songwriting as well as their science.
Enlistment of teaching assistants who can provide this support and help grade songs is especially important in larger-sized classes W. This happened about three or four times during the whole session.
As it is described in the table above, the feedback shown inside the classroom was considerable. In aggregate terms, the general atmosphere of the classroom was perceivably lively; students were enjoying the experience.
Students wanted to comment and communicate their impressions on the method used, as well as asking information about the song and even about the trainee teacher herself.
This demonstrates that students are attracted by novelty and that they are eager to discover and learn about things which are uncommon in their syllabus. Certainly, in regards to the overall number of students, this feedback was limited to a small group from each class.
This may be the result of a feeling of timidity in front of the new teacher, or else of the lack of confidence in their communicative skills.
Teachers’ Day: Bollywood’s songs dedicated to teachers
Faraoun 9 Conclusion This study has examined through the combination of three research tools — namely: This work proposed the hypothesis that this technique would have a positive effect on the language learning process on different facets; linguistic, cultural and motivational.
The research has gathered sufficient data to prove that such an effect does exist; not only do students greatly appreciate listening to music with lyrics in English but they are also largely in favour of their introduction in a classroom learning situation.
Furthermore, they acknowledged the existence of a tangible contribution to their linguistic competence and performance resulting from the use of songs as a personal strategy and, though more rarely, as a technique in a formal setting. Teachers, for their part, supported the claim that listening to songs, singing and using them as teaching material central to various activities constitutes an ideal way for acquainting the learner with the target culture and a valuable resource for accent training both in receptive and productive skills.
In addition, songs do influence positively the affective factor in foreign language learning for learners as well as teachers. In fact, it appears according to the studied sample that very little embarrassment or opposition are likely to emerge, given that the current generation of learners clearly approves of foreign culture and is open to exploring uncommon methods of learning.
However, this has only been proved as long as the assigned activities do not involve singing and hence other experiences are needed to verify this theory. On the other hand, it is indubitable that a well- chosen piece of music has a great potential for releasing a tensed classroom and breaking the monotony of formal curricula to generate excitement and interest about the subject studied; this would in turn perceptibly raise motivation of the participants in the learning experience.
Implementing music in a classroom, in spite of all the possibilities it opens and perhaps due to this very characteristic, has its inconveniences. Indeed, the effective exploitation of such a resource has the specificity of being demanding for the teacher. Moreover, such activities are usually time-consuming and therefore are not unlikely to overleap the allocated time, whereupon a certain disequilibrium in the syllabus can be expected, compromising the achievement of learning objectives.
In conclusion, songs are an effective strategy for foreign language learning and a useful teaching technique that offers a largely unexplored field of application, promising a great deal of innovations to TEFL in Algerian schools and universities. As this will not be free of obstacles, it remains the challenge of future researches to search for solutions to handle the difficulties to be faced as well as to find appropriate and yet creative ways of implementation.
Faraoun 10 References 1. List of Works Cited Bulfinch, Thomas. The Age of Fable: Stories of Gods and Heroes vol. Review of Reviews, A Course Called Ethnomusicology in the Schools.
The Greek View of Life. Social Statistics for a Diverse Society. Pine Forge Press, Plugging into mainstream music offers dynamic ways to learn English. Learning and Memory Strategies. Tierney, Adam et al. International Conference Center, Kitakuyshu, The Origins of Character among Children. Prosodic memory for pronunciation of target vocabulary by adult non-native English speakers. Dennis and Thomas J. A Survey of the Literature. Its impact on the intellectual, social and personal development of children and young people.
Melissa, Caroline Palmer and Peter W. Faraoun 11 Kao, Tun-an and Rebecca Oxford. A strategy for building inspiration and motivation. Kouri, Theresa and Karen Telander. Mashayekh, Marzieh and Masoud Hachemi. Social and Behavioural Sciences 30 The Use of Music for Learning Languages: A Review of the Literature.
University of Illinois, This interview was conducted with Mr. He is professor of music and current director of the conservatory of music of Sidi Bel Abbes.
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He masters French, Italian and speaks English at a basic level. He enjoys a long career in music teaching and a tangible experience in music therapy.
The following interview was conducted in French and Algerian Arabic; it was not judged relevant to include the original version.
The researcher has taken notes during the interview and retranscribed the whole discourse at a later time, as faithfully as possible to the original one. According to you, is there a relationship between music and language?
Just as we use language to convey ideas and emotions, we use music to convey emotions and feelings, but in an artistic manner. In this sense, we can say that music is a spiritual language, the medium of transmitting what may even be beyond the capacity of spoken language. This was a general connection between language and music, what about concrete similarities? Well, they automatically share similarities.
You see, each instrument has its own quality of sound, its own range, both of which determine the type of music that will come out of it. The other similarity is structure. In music, if you want for example to write a partition, you cannot just take the notes and write them in a random succession without a prior definition of the rhythm and the musical structure of the figures to be used.
It is the same in a language, saying words no matter how sophisticated they are will result in incoherent speech without proper respect of grammar. You said that each instrument had its own characteristics; do you believe that, likewise, each language has specific characteristics related to the culture of its speakers?
Music reflects the culture it springs from. Although music is universal and the transcription tools, terminology and of course notes are used by musicians of the world, the way in which these notes are disposed and developed into musical compositions creates a unique mood specific to the region it comes from.
Each language reflects its source culture. So this is for instrumental music. What about music with lyrics?
What do you think about songs as a means to acquire a foreign language?
Though, I would not imagine learning anything from a song if I do not understand a minimum of what is being sung. I do however believe that songs can push a person to try to understand the lyrics; if one is attracted by the melody and is moved by the emotions it carries it will probably drive him curious enough to look for the meaning of the discourse in the song. Moreover, as the characteristics of this discourse, of which we have already spoken, are emphasized by the music, it is very favourable to memorisation.
As an instance one of the biggest problems of our children today Appendix A is to memorize the information they need for their studies but they have no problem memorizing songs!
Nevertheless, it requires a lot of time of exposition to be able to absorb or grasp the language through these songs, and I believe that in the end this will not replace a proper linguistic immersion in the corresponding country in order to acquire a foreign language. What procedure would you recommend for learning through songs?
First of all, there is something very important, which is the choice of the style. Then, one must obviously listen first, and decipher the lyrics mainly through translation if there is really no resemblance between the foreign language you are trying to learn and your native one that would constitute a certain point of reference.
Next, he should try to read the original lyrics, and listen again and again until he is able to reproduce the words nearly in an exact manner. Finally, he should produce what he has read, that is to say sing the song, simply. Do you have any experience in the use of music in language therapy? Yes, but it dates back to a long time ago. Music therapy is originally designed to treat patients with psychological problems, so it can be applied to patients who have language difficulties, or speech difficulties to be more precise, that are caused not only by physical disabilities, but also those caused by psychological blocks.
In our case, it was for deaf mute children who were under treatment by a speech therapist but who needed more assistance to improve their articulation by locating the sounds. This also helped them to overcome their inhibitions that prevented them from producing language. This experience is interesting; could you please give me more details about it?
Well, it was in We have undertaken a therapy for fifteen deaf-mute children here in the conservatory. Then, the child has to reproduce the sound. Please answer sincerely the following questions by putting an X in the corresponding box es.
Thank you for your contribution to our research. Please mention your age: Please contribute by answering sincerely this questionnaire. Part 1 1- Do you or did you use songs as a teaching technique in your English language classroom: Skills and sub-skills in which songs are most needed according to teachers Appendix D Figure 6: Materials and activities most frequently used in association with songs Figure 7: Most frequently encountered issues during the application of songs as a teaching technique Appendix E Teaching Experience Report I- Lesson plan for Wednesday, April 15th, - First class high-performing 4th year: Practicing the past tense past simple and past continuous and distinguishing it from the present and the future Target skills: Listening comprehension, speaking, reading, writing Duration: Laptop, loud speakers, blackboard and marker 1- Pre-listening Warming up: The lesson was introduced orally through asking approximately these questions, with variations from one class to another: They were informed that they could give the names in Arabic or in French, which the teacher translated for them - What is that story about?
Listening a first time to enjoy the song and get an idea about it. Listening a second time attentively, while the teacher writes the following exercise to complete: Listen attentively and fill in the gaps with the correct words. The passages were corrected one by one, as the students grasped the words; the students themselves wrote the words on the board.
Some fairly difficult passages were repeated more than once for the students to listen.