Mulet Mulet.A

FACULTAT DE PSICOLOGIA, CIÈNCIES DE L’EDUCACIÓ I DE L'ESPORT BLANQUERNA
ENGINYERIA I ARQUITECTURA LA SALLE

(UNIVERSITAT RAMON LLULL)
(UNIVERSITAT RAMON LLULL)
Màster en Formació del Professorat d’Educació

Secundària, Batxillerat, Formació Professional i
Ensenyament d’Idiomes
TREBALL FINAL DE MÀSTER

CursCurs
2019-2020
2019-2020
Using songs in EFL teaching and learning: a

teaching proposal
ESTUDIANT: Arnau Mulet Mulet

DIRECCIÓ: Núria Hernández Castillo
iii
TABLE OF CONTENTS
ABSTRACT............................................................................................................................v
1. Introduction .....................................................................................................................1
2. Objectives ........................................................................................................................3
3. Theoretical Framework .....................................................................................................4
3.1 The use of songs in EFL in nowadays education.............................................................4
3.2 Motivation and its importance in the learning process ..................................................5
3.3 Using songs to teach pronunciation..............................................................................6
3.4 Using songs to boost creativity.....................................................................................8
3.5 Using songs to raise cultural awareness........................................................................9
4. Methodology.................................................................................................................. 11
4.1 Participants and context............................................................................................ 11
4.2 Instruments .............................................................................................................. 11
4.2.1 Questionnaires ................................................................................................... 11
4.2.2 Observation grid ................................................................................................. 14
4.2.3 Interview............................................................................................................ 14
4.3. Procedure ................................................................................................................ 15
5. Teaching proposal........................................................................................................... 16
5.1 Selection criteria ....................................................................................................... 19
5.2 Didactic Unit 1: Whose line is it anyway? .................................................................... 21
5.2.1. Competences, dimensions and objectives ........................................................... 22
8.1.1.2 Sequencing of sessions ..................................................................................... 23
5.3 Didactic Unit 2: Houses around the world ................................................................... 28
8.3.1 Competences, dimensions and objectives ............................................................ 28
5.4 Didactic Unit 3: Love of my life ................................................................................... 35
8.1.3.1 Competences, dimensions, objectives and evaluation criteria............................. 36
6. Discussion ...................................................................................................................... 42
7. Conclusions .................................................................................................................... 43
8.1 Annexe 1: Rubrics ......................................................................................................... 45
8.1.1 Rubric 1 ................................................................................................................. 45
8.1.2 Rubric 2 ................................................................................................................. 46
8.1.3 Rubric 3 ................................................................................................................. 46
iv
8.1.4 Rubric 4 ................................................................................................................. 47

8.1.5 Rubric 5 ................................................................................................................. 47
8.2 ANNEXE 2: EXERCISES.................................................................................................... 48
8.2.1 Exercise 1............................................................................................................... 48
8.2.2 Exercise 2............................................................................................................... 48
8.2.3 Exercise 3............................................................................................................... 48
8.2.4 Exercise 4............................................................................................................... 49
8.2.5 Exercise 5............................................................................................................... 49
8.2.6 Exercise 6............................................................................................................... 50
8.2.7 Exercise 7............................................................................................................... 50
8.2.8 Exercise 8............................................................................................................... 50
8.3 ANNEXE 3: SONGS......................................................................................................... 51
8.3.1 Song 1: To build a home.......................................................................................... 51
8.3.2 Song 2: This city...................................................................................................... 51
8.3.3 Song 3: Love of my life ............................................................................................ 52
8.3.4 Song 4: 39’ ............................................................................................................. 52
8.4 ANNEXE 4: TABLES ........................................................................................................ 53
8.4.1 Table 1................................................................................................................... 53
8.4.2 Table 2................................................................................................................... 53
9. BIBLIOGRAPHY................................................................................................................ 54
v
ABSTRACT
Since we were young, we have always learned our first words and expression through songs, both
for their facility to be memorized and for their playful side. Plus, in our every day’s life, we use music
as a means to create different moods, bring old memories back, etc. Thus, is there any reason to not
introduce music and songs in foreign or second language learning? Our society is changing so fast, so
we have to introduce new pedagogical methods and new material to adapt to students’ reality and
to engage them in the learning process. The aim of this paper is to explore the benefits of the use of
songs in foreign language teaching and learning, and to create teaching proposals focusing
specifically on how to use them to improve pronunciation, to teach culture and to boost motivation
in secondary school students
RESUM
Des que érem petits hem après les nostres primeres paraules o expressions a través de cançons, tan
per la seva facilitat de ser memoritzades com pel seu toc juganer. A més, en el nostre dia a dia
utilitzam la música per crear diferents estats d’ànim, per recordar velles experiències... Per tant, hi
ha alguna raó per no introduir la música i les cançons en l’aprenentatge de llengües estrangeres o
segones llengües? Com que la nostra societat canvia de manera ràpida, hem d’introduir nous
mètodes pedagògics i nou material per adaptar-nos a la realitat dels estudiants i involucrar-los en el
procés d’aprenentatge. L’objectiu d’aquest treball és investigar els beneficis d’utilitzar cançons en
l’ensenyament i l’aprenentatge de llengües estrangeres, i crear propostes didàctiques centrades en
com utilitzar les cançons per millorar la pronúncia, per ensenyar cultura i per estimular la creativitat
en estudiants de secundària.
RESUMEN
Desde que éramos pequeños hemos aprendido nuestras primeras palabras o expresiones a través
de canciones, tanto por su facilidad para ser memorizadas como por su lado alegre. Además, en
nuestro día a día utilizamos la música para crear diferentes estados de ánimo, para traer recuerdos
a la memoria, etc. Entonces, ¿hay alguna razón para no introducir la música y las canciones en el
aprendizaje de lenguas extranjeras o segundas lenguas? Nuestra sociedad cambia rápidamente, así
que tenemos que introducir nuevos métodos pedagógicos y nuevo material para adaptarnos a la
realidad de los estudiantes i involucrar-los en el proceso de aprendizaje. El objetivo de este trabajo
es investigar los beneficios de utilizar canciones en la enseñanza y el aprendizaje de lenguas
extranjeras, y crear propuestas didácticas centradas en cómo utilizar las canciones para mejorar la
pronunciación, para enseñar cultura y para estimular la creatividad en estudiantes de secundaria.
Key words: EFL, pronunciation, culture, creativity, motivation.

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1. Introduction
There is no doubt about the importance of music in our lives. With the evolution of new
technologies, we can access music whenever and wherever we want, so songs have a crucial
role in our everyday life. We all have learned some words or specific expressions through songs;
“Who is not capable to repeat what he learned by singing? From cognitive psychology and
research in the acquisition of the first and second languages, it becomes clear that songs, when
accompanied by music, connect with the sensitive areas of our brain, with our sensitive
memory.” (Martínez Sallés, 2002: 4). Therefore, I believe that the use of music in language
classroom and, concretely, in foreign language classroom, should be considered as a legitimate
means for teaching and learning.
In the CEFRL, however, the use of music appear as an ‘aesthetic use of language’: ”aesthetic
activities may be productive, receptive, interactive or mediating (…) such activities as (…) singing
(nursery rhymes, folk, songs, pop songs, etc.)” (§ 4.3.5). In the document Competències bàsiques
de l’àmbit linguistic. Llengües estrangeres, which provides some orientations to develop the
foreign language curriculum, there are some considerations on using songs in four competences,
but there is no delve into how to use them properly.
With this essay I try to defend the use of songs as a useful didactic resource not only as a means
to develop the four skill areas of reading, writing, listening and speaking, but also to teach
intercultural competence and creativity, proving that using songs properly, the range of
competences and dimensions that can be thought is very large.
This essay is structured in seven sections: introduction, objectives, theoretical framework,

methodology, discussion, conclusions and references. The objectives are set to give a purpose
to the whole essay, and I will try to answer them in the further sections. The theoretical
framework addresses the use of songs in foreign language teaching and learning, concretely in
English as a second language, and consists of three parts: the use of songs in EFL in nowadays
education, where the current situation of the role of music in education and the disconnect
between the belief on its benefits and the actual use of it are pointed out; the motivation and
its importance in the learning process, where the role of motivation in the success of learning is
described and related to songs; using songs to teach pronunciation, where the benefits of using
songs in order to improve pronunciation in students are stressed; using songs to boost creativity,
where arguments to prove that creativity is not inherent, and that songs are very useful to teach
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it are provided; and using songs to raise cultural awareness, where the power of songs to teach
intercultural competence and to make students aware of the different communities and cultures
around the world is proved.
The methodology consists of the instruments conducted to know the reality of the use of songs
in foreign language classrooms first-hand, as well as students and teachers’ perspective
regarding this field. This section is composed of three parts: participants and context, where the
type of participants and the context in which the instruments are carried out is explained; and
the instruments, which consist of a questionnaire, one observation grid and one interview.
The teaching proposals section goes over the three didactic proposals created: the main
characteristics of these proposals, the selection criteria I have based on to choose the songs,
and the didactic units, where the objectives, the competences and the sequencing of sessions
are provided.
The discussion section consists of the analysis of the didactic proposals based on the theoretical
framework, as well as an explanation on why the instruments created could not be conducted.
In the conclusion section, the whole essay is inspected, as well as the accomplishment and the
limitations of the objectives set at the beginning of this paper.
The annexes gather all the material used in the didactic units: the rubrics, the exercises, the
songs, where the lyrics of the songs used in the teaching proposals are provided, and the tables,
which are additional material provided to the students.
Finally, a bibliography of all the resources used in this essay is provided.

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2. Objectives
The aim of this paper is to explore the benefits of using songs in the foreign language teaching
and learning, and to provide didactic proposals to use music as a means to improve
pronunciation, teach culture and boost creativity in young learners in a Secondary school.
Therefore, through a thorough selection of songs not only we can teach and encompass aspects
of the language itself, as would be pronunciation and culture, but also abilities such as creativity.
Thus, it is the way in which teachers approach, organize and select the resources that will
determine the success of the education.
The objectives set are:
1. To analyze in which way music affects the foreign language teaching and learning.
2. To examine in which way teachers can use music as a didactic material.
3. To explore if music can be a useful tool to learn pronunciation and raise culture
awareness.
4. To investigate if music can also be useful when learning abilities that are not attached
to language, as creativity.
5. To study if these benefits and advantages of using music are not just theoretical but can
also be applied in a real classroom environment.
4
3. Theoretical Framework
In this section I will be talking about the role of music in nowadays education regarding foreign
language teaching and learning and the importance of motivation when learning languages.
Moreover, I will delve into how songs can be a useful means to raise culture awareness, teach
pronunciation and boost creativity.
3.1 The use of songs in EFL in nowadays education
There are several studies that prove the importance and efficiency that music has when learning
languages; nevertheless, music plays a secondary role in nowadays education. Moreover, there
are surveys that state that there is a general interest among teachers to incorporate music in
language-learning classroom. In Engh’s (2013: 3) online survey questionnaire, for example,
“teacher attitudes towards music use in the language classroom showed a strong level of
support”. However, they do not seem to put that theory into practice; in fact, as stated also in
Engh (2013: 4), there seems to be a “lack of crossover between stated teacher attitudes and
stated teacher present classroom practice”. So, why is it that, despite this positive attitude
towards music, its use seems to be rather occasional?
According to Engh (2013a: 4), “the findings suggest that many of the stated reasons for the
apparent disconnect between support and actual use of music in language learning are because
of factors outside of teacher’s control”. Thus, “an area of concern is that the curriculum tends
to be too full already, not leaving room for extra materials” (Engh, 2013a: 4). Furthermore,
Griffee (2010), as cited in Engh (2013a: 4), suggests the following: “I think the problem, however,
goes deeper than songs and music. I think the lack of theoretical grounding is present in many
of the pedagogical approaches we as ESL/EFL classroom teachers use”.
Nowadays, songs in foreign language classrooms are only used as a filler, as supporting tools,
mostly used in the last minutes to calm the students or to make them break away from the
content. In this same line of thought, Martínez Sallés (2002) states the following:
[…] Maybe we should look for the reasons for this theoretical gap in the fact that the songs
are still considered as a minor cultural material, of little prestige - with the exception, of
course, of those whose lyrics have a literary origin -, suitable only to fill gaps, calming an
excessively busy class or motivating an overly apathetic group. (2002: 4)
5
As stated in Degrave (2019: 412), “(…) Jamoulle (2017) (…) from a sample of 54 teachers, she
found that music was not often incorporated in the English classroom and that, if it was, music
was mostly used as a fun activity”. Furthermore, the curriculum has not changed since two
decades ago regarding the consideration of implementing the use of music in language
classrooms: “there is no formal approach to introducing music to the EFL curriculum in private
and public English language teaching institutions. It is up to individual teachers to include music
in their teaching programs.” (Huy Le, 1999).
Two decades ago, the benefits of using songs for language teaching and foreign language
teaching were not very examined: “the research on the role of music in second language learning
is still at an embryonic stage” (Huy Le, 1999). However, as I will delve into in the following
section, the role and benefits of using songs are widely studied, as there are many essays and
papers covering this area nowadays. Nevertheless, not many concrete didactic proposals
involving music can be found; moreover, most of the proposals are addressed to primary
education, which entails a huge gap concerning the use of songs in secondary education.
3.2 Motivation and its importance in the learning process
Among all the essays and papers talking about language acquisition, the concept of
‘motivation’ is a recurrent one; it seems that all these authors stress its role in language
learning. There is certainly a big difference in the process of learning a language —and in any
process of learning— between those who are motivated and those who are not. That is,
motivation plays a huge role in achieving any goal.
But… what is motivation? First, ‘motivation’ is a complex concept and difficult to define because
the motivated individuals have many different characteristics. Thus, it seems difficult to find an
agreed definition of this term.
Gardner (2007: 2) states that “the motivated individual is goal directed, expends effort, is
persistent, is attentive, has desires —wants—, exhibits positive affect, is aroused, has
expectancies, demonstrates self-confidence —self-efficacy—, and has reasons —motives.”
Despite the definition of ‘motivation’ can change and be modified depending on who is defining
it, the benefits of it seems very clear: “we can conclude that the degree of motivation the
student possesses will determine the performance/efficiency of his own learning process, as
well as the time used for it and the quality of that learning“ (Vaquero Gonzalez, 2012: 15). Thus,
6
those individuals who are motivated are more likely to achieve what they want, and they are
able to do it much earlier.
As stated in Castro Viúdez (2015: 213), “In the field of education (…) a book with color images is
more "motivating" than another in black and white. Or that the L2 class activities that use the
video will be, in principle, much better received than others on paper.” (Castro Viúdez 2015:
213). Therefore, as “children learn best when they are exposed to real-life contexts” (Paul, 1996:
6 as stated in Delibegovic Dzanic & Pejic, 2016: 42) and they prefer doing things they like doing
outside the classroom, music can be a perfect resource to motivate the students in a foreign
language classroom. Moreover, “researchers agree (Jolly, 1975: 14; Shin, J.K., 2006) that songs
are useful teaching aids which raise and maintain students’ motivation, especially in cases when
they are catchy and supported with colorful visuals, realia (objects from real life used in
classroom instruction), and movement. These supplements add additional sensory and visual
input which in turn enhance learning.” ( Delibegovic Dzanic & Pejic, 2016: 42)
3.3 Using songs to teach pronunciation
One of the trickiest aspects when learning a language is its pronunciation. It is not just that some
sounds are difficult to pronounce, but that because of that struggle when trying to pronounce
some words, we tend to be afraid to speak in public, an insecurity that leads to stagnation.
Moreover, pronunciation has been considered as less important, being placed below other skills
when teaching a language: “pronunciation has been called the Cinderella of ELT (being locked
away and out of sight)” (Miyake, 2004, as cited in Villalobos, 2008: 99).
Pronunciation is a crucial aspect when learning a language because is the means to

communicate, to express what we know, and “even when grammar and vocabulary are used
correctly, if vowel and consonant sounds and aspects such as intonation, linking, rhythm and
stress are not produced accurately, the intended message cannot be delivered comprehensibly.”
(Villalobos, 2008: 99). In this same line of though, Wong (1987) states that “Even when the non-
native speakers’ vocabulary and grammar are excellent, if their pronunciation falls below a
certain threshold level, they are unable to communicate effectively” (Wong, 1987, as stated in
Jessica et al., 2015: 2).
Moreover, although pronunciation is placed in the highest-ranking of students’ interests in many

different countries, “one of the criticisms of pronunciation teaching is that it is thought to be
7
boring” (Miyake, 2004, as cited in Villalobos, 2008: 99). Therefore, music could help not only to
improve pronunciation and create self-confidence among students, but also to create a more
interesting atmosphere in class, an environment which leads to room for more and fastest
improvement. Furthermore, “songs provide an excellent opportunity to practice pronunciation,
intonation, and fluent, connected speech. Song lyrics generally present words at half the pace
of spoken material” (Murphey, 1990, as cited in Ludke, 2009: 24). Moreover, “combining this
slower pace with the fact that many song melodies follow the natural intonation pattern of the
language, songs can be particularly effective for teaching pronunciation” (Ludke, 2009: 24).
Although when teaching English as a second language, the goal should be that the students could
be able to communicate and be understood, it is a fact that most students want to sound like
native speakers. Thus, “through surveys and teaching experience, it is clear that students
frequently mention a desire to understand the speech of native speakers, and to sound like
native speakers themselves [emphasis added]” (Villalobos, 2008: 99). Even this point of
discussion is not going to be delved into, every teacher should ask himself if they want their
English learners to aspire to speak like native speakers. If we take into account the most world
spoken languages as an L1, English is third; however, if we take into account the most spoken
languages as an AL —acquired language—, English is on first position. So, does English really
belong to the natives or the non-natives? Thus, English learners should think if they want to
sound like native speakers or they want to be intelligible instead: “what learners need to
concentrate on when learning pronunciation is to be able to communicate succe ssfully with
other non-native speakers of English from different L1 backgrounds” (Jenkins, 1997: 119 as cited
in Drífa Sigurdardóttir, 2012: 27).
Even though, introducing songs from different English territories should not be an attempt to
make students sound like native speakers; instead, songs should offer students a view of
different accents and slangs and should show them real and genuine scenarios. Thus, “it is good
for learners to hear a variety of pronunciations so that they will know what suits the ir
personalities” (Drífa Sigurdardóttir, 2012: 27).
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3.4 Using songs to boost creativity
Creativity plays an incoherent role in education, as usually teachers ask their students to be
creative and innovative, but… how can creativity be assessed? Sangiorgio (2015: 20) states that
“since the 1990s creativity is increasingly understood as a social interaction process aiming at
the production of novel ideas acknowledged by a group or by society at large ” (Amabile, 1996;
Hennessey & Amabile, 2010; Sternberg, 1999), but even defining creativity and giving it a unique
definition can be very difficult. As stated in Odena Caballol (2003), Duffy (1998) suggests that
definitions of this concept may: limit creativity to the production of an artefact; see it simply as
something which can be taught by means of instruction; view it as something that will develop
if the conditions are right; include stereotypical concepts, for example, that certain groups of
people are naturally creative; limit creativity to the gifted few. (Adapted from Duffy, 1998: 16-
17, as cited in Odena Caballol, 2003: 16).
Additionally, some teachers can be afraid of including creativity as a main point of a didactic
proposal because there is a tendency of considering creativity as something that cannot be
taught and that is present just in some students. Nonetheless, as Odena Caballol points out, it
“is a form of intelligence and as such can be developed and trained like any other mode of
thinking”, and “there is not necessarily a connection between IQ and creativity.” (2003: 17) .
Cremin and Barnes (2015) state that there is no specific formula for creative teaching; moreover,
“research undertaken in higher education, with tutors teaching music, geography and English,
suggests that creative teaching is a complex art form – a veritable ‘cocktail party’” (Grainger et
al., 2004, as cited in Cremin and Barnes, 2015: 4). Even though, there are ‘ingredients’ that were
identified, such as session content, which included the use of metaphor, analogy and personal
anecdotes to make connections; teaching style, which included pace, humor, the confidence of
the tutors and their ability to inspire and value the pupils; and learning experience, which
included themes involving the pupils affectively and physically and challenging them to engage
and reflect. Such characteristics can be identified in music, as songs include metaphors and
personal anecdotes, and they could be a good source to promote thinking skills, giving students
tools to develop ideas and work creatively: “the creativity of songs encourages the students’
imagination and enables original learning. Very often, songs tell a story and many lyrics are ideal
for the students to build upon, using their own thoughts and ideas” (Drífa Sigurdardóttir, 2012:
12)
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3.5 Using songs to raise cultural awareness
Allan Pulverness (2003) explained cultural awareness in language learners with a metaphor:
The experience of learning another language is more than simply the acquisition of an
alternative means of expression. It involves a process of acculturation, akin to the effort
required of the traveller, striving to come to terms with different social structures, different
assumptions and different expectations. To pursue the metaphor, when the traveller returns
home, his/her view of familiar surroundings is characteristically modified. The language
learner is similarly displaced and ‘returns’ with a modified sense of what had previously been
taken for granted – the language and how it makes meaning. (Pulverness, 2003: 447)
As we all know, a language cannot be separated from its culture as it is something that is
reflected in its writing and speaking. Griffee (1989), as cited in Khaghaninejad and Fahandejsaadi
(2016: 79), stated that “music, while universal, is culturally specific in that the musical content
and style mirror a particular culture, acting as a cultural artifact that may both reflect and
influence that culture”.
The CEFR addresses linguistic and cultural competences and states that learners of a foreign
language and culture become plurilingual and develop interculturality. That is, “ the linguistic
and cultural competences in respect of each language are modified by knowledge of the other
and contribute to intercultural awareness, skills and know-how”; moreover, “they enable the
individual to develop an enriched, more complex personality and an enhanced capacity for
further language learning and greater openness to new cultural experiences.” (2001: 43). There
are many studies not only proving the effectiveness of music when learning the four basic
language skills —listening, speaking, reading and writing—, but also several that songs are useful
to introduce cultural knowledge and raise cultural awareness.
In a study conducted in Vitenam to investigate foreign language students and teachers’ views
regarding the use of music in English classrooms —as foreign language—, Huy Le (1999) could
state that “students can discuss differences between spoken and written language on the basis
of lyrics and singing” and that “attention can be drawn to different varieties of English such as
dialects and sociolects”. Furthermore, “folk songs from different English-speaking countries such
as America, Canada, Australia, Ireland can be a great resource for teaching linguistic and cultural
awareness”. Moreover, Dwayne Engh (2013: 4), from a survey that he carried out among 56
10
teachers from different countries, stated that “there is strong support for use of music to teach
the culture of English speaking communities (…)”. Music and songs can bring students different
cultural views; that is, different ways to perceive the reality, as “music is a faithful reflection of
the culture it derives from” (Jones, 2008: 11, as cited in Bokiev et al., 2018: 322) and “language
and music are interwoven in songs to communicate cultural reality in a very unique way” (Shen
2009: 88, as cited in Bokiev et al., 2018: 322). When talking about teaching culture through
songs, Khaghaninejad and Fahandejsaadi (2016: 4) state that “they [sic] are an infinite number
of songs that discuss culturally relevant topics, such as human relations, ethics, customs, history
and humor, as well as regional and cultural differences” and that “these songs can help teach
language and culture simultaneously.”
However, it is not the song by itself that enables students to learn other cultures, but the fact
that the teacher knows how to introduce it and create a good scene for learning: “when using
music texts to practice communication skills, teachers also have an opportunity to introduce
the cultural context of the song” (Failoni, 1993: 102). That is another prove of the
importance for a teacher to know how to prepare didactic material that involve songs to
really work in a foreign language classroom: “(…) there is the ability of the teacher of foreign
languages to mediate between learners’ cultures and others, to help learners to acquire their
own capacity for mediation, and to stimulate learners’ interest in other cultures in general,
irrespective of the link with a specific language.” (bryam and Risager, 1999, as cited in Arévalo,
2010: 125).
Arévalo himself carried out a project at a university foundation in Tunja, Boyacá, with the main
research question of this study being: How can English songs be used as a tool to foster listening
skill as well as to engage students in cultural knowledge? Thus, he found that “when students
reflect on social and cultural issues, they feel that their English learning is supported on a
meaningful and real environment, so they can perceive and understand the importance of
learning a foreign language.” (2010: 130). Moreover, he stresses the importance of exploiting
songs in EFL classrooms by stating that, if a song is used only as a relaxing tool, “students are
going to waste not only many enriching issues that can be worked, but also different details of
content or characteristics of language that can be studied to understand differences between
English-speaking countries” (2010: 130). With his project, he could state that “this set of lesson
plans really helped students to accomplish a higher listening comprehension and engagement
in cultural knowledge” (2010: 131).
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4. Methodology
In this section, I will present the surveys I have developed to know students and teachers’
opinion regarding the use of songs in the foreign language classroom. Due to the COVID-19
pandemic, I have not been able to collect any data; however, in the discussion section, I will talk
about the relevance of the proposal, how it can contribute to understanding the research
problem and the possible improvements that can be made in prospective studies.
4.1 Participants and context
This research has been carried out in a secondary public school in the outskirts of Barcelona that
covers from 1st of ESO to 2nd of Baccalaureate, in L’Hospitalet de Llobregat. This is the center
where I have been assigned to conduct my internship as part of the Màster en Formació del
Professorat: Anglès. Although I started the internship, I was not able to finish it because of the
COVID-19 pandemic, and that is why the instruments that I will explain in this section, and which
I wanted to use to collect data, could not be implemented. Therefore, I wanted to know the
experiences of the students and the teachers, to be able to use them for a further creation of
didactic proposals.
Thus, the following questionnaires were aimed at students from 2nd and 3rd of ESO , 3 AL teachers
who teach English as a foreign language (two covering the ESO levels, and another covering the
Baccalaureate levels) and 1 English conversation assistant who was giving 4 th of ESO courses.
4.2 Instruments
The objective of these investigations is to be aware of the interests of students and teachers of
English as a foreign language regarding music and their opinion on the usefulness of using songs
for teaching and learning pronunciation, culture and creativity. To be able to provide an answer
to the objectives, three types of instruments have been prepared: a questionnaire, an
observation grid and an interview.
4.2.1 Questionnaires
The questionnaires that have been designed —one for teachers and another for students—
include similar items. Moreover, in order to make the questionnaire cle ar and to guarantee that
the participants understand it, I have created them in Catalan, so the possibilities of
misunderstanding are reduced. This instrument will be useful to find answers to objectives 2 and
4.
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4.2.1.1 Questionnaire about the use of songs in English classroom - students

CURS: ___
Instruccions:
Aquest qüestionari és anònim. Reflexiona sobre la teva experiència en l’ús de música i cançons
a les classes d’anglès com a llengua estrangera tot contestant les preguntes següents.
Respon les preguntes següents marcant amb una X de 1-5
1 2 3 4 5
Gens Molt Poc Bastant Molt
poc
1. Amb quina freqüència escoltes música? 4. Creus que aquestes activitats han afavorit
el teu aprenentatge?
1 2 3 4 5 1 2 3 4 5
2. Has treballat mai amb activitats 5. El treball amb aquestes activitats ha

relacionades amb la música en les classes millorat o facilitat la comunicació i el treball
d’anglès? en equip entre alumnes?
1 2 3 4 5 1 2 3 4 5
3. Creus que les activitats basades en 6. Estaries disposat a tornar a treballar amb
cançons que els docents han utilitzat han activitats que involucrin cançons?
estat les adequades?
1 2 3 4 5 1 2 3 4 5
7. Afegiries o canviares alguna cosa per millorar la teva experiència en activitats relacionades amb
música? Escriu a continuació els suggeriment o millores que creguis necessàries pel que fa a la
utilització de cançons en activitats en classes d’anglès (metodologia, organització, recursos
audiovisuals, etc.).
13
4.2.1.2 Questionnaire about the use of songs in English classroom - teachers
Respon les preguntes següents marcant amb una X de 1-5
1 2 3 4 5
Gens Molt Poc Bastant Molt
poc
1. Amb quina freqüència escoltes música? 4. Creus que aquesta utilització ha afavorit els
alumnes en el seu aprenentatge?
1 2 3 4 5 1 2 3 4 5
2. Has treballat mai amb activitats 5. El treball amb aquestes activitats ha millorat
relacionades amb la música en les classes o facilitat la comunicació i el treball en equip
d’anglès? entre alumnes?
1 2 3 4 5 1 2 3 4 5
3. Has utilitzat aquestes activitats en un 6. Estaries disposat a tornar a treballar amb

context de projecte educatiu o amb un activitats que involucrin cançons?
objectiu específic?
1 2 3 4 5 1 2 3 4 5
7. Afegiries o canviares alguna cosa per millorar la teva experiència en activitats relacionades amb
música? Escriu a continuació els suggeriment o millores que creguis necessàries pel que fa a la
utilització de cançons en activitats en classes d’anglès (metodologia, organització, recursos
audiovisuals, etc.).
14
4.2.2 Observation grid
To be able to find answers to objectives 1 and 3, an observation grid has been implemented.
Therefore, this grid will be used to find if the activities involving songs are introduced and used
correctly and the impact they have in the students.
Activities involving songs in English as a foreign language YES NO OBSERVATIONS/COMMENTS
Students’ interests have been taken into account when

choosing the songs
A purpose has been set before introducing the activities
Context about the song is given before or after having

introduced it
Songs are used to work on different aspects (grammar,
vocabulary, pronunciation, culture…)
The song and activities are replaced if the motivation of
students is low
The activities leave room for students to work creatively
4.2.3 Interview
The questions of an interview have been set to analyze in depth the teachers’ opinion and
experiences towards the use of music in foreign language teaching. The idea was that, afte r
having collected the answers from the questionnaire aimed at the 4 teachers, an interview
would have been carried out with the teachers with more experience in this field. Moreover, the
questions of the interview could have been different regarding the answers of the teachers in
the questionnaire.
QUESTIONS ANSWERS
1. Do you think that nowadays music in foreign language
classrooms is used more as a filler than as a didactic resource
itself?
2. Have you ever used songs as filler before? Why?
3. Do you think songs are good material to work aspects as
pronunciation and culture? Why? Why not?
4. Do you think creativity can be boosted with a good
incorporation of songs in activities?
Do you find it hard to use activities that involve music in
classroom?
Do you think these activities need an extra training or effort
by teachers?
Name:
Course:
15
4.3. Procedure
The instruments I have created will allow me to collect both quantitative and qualitative data,
an information that I will use to have access to both students and teachers’ experience on the
use of songs in the foreign language classroom.
The questionnaire and the interview are instruments to be introduced at the beginning of the
sessions: the questionnaire allows me to have a general idea of students and teachers’ previous
contact with activities involving songs and their experiences with them; the interview is
addressed to the teachers, and it is for closer inspection of their thoughts not only concerning
activities in classroom, but also about the difficulties on creating these activities and the ir
thoughts on the role of music in EFL.
Once the general information is gathered through the initial instruments, the observation grid
allows me to follow up the implementation of the activities: to analyze first hand if music can be
a useful tool to teach a foreign language —English, in this case—, and to see how the students
adapt themselves to these kind of activities. Furthermore, it also allows me to realize if the
activities are introduced correctly to the students, if the activities are a useful means to teach
the objectives set and if there has to be any change made regarding the evolution of the
activities in the sessions.
These instruments were created and scheduled in a chronological way that the information
extracted from them could allow me to see the weak points of students and teachers regarding
the use of activities involving songs, to create the material based on this first information and,
finally, analyze it keeping in mind all the process. However, due to the COVID situation
mentioned previously in this section, the instruments could not be conducted.
16
5. Teaching proposal
I have gathered and discussed the theory on the importance of introducing music and songs as
a mean for teaching and learning a foreign language. Moreover, together with the theoretical
framework, the instruments created and described are the basis to set the necessities of the
current education regarding the use of music and, therefore, to create teaching proposals
regarding these necessities. However, as the instruments were not able to be conducted, the
didactic units will be based entirely on the three aspects gathered on the theoretical framework:
culture, pronunciation and creativity. That is, three different didactic units based on how to
teach pronunciation, raise culture awareness and boost student’s creativity through songs. This
section will be focused on developing the methodology —how— and the syllabus —what, why
and when— of the three teaching proposals.
The didactic proposals will be aimed at the first stage of Educació Secundària Obligatòria.
Therefore, they will be conducted in the second term of 3rd of ESO within the English subject,
which has three hours a week, that is, a total of 12 sessions per month. As the proposals are set
by one term, three didactic units will be created —36 hours.
As the didactic units revolve around music, students will work collaboratively: w orking with
songs gives plenty of room for collaborative learning, which allows for students’ development
of both cognitive —critical thinking skills, learning strategies...— and non-cognitive processes —
self-esteem, emotions, social skills. Thus, on the one hand, working in group improves the
quality of learning strategies, as the work done is joint and this involves discussions — in a
competitive context, the concept discussion would have a negative connotation, contrary to
what happens in a collaborative context—, self-criticism, work planning, different opinions... On
the other hand, collaborative learning is also useful in combating f eelings of loneliness and
isolation and improves socialization and self-esteem and increases motivation, which is
fundamental for these didactic proposals in order to be successful.
Students will be provided with a rubric at the beginning of the project, so they will know how to
organize it and what I expect from them to do. Moreover, the three projects, as well as
brainstorms and discussions, will start with questions, as Simpson (1995) points out the benefits
of asking questions as conversation starters, I will use them to start discussions and brainstorms;
furthermore, I will start each didactic proposal with a driving question to engage, motivate and
help students guide themselves. That is, this question will set a purpose for learning, so that
students do not have to ask themselves ‘why are we doing this?’.
17
Within the collaborative learning, I will also introduce two teaching techniques: the puzzle
methodology and peer tutoring. On the one hand, puzzle methodology consists in dividing
students in two groups: jigsaw groups —the groups created at the beginning of the project—
and expert groups —temporary groups having one student from each jigsaw group join other
students assigned to the same verb tense. Each student from jigsaw groups have to learn an
assigned segment —specific content— and share it with students of different jigsaw groups that
have the same assigned segment. After they discuss it, they have to return to their jigsaw groups
and explain it to the rest of the group. On the other hand, peer tutoring consists in mixing
students with an asymmetric relationship —the teacher will previously have to do a test to know
each student’s knowledge—: one student will perform the role of ‘tutor’, and the other one will
be the ‘tutored’. Working with two teaching techniques, I try to strength collaborative work, as
not only students have to receive and assimilate different information, but also have to explain
it to their peers, which reinforce their knowledge and their abilities on synthesize and summarize
information.
Learning a foreign language requires, among other things, exposing learners to target language
input, and there are many methodologies that teachers can attach themselves to. However,
regarding the use of L1 in the teaching methodologies has been and still is a very controversial
issue. Mazak & Carroll (2017: § 9) pointed out that there is a ‘sense of guilty’ among multilingual
language teachers about using their own and their students’ linguistic resources, so “the idea
that instruction should be carried out exclusively in the target language without recourse to
students’ L1 is still very much entrenched”. Even so, I am going to use translanguaging as a
methodology to work with.
As stated in CEFRL (2001: 4), “languages and cultures are not kept in strictly separated mental
compartments, but rather build up a communicative competence to which all knowledge and
experiences of language contributes and in which languages interrelate and interact”.
Moreover, some theorists, like Cummins (2005), also suggest that languages are interconnected,
so they can be influenced by each other. I think that Putting the L1 aside —even from the
perspective that the use of L1 could replace the significant amount of foreign language input—
will slow the learning process because “banning the first language from the communicative
second language classroom may in fact be reducing the cognitive and metacognitive
opportunities available to learners” (Macaro, 2009: 49). Therefore, instead of focusing on
monolingual strategies, I will adopt the strategy of translanguaging, which allows “multilingual
18
speakers to shuttle between languages, treating the diverse languages that form their repertoire
as an integrated system” (Canagarajah2011: 401).
Teaching through songs also allows me to introduce one of the Krashen’s five hypotheses, the
input hypothesis. This hypothesis states that we are able to understand language that contains
structures we have not yet acquired —i + 1. If where we are now in terms of knowledge of the
language is i, then we can understand those structures containing i + 1; that is, structures that
are beyond our linguistic competence. And that, says Krashen, is possible because we are not
only using our linguistic competence to understand a language, but “we also use context, our
knowledge of the world, our extra-linguistic information to help us understand language
directed at us”(Krashen, 1982: 21).
This hypothesis is very interesting because it has a direct impact on the teaching and learning
process. It states that teachers should not deliberately try to focus on a specific grammar
structure, because the understanding on the input provides i + 1. In other words, if there is a
input that contains the ‘items’ the students already know —i— and some others they do not —
1—, then the understanding of the whole input, that is, i + 1 will be provided automatically.
Therefore, songs could be a very good tool for introducing new content that even the students
do not know yet. That is, changing the perspective of the use of music in classrooms nowadays:
instead of reinforcing, through songs, the contents previously learned in class, introduce new
ones through specific songs. In fact, Rober Lake, when introducing Bob Dylan’s Blowing in the
Wind, proved the effectiveness of the i + 1 hypothesis: “students will pick up the chorus much
sooner than the verses of a song. The chorus is a hook to the plus-one feature of many parts of
the verses” (Lake, 2003: 100).
As Simpson (2014) suggests: “ (…) you can show a video clip if you have one – in fact, I strongly
recommend it, as it will cater to more learners’ learning preferences”. Thus, when introducing
the songs in each unit, I will always provide students with a video clip or a live performance to
engage students and to draw their attention.
Regarding evaluation, within the three didactic proposals, it will take place all over the project.
First, the teacher provides students with a rubric that will help them organize the project and
the activities, as well as evaluate their own collaborative work and the group’s learning process.
The co-evaluation will be done through other rubrics, which will take place when doing the
puzzle methodology, where students from jigsaw groups evaluate their peers’ explanation of
the topic; when making the projects, when each group evaluates another group’s project, so
19
they can give and receive feedback; and at the end of the project, when all the groups present
their projects: each student will have to evaluate, through a rubric provided by the teacher, each
final project.
5.1 Selection criteria
Regarding song selection criteria, I based on two main ones pointed out in Santos (1995): the
‘adaptation to the own teaching situation’, taken into account students’ communicative,
linguistic and cultural competences and their interests; and the ‘didactic ease of use of song
lyrics’. For this second selection criterion, Santos referred to Osman & Wellman’s seven
reflection points:
1. Are words, phrases, verses or choruses repeated?

2. Can the melody be easily learned? Is it 'sticky', sweetened?
3. Does it have a marked rhythmic pattern?
4. Is it useful in terms of vocabulary?
5. Does it reflect aspects of the culture, customs, traditions, events or historical
periods that would be useful in the classroom?
6. Has it had an international projection, has a cultural interest or is it part of the
national or international school repertoire? (Osman & Wellman, 1978: 119-120, as cited in
Santos, 1995: 368)
In addition to that, Santos adds a third selection criterion, which I have also taken into account
when choosing the songs: ‘the clarity of hearing and the level of musical interference in its
understanding/comprehension’. This criterion is more fitting when dealing with contemporary
songs, whose vocals sometimes remain in the background due to the incorporation and
abundance of electronic and percussion instruments.
In this same line of though, Fontelles (2020) also pointed out three different criteria for choosing
songs. Therefore, the ‘general criteria’ respond to students’ interests and experiences according
to their age, as well as picking songs that students already know or they can recognize; the
‘musical criteria’, which takes into account the vocabulary, the rhythm, the melody, the tone
and the accompaniment” and whose premise is that everything will have to be simpler, clear,
usual and ‘nice’; and the ‘psychopedagogical criteria’, referred to the central theme of the songs,
which must respond to the interests of children and whose text has to be consistent with the
vocabulary used in each stage of the development (Fontelles, 2020: 16).
20
As I pointed out in this paper, the teacher should not choose songs of his or her own preference;
however, as I have not been able to put these didactic units into practice, due to the COVID-19
pandemic, I have not had the opportunity to ask the students what are their interests and what
kind of songs they listen to. According to Murphey (1992), as cited in Alles Garcia (2015), the
fact that students choose the songs they work with entails lots of benefits, such as more
involvement, engagement and responsibility in the learning process or bigger interaction,
respect and mutual closeness between the teacher and the students (Murphey, 1992: 14-15, as
cited in Alles Garcia, 2015: 11). Although I had to choose the songs by myself, I ke pt in mind
young learners’ interests and the music they listen to nowadays. Thus, I have chosen some
contemporary songs, songs that nowadays’ teenagers listen to; however, I have also chosen two
Queen songs, and although that might seem incongruous, I think that the success of the film
Bohemian Rhapsody released in 2018 spread an enormous interest for the band among young
people.
However, the teacher is the one responsible for applying the selection criteria, so he or she has
to decide if the songs chosen by the students are appropriate for the purposes established.
Nevertheless, teachers should not resort to the same songs that have always been used in EFL
classrooms since they do not provide anything new and the students may have already worked
with them, as “concerning teaching manuals, it is possible to conclude that the quality of the
musical repertoire is quite poor” (Dalis, 2008: 9, as cited in Alles Garcia, 2015: 12).
I have also taken into account, when choosing the songs, the already mentioned Krashens’ input
hypothesis. Therefore, although some people may think that the linguistic content of songs can
be too difficult to introduce them as a didactic resource, it is important for me that the so ngs
introduced to the students contain the i + 1 formula. That is, “the songs that are used in the
classroom must adapt to the idiomatic level of students, but must also entail a challenge, since
otherwise the activity would not be productive and there would not be effective learning” (Alles
García, 2015: 10).
Finally, I also resorted to Catalan secondary school curriculum regarding foreign languages as
well as the CEFRL to create the activities that make up the didactic units: I have taken into
account the activities proposed in these two documents to focus and work on the methodology
and the evaluation criteria.
21
5.2 Didactic Unit 1: Whose line is it anyway?
This didactic unit’s main objective is to boost students’ creativity. To be able to do that, the
teacher will resort to two games from the TV program Whose line is it anyway?: Irish drinking
songs and Hoedown. The first game consists of four performers singing a song from a topic
suggested for the audience. In turn, each performer sings a line in an eight-line stanza. The first
performer begins singing a line, followed by the second one and so on until completing four
stanzas. At the end of each stanza, all of them sing in unison “hai-dee-dai-dee-dai”. The rhyme
for each stanza is ABCB: the second and fourth performers’ lines rhyme, while the first and third
performers’ do not. The second game is played individually: a topic is provided by the audience
and each participant have to perform four-line stanzas that are unrelated to each other; finally,
the last line of the last stanza is repeated at the end of the song.
However, although these games are spontaneous, the students will not improvise their lines,
but they will create and prepare the whole songs instead. For the first game, the groups will be
created by the teacher; the second one, however, is individual. Regarding the topic, for both
games, each group will choose a topic, and then all the topics will be collected and distributed
randomly among all the groups. Irish drinking songs is a game played by four students, which
will create the song collectively, with related lines and stanzas. Hoedown is a game performed
individually, and although students will also work in groups, their lines and stanzas will be
unrelated. Therefore, as students of a group will have the same topic, they can help each other
and share their work, even though their songs will be pe rformed individually.
For the last project, the students will have to choose one game between Irish drinking songs or
Hoedown. As the didactic unit could not be conducted, a game is picked randomly to create
and guide the final sessions.
As it has been covered in the theoretical framework, Cremin and Barnes (2015) stated that
although there is no formula for creative teaching, there are ‘ingredients’ such as the use of
metaphor, analogy and personal anecdotes to make connections. In this didactic unit, students
will try to create funny songs to perform it in front of the class: they will have to be funny and
with some touch of humor, so they learn and, at the same time, they enjoy what they are doing.
22
5.2.1. Competences, dimensions and objectives
Area: English Unit: Love of Timing: 11 sessions Class: 4th of ESO School Year: 2020- Teacher: Arnau
my life (55 minutes each) 2021 (1st trimester) Mulet Mulet
Dimensions and specific competences Specific Learning Objectives
A. Oral communicative dimension:
C1. To get information and understand oral texts GRAMMAR
C2. To plan and product oral texts adequate to
communications situations • To be able to produce creative texts
C3. To use oral interaction strategies to communicate • To improve present simple, present continuous and past
B. Reading comprehension dimension: simple
C4. To apply comprehension strategies to get information
and understand written texts’ content • To introduce the difference between present
C6. To select and use enquiries to access to text perfect and past simple
comprehension and to acquire knowledge
C. Written expression dimension:
C7. Planning written texts using the elements of VOCABULARY
communicative situation
C8. To produce written texts of different typologies and Learn vocabulary based on the following topics:
formats applying textualization strategies
C9. To revise a text to improve it depending on the • Animals, Christmas, food, films, fashion,
communicative climate change, relationships and sports.
purpose
Key Contents Diversity
CC1. Oral comprehension: global, literal and interpretative As there might be some students with different profiles and
CC2. Oral comprehension strategies difficulties, here are some methods to deal with students with
CC3. Oral production strategies dyslexia, hyperactivity or learning difficulties:
CC4. Oral interaction strategies
CC7. Reading comprehension: global, literal, interpretative and valuative • In the case of the students diagnosed with hyperactivity,
CC8. Reading comprehension strategies make sure they know what they are doing, the objective
CC9. Search and management of information to achieve and the time they have to complete a certain
CC10. Selection criteria and information valuation task. Abstain from constantly calling them by their names
CC11. Written expression planning strategies or bringing up their hyperactivity to the whole group.
CC12. Adequacy, coherence and cohesion
CC13. Revision, correction, reparation and presentation • In the case of the dyslexic students, keep them from
strategies writing long sentences and do not make them read out
CC14. Written interaction strategies loud if they don’t feel comfortable. In this particular
CC15. Creative production project, they can be the ones who provide the arms in
CC16. Use of dictionaries the staging, so they don’t have to speak in front of the
CC17. Oral, written and audio-visual literary texts whole class.
CC18. Oral interpretation, out loud reading, recitation, singing
and representation • We can manage the case of the students with
CC19. Oral or written comments about literary works or learning difficulties with the collaborative work
fragments that is present in all the project, but also with
CC20. Pragmatics specific methodologies such as peer tutoring, a
CC21. Phonetic and phonology methodology that bring us the opportunity to mix
CC22. Lexis and semantics students with different learning tempos and make
CC23. Morphology and syntax the most out of this apparently disadvantageous
CC24. Verbal and non-verbal strategies to overcome misunderstandings situation.
Evaluation Criteria Failing (NA) Average (AS) Very good Excellent (AE)
1. To produce written Is not able to Can formulate Can express himself in a Can write clear
texts using the new produce a coherent simple phrases written form with help and detailed
vocabulary and written production with simple at some points texts in the
adequate connectors appropriate style
grammatical structures
2. To understand oral texts Is not able to understand Can understand the Can understand an Can understand an
using oral comprehension an oral text main idea of an oral oral text in almost oral text in its
strategies text its entirety entirety
23
3. To produce oral texts Is not able to Can formulate Can express himself Can express himself
and to follow and produce coherent simple phrases in an oral form clear and detailed
participate in an oral oral production with simple with help at some
interaction connectors points
0
Rubric 2
Rubric 3
Rubric4
8.1.1.2 Sequencing of sessions

1st Session
S Activity Reso S Group Ti Key Specific Evaluatio

# urces Conte competen n Criteria
. ing me
nt ces
1 Warm-up: Introduce the topic of ‘Hoedown’ by - L W 15’ CC1, CC2 C1 -
explaining students what it is about and introducing G
them the TV program ‘Whose line is it anyway?’.
After the brief explanation, give the students a L W 10’ CC1, CC2 C1 -
visual demonstration with a short video of the TV G
program.
The students have to complete the Exercise 1 and Exe R I 15’ CC7, CC8, C4, 1,2
hand it to the teacher rcis W CC11 C7, C8
e1
Brainstorm: discuss with the students what kind - L W 20’ CC1, CC2, C1, -
of topics they want to introduce for the song ant , G CC3, CC4 C2, C3
the scene that they will create in this project S
2nd Session
Ses Activity Res S Group Ti Key Specific Evaluatio

sion our Content competen n Criteria
. ing me
# ces ces
2 Each group choses a topic for their final project: - L W 15’ CC1, CC2 C1 -
they will take a piece of paper and write the name G
of the topic they want to choose, and one student
will collect all the pieces of paper in a hat. Then,
one student of each group will pick one randomly.
Introduce them the main characteristics of the - L W 20’ CC1, CC2 C1 -
poetry to help them create the lines: the G
intonation, the rhythm, the rhymes… Despite the
song is not improvised, it has to be fluid so the
audience can’t distinguish if it is prepared or not.
Discuss with the students the grammar that has to - L W 20’ CC1, CC2, CC3 C1, C3 -
be included in the dialog and the objective of , G
including this grammar: improve the verbal tenses S
present simple and present continuous;
introduce them the difference between present
perfect and past simple.
Give them the Rubric 1, so they know how to Rubri - W 5’ - - -
organize the project and what we expect from c1 G
them to include in the dialog and in the
staging.
24
3rd Session
Ses Activity Resource Skill Group Ti Key Specific Evaluatio

sio s/ Conte competences n Criteria
s ing me
n# Material nt
3 Brainstorm about present simple, - L, S W 15’ CC1, CC2, C1, C3 -
past simple, present continuous G CC3, CC4
and past continuous.
Introduce the puzzle - L, S W 15’ CC1, CC2 C1 -
methodology and cooperative G
learning.
Divide students in two grouping: - L W 10’ - - -
Jigsaw groups (the groups G,
created at the beginning of the S
project) and expert groups G
Ask students to be experts on Compute r R, I 20’ CC7, CC8, C4, C7, C8 -
their assigned verb tenses W W CC11
4th Session
S Activity Resour Skill Group Ti Key Specific Evaluatio

# ces Content competen n Criteria
s ing me
ces
4 Divide students by expert groups, so they share - L, S, R S 15’ CC1, CC2, C1, -
the information they learnt, and they discuss G CC3, CC4, C3, C6
and debate it. CC10, CC19,
Bring he students back to jigsaw groups - L, S S 20’ CC1, CC2, C1, -
where they present the verb tense to the G CC3, CC4, C3, C6
group (the teacher floats from group to CC10,
group to observe the process). CC19, CC24
Each student fills the Rubric 2, where they Rubric 2 W I 10’ CC10, CC13 C9 Rubric 2
evaluate the explanation of their peers. W
The teacher does a quiz on the material by Projector L, S W 20’ CC1, CC2, C1, C3 -
using ‘kahoot’: each group is a team and they G, CC3, CC4,
have to answer questions related to verb S CC7
tenses. G
5th Session
Ses Activity Resources Sk Group Ti Key Specific Evaluation

sio / Material Conte compet Criteria
ill ing me
n# nt e nces
s
5 Brainstorm: introduce the verb tense Blackboa L W 15’ CC1, CC2 C1 -
present perfect by asking the students rd G
what they know about it.
Introduce the peer tutoring Blackboa L, W 15’ CC1, CC2, C1, C2, -
methodology and the fixed roles. rd S G CC3, CC4 C3
Create pairs of students with an Projector, L W 5’ CC1 C1 -
asymmetric relationship (derived sheet with G,
from the performance of the roles of song lyrics P
‘tutor’ and ‘tutored’) which is W
attained through a framework of
relation previously planned by the
teacher.
Give them material on present perfect - L P 10’ CC1, CC2 C1 -
and the differences between W
present perfect and past simple.
Debate with the students how do they - L W 15’ CC1, CC2, C1, -
think these past tenses can be included in , G CC3, CC4 C2,
the song. S C3
25
6th Session
Ses Activity Resource Skills Group Ti Key Specific Evaluati

sio s/ Conte compete on
ing me
n# Material nt nces Criteria
6 Peer tutoring: the ‘tutor’ and the Materi L, S, R, P 20’ CC1, CC2 C3, C4, -
‘tutored’ work on the material al on W W CC3, CC4, C6, C8,
received in the previous session. verb CC10, C9
tenses CC13,
Teacher: functioning and CC24
monitoring of the pairs.
Then, each pair have to create a - R, W P 15’ CC3, C6, C8, 1
text in their L1 summarizing the W CC10, C9
main points of the material they CC13,
worked on, and hand it to the CC24
teacher.
The teacher gives feedback to the - L W 15’ CC1, CC2 C1 -
pairs based on the observation G,
and the monitoring. P
W
The teacher does a quiz on the - L, S W 10’ CC1, CC2, C1, C2, -
material by using ‘kahoot’: each G, CC3, CC4 C3
pair of students is a team and P
they have to answer questions W
related to verb tenses.
7th Session
Ses Activity Resources Skill Group Ti Key Specific Evaluati

sio / Material Conte compete on
s ing me
n# nt nces Criteria
7 Warm-up: Introduce the game - L W 15’ CC1, CC2 C1 -
‘Hoedown’ by explaining students G
what it is about.
After the brief explanation, give the Projector L, S W 10’ CC1, CC2, C1, C2, -
students a visual demonstration G CC3, CC4 C3
with a short video of the TV
program.
The students have to complete the Exercise 2 R, W I 15’ CC7, CC8, C4, C7, 1, 2
Exercise 2 and hand it to the W CC11 C8
teacher.
Brainstorm: discuss with the how - L, S W 20’ CC1, CC2, C1, C2, -
to create lines that can be funny G CC3, CC4 C3
8th Session
Ses Activity Resources Skill Group Ti Key Specific Evaluatio

sio / Material Conte competen n Criteria
s ing me
n# nt ces
8 Warm-up: Introduce exercise to the - L WG 15’ CC1, CC2 C1 -
students
After the brief explanation, give Exercise L, S WG, 5’ CC1, CC2, C1, -
them the Exercise 3 3 IW CC3, CC4 C2, C3
Give them time to create the L IW 20’ CC1 C1 -
draws
The students start creating the - R, IW 20’ CC8, C8 -

stories. W CC11,
CC15
26
9th Session
Ses Activity Resources / Sk Group Ti Key Specific Evaluati

sio Material Conte compete on
ill ing me
n# nt nces Criteria
s
9 Students keep working on their stories Exercise 3 R, IW 25’ CC7, CC8, C4, -
W CC11, C6,
Teacher: functioning and
CC13, C8, C9
monitoring of the students.
CC15
The teacher gives feedback based - L IW 15’ CC1, CC2 C1 -
on the monitoring.
The students hand the Exercise 3 Exercise 3 - IW 5’ - - Exercise 3
Brainstorm: what were the main - L WG 15’ CC1, CC2, C1, -
difficulties when using the verb , CC3, CC4 C2, C3
tenses present perfect and past S
simple?
10th Session
S Activity Reso Sk Group Ti Key Specific Evaluati

. urces Content compet on
ill ing me
# / e nces Criteria
Mate s
rial
10 Students will have to choose one for their final - L W 10’ CC1, CC2 C1 -
project. To be able to do that, they will take a G
piece of paper and write the name of the song they
want to choose. One student will collect all the
pieces of paper and the teacher will do the
recount.
Once the song is been chosen, the students start Rub L, S 25’ CC1, CC2, C1, -
preparing a first draw of their guide notes keeping ric S, G CC3, CC4, C2,
in mind the Rubric 1 and what they have learnt in 1 R, CC10, CC15 C3,
the previous sessions. W C7,
The teacher assumes the ‘guide role’, so the C8
students can resort to him if
they have any doubts.
Exchange projects with other groups to evaluate Rub R, S 20’ CC7, CC8, C4, Rub
them through the Rubric 3. ric W G CC10, C6, ric 3
3 CC13, CC19 C9
Return the guide notes to each group and hand in - - S 5’ - -
the first draw of the dialog. G
11th Session
Ses Activity Resource Skills Group Ti Key Specific Evaluati

sio s/ Conte competenc on
ing me
n# Material nt es Criteria
11 Each group works on the feedback to - L, S, R, S 20’ CC2, CC3, C2, C4, -
correct the dialog from the W G CC7, CC8, C8, C9
suggestions from the other groups. CC11, CC13,
Keep working and improvising - L, S, R, S 20’ CC13, C2, C9 -
their texts. W G CC15
The teacher gives feedback to - L S 10’ CC1, CC2 C1 -
each group based on the G
observation and the monitoring.
Brainstorm: give them some Rubric 4 L, S W 20’ CC1, CC2, C1, C2, -
advices for the staging and give G CC3, CC4 C3
them the Rubric 4, so they know
which aspects will be assessed.
27
12th Session
Ses Activity Resources / Sk Group Ti Key Specific Evaluati

sio Material Conte compete on
ill ing me
n# nt nces Criteria
s
12 Students hand their texts to the sheet with - - - - - -
teacher and to the other groups, so song lyrics
they can look at the transcription
while listening the staging.
While the songs are playing, the Rubric 4 L, I 5’ CC1 C1 -
students have to evaluate the W, R W
songs of their peers through the
Rubric 4.
The teacher will use the computer - L, S W 20’ CC1, CC2, C1, C2, -
to play the songs that the G CC3, CC4 C3
students have created.
Staging First group Projector L S 5’ CC3, CC4, C2 Rubri c 4

G CC18
Debate - L, S W 5’ CC1, CC2, C3 -
G CC3, CC4
Second Projector L S 5’ CC3, CC4, C2 Rubri c 4
group G CC18
G CC3, CC4
Third group Projector L S 5’ CC3, CC4, C2 Rubri c 4
G CC18
G CC3, CC4
Fourth Projector L S 5’ CC3, CC4, C2 Rubri c 4
group G CC18
G CC3, CC4
Fifth group Projector L S 5’ CC3, CC4, C2 Rubri c 4
G CC18
G CC3, CC4
Sixth group Projector L S 5’ CC3, CC4, C2 Rubri c 4
G CC18
G CC3, CC4
Each student hands in the Rubric Rubri c 4 I 5’ - - Rubri c 4
4
Debate: did you enjoy doing this - S, L W 10’ CC1, CC3, C3 -
project? Why do you think you G CC4
did it? What have you learnt?
28
5.3 Didactic Unit 2: Houses around the world
This didactic unit will be addressed to raise cultural awareness: students will make use of
context-specific songs to help them to develop awareness of the similarities and differences
between different cultures around the world and their own. With houses and cities as the
starting point, students will develop intercultural competence by searching information about
other countries and cultures and by comparing them with their own. When doing that, at the
same time, they will go over grammar and vocabulary previously worked, so they will improve
their competences in these areas. For the final project of this unit, students will sing one of the
two songs introduced within the proposal: To build a home or This city. Students, in groups, will
have to choose a city —from their own culture, from other cultures, etc.— and will have to
create new verses for the song, which will be addressed to the chosen city. Then, in the last
session, they will sing the song in front of the class and they will be recorded. The other students
will have to assess the song through a rubric, and as a reword, the song that gets more
punctuation will be uploaded to the school’s website.
8.3.1 Competences, dimensions and objectives
Area: English Unit: Love of my Timing: 11 sessions Class: 3rd of ESO School Year: 2020- Teacher: Arnau Mulet
life (55 minutes each) 2021 (1st trimester) Mulet
D. Oral communicative dimension: GRAMMAR
C1. To get information and understand oral texts
C2. To plan and product oral texts adequate to • Improve intercultural competence
communications situations • To be able to compare two cultural items from different cultures
C3. To use oral interaction strategies to communicate • To be able to identify which item relates to a particular culture
E. Reading comprehension dimension:
C4. To apply comprehension strategies to get information • To work on descriptive texts
and understand written texts’ content
C6. To select and use enquiries to access to text
comprehension and to acquire knowledge VOCABULARY
F. Written expression dimension:
C7. Planning written texts using the elements of
• To know vocabulary related to houses and
communicative situation cities
C8. To produce written texts of different typologies and • To identify vocabulary from different cultures
C9. To revise a text to improve it depending on the communicative
purpose
CC1. Oral comprehension: global, literal and interpretative As there might be some students with different profiles and difficulties,
CC2. Oral comprehension strategies here are some methods to deal with students with dyslexia,
CC3. Oral production strategies hyperactivity or learning difficulties:
CC7. Reading comprehension: global, literal, interpretative and valuative • In the case of the students diagnosed with hyperactivity, make
CC8. Reading comprehension strategies sure they know what they are doing, the objective to achieve
CC9. Search and management of information and the time they have to complete a certain task. Abstain
CC10. Selection criteria and information valuation from constantly calling them by their names or bringing up
CC11. Written expression planning strategies their hyperactivity to the whole group.
29
CC13. Revision, correction, reparation and presentation • In the case of the dyslexic students, keep them from writing
strategies long sentences and do not make them read out loud if they
CC14. Written interaction strategies don’t feel comfortable. In this particular project, they can be
CC15. Creative production the ones who provide the arms in the staging, so they don’t
CC16. Use of dictionaries have to speak in front of the whole class.
CC17. Oral, written and audio-visual literary texts
CC18. Oral interpretation, out loud reading, recitation, singing • We can manage the case of the students with learning
and representation
difficulties with the collaborative work that is present in
CC19. Oral or written comments about literary works or
fragments all the project, but also with specific methodologies such
CC20. Pragmatics as peer tutoring, a methodology that bring us the
CC21. Phonetic and phonology opportunity to mix students with different learning
CC22. Lexis and semantics tempos and make the most out of this apparently
CC23. Morphology and syntax
disadvantageous situation.
CC24. Verbal and non-verbal strategies to overcome misunderstandings
1. To produce written Is not able to Can formulate simple Can express himself in a Can write clear and
texts using the new produce a coherent phrases with simple written form with help at detailed texts in the
vocabulary and adequate written production connectors some points appropriate style
grammatical structures
2. To understand oral texts Is not able to understand Can understand the main Can understand an Can understand an oral
using oral comprehension an oral text idea of an oral text oral text in almost its text in its entirety
strategies entirety
3. To produce oral texts and to Is not able to Can formulate simple Can express himself in Can express himself
follow and participate in an oral produce coherent phrases with simple an oral form with help clear and detailed
interaction oral production connectors at some points
4. To identify aspects from Is not able to Can identify culture Can identify culture Can identify culture
different cultures, relate identify culture aspects from some aspects from different aspects from many
them and find differences aspects from places places with some help different places
between cultures different places
Rubric 1
Rubric 2
Rubric 3
Rubric 4

1st Session
Sessi Activity Resource Skills Grouping Time Key Specific Evaluati

on # s/ Content compete nces on
Material Criteria
1 Warm-up: Introduce the didactic unit by - L WG 15’ CC1, CC2 C1 -
explaining students what it is about: the name
of the songs they are going to work with, the
final project, etc.
Brainstorm: ask students if they know - L, S WG 20’ CC1, CC2, C1, C2, C3 -
anything about The Cinematic Orchestra. CC3, CC4
After the brief brainstorm, explain them
basic context of the band and its era: the
musical genre, etc.
After this introduction, show them the Projector, L, R WG 5’ CC1, CC2, C1, C4 -
music video from ‘To build a home’. Before To build a CC7, CC8
starting the video, give them a copy of the home
song lyrics so they can look at them while
listening.
Do a debate with all the students: what - L, S WG 20’ CC1, CC2, C1, C2, C3 -
came to your mind when you heard the CC3, CC4
song? What feelings or memories does this
song bring back to you?
Give students the Rubric 1, so they know Rubric 1 - - - - - -
what I expect from them.
30
2nd Session
Sessi Activity Resources / Skills Grouping Time Key Specific Evaluation

on # Material Content competences Criteria
2 Create groups of 4 students: these groups - L SG 5’ CC1, CC2 C1 -
will last until the end of the didactic unit, so
they will always work together.
In groups, discuss the differences between a - L, S SG 35’ CC1, CC2, C1 -
house and a home. CC3, CC4
After that, students have to answer the
following questions and discuss them with
the group:
1) How would your dream house be like?
2) Which country would you like to have
that dream house? Why?
The teacher gives feedback to the pairs
based on the observation and the
monitoring.
Then, the students have to draw the house - R IW 20’ CC7, CC8 CC4 -
described in the song and their dream
house. Finally, they hand the drawings.
3rd Session
Ses Activity Resources / Skills Grouping Time Key Specific Evalua

sio Material Content compete nces tion
n# Criteri
a
3 Brainstorm about the topic: Why have - L WG 20’ CC1, CC2 C1 -
people all over the world got different
types of houses?
The teacher gives feedback to the pairs
monitoring.
Give students the Exercise 4: Houses around Exercise 4: L, R WG 20’ CC1, CC2, C1, C4 -
the world and explain them that there are Houses CC7, CC8
many reasons for the differences between around the
houses. world
Give them time to complete the Table 3: Computer R, W IW 20’ CC7, CC8, C4, C6, C7, Exercise 4:
Houses around the world. Then, students will CC10, CC11 C8 Houses around
hand it in. the world
4th Session
Sessi Activity Resources / Skills Grouping Time Key Specific Evaluati

on # Material Content compete nces on
Criteria
4 After having introduced the different - L WG 15’ CC1, CC2 C1 -
types of houses, go over the puzzle
methodology and collaborative learning
learnt during the first didactic unit.
Divide students in two grouping: - L, S WG 15’ CC1, CC2, C1, C2, C3 -
Jigsaw groups (the groups created in CC3, CC4
the previous session) and expert
groups (temporary groups
having one student from each jigsaw
group join other students assigned to
the same pronunciation aspect).
Ask students to be experts on their Computer, R, W IW 30’ CC10, CC11, C6, C8, C9 1
assigned section of the song to do the Exercise 5 CC13, CC16
Exercise 5.
31
5th Session

on # Material Content compete nces Criteria
5 Flipped classroom: divide students by - L WG 20’ CC1, CC2 C1 -
expert groups, so they share the
information they learnt in the previous
session.
Bring the students back to jigsaw - L, S WG 15’ CC1, CC2, C1, C2, C3 -
groups where they present their types CC3, CC4
of houses to the group (the teacher
floats from group to group to observe
the process).
Each student fills the Rubric 2, where Rubric 2 L WG 5’ CC1 C1 -
they evaluate the explanation of
their peers.
Each student hands in the Exercise 5 Exercise 5 - IW 5’ - - Exercise 5
The teacher does a quiz on the material - L, S WG, 15’ CC1, CC2, C1, C2, C3 -
by using ‘kahoot’: each group is a team SG CC3, CC4
and they have to answer questions
related to the aspects of culture worked
in previous sessions. The winners will get
extra points (+0,5 each).
6th Session

6 Brainstorm: introduce the topic of ‘cities’ by - L WG 15’ CC1, CC2 C1 -
asking the students what they know about it:
which elements constitute a city? Which are
the most famous cities in the world? Why?
What makes them famous?
Brainstorm: ask students if they know - L, S WG 20’ CC1, CC2, C1, C2, C3 -
anything about the singer-songwriter Sam CC3, CC4
Fischer. After the brief brainstorm, explain
them basic context of the musician and its
era: the music genre, etc.
After this introduction, show them the Projector, L WG 5’ CC1 C1 -
videoclip from ‘This city’. Before starting This city
the video, give them a copy of the song
lyrics so they can look at them while
listening.
Do a debate with all the students: what - L, S WG 20’ CC1, CC2, C1, C2, C3 -
came to your mind when you heard the CC3, CC4
song? Which city do you think this song
is written for?
Leave the explanation of the song for
the next session
32
7th Session
Sessi Activity Resources / Skills Grouping Time Key Specific Evaluati

on # Material Content compete nces on
Criteria
7 Warm-up: introduce different cities from - L WG 15’ CC1, CC2, C1, C2, C3 -
different countries. Explain students CC3, CC4
that, depending on the culture and the
history of the country, its cities will be
different: the art of the buildings, their
disposition, etc.
The teacher creates pairs of students. - L WG, 20’ CC1, CC2, C1, C2, -
PW
Then, each pair have to choose one Computer L WG, - - -
city of their like and search L, S PW 20’ CC1, CC2, C1, C2, C3
information about one important CC3, CC4
building.
Teacher: functioning and
monitoring of the pairs.
8th Session

8 The pairs keep working on their cities. - L, S, PW 25’ CC1, CC2 C1, C2, C3, -
R, W CC3, CC4, C4, C5
CC7, CC8
Teacher: functioning and monitoring CC10, CC13,
of the pairs. CC24
Each pair have to compare the city - L, S, PW 25’ CC1, CC2 C1, C3, C4, -
and the building they have chosen R,W CC3, CC4, C5
with their own city, writing a short CC7, CC8
text CC10, CC13,
CC24
Then, they have to hand the activity - - PW 5’ - - 1, 4
to the teacher.
The teacher asks students to bring - L WG 5’ CC1, CC2 C1 -
items of cultural importance to class
(from their own culture) for next
session.
9th Session
Sessi Activity Resources / Skill Groupin Tim Key Specific Evaluation

on # Material Conte compete Criteria
s g e
nt nces
9 Warm-up: explain the activity ‘Culture Share’ Blackboard L WG 10’ CC1, CC2 C1 -
to the students and make pairs of students.
Give students the Exercise 6 to evaluate the Exercise 6 - - 5’ - - -
explanation in English of their peer.
One student of each pair has to explain the Exercise 6 L, S, PW 15’ CC1, CC2, C1, -
item to the other student. Then, the student W CC3, CC4 C2,
that received the explanation will have to C3
explain it back
Now, the other student will explain his own Exercise 6 L, S, PW 15’ -
item and the procedure will be repeated. W
They hand the Exercise 6 to the teacher Exercise 6 - - 5’ - - Exercise 6
Brainstorm: Did you learn anything new - L, S WG 10’ CC1, CC2, C1, -
about other cultures? Did you find it CC3, CC4 C2,
interesting? C3
33
10th Session
Sessi Activity Resourc Ski Grouping Time Key Specific Evaluation

on # es / Conten competences Criteria
lls
Material t
10 After having finished all the activities related to - L WG 15’ CC1, CC2 C1 -
‘To build a house’ and ‘This city’, students will have
to choose one for their final project. To be able to
do that, they will take a piece of paper and write
the name of the song they want to choose. One
student will collect all the pieces of paper and the
teacher will do the recount.
Then, the students start preparing a first draw of Rubric L, SG 30’ CC4, CC10, C2, C3 -
their guide notes keeping in mind the Rubric 1 and 1 S, CC15
what they have learnt in the previous sessions. R,
The teacher assumes the ‘guide role’, so the W
students can resort to him if
Exchange projects with other groups to evaluate Rubric R, SG 20’ CC10 C6, C9 Rubric
them through the Rubric 3. 3. W 3
Return the guide notes to each group and hand in - SG 5’ - - 1
the first draw of the song.
11th Session
Sessi Activity Resources / Skills Grouping Time Key Specific Evalu

on # Material Content compete nces ation
Crite
ria
11 Each group works on the feedback to Blackboard L, S, R, SG 20’ CC13 C2, C9 -

correct the song from the suggestions W
from the other groups.
Keep working and improvising their - L, S, SG 20’ CC13, CC15 C2, C9 -
texts. R, W
The teacher gives feedback to each - L SG 15’ CC1, CC4 C1 -
group based on the observation and
the monitoring.
The teacher gives students the Rubric 4 - IW 5’ - - -

Rubric 4
34
12th Session
Ses Activity Resources / Sk Group Ti Key Specific Evalu

sio Material Conte compete ation
ill ing me
n# nt nces Criteri
s a
12 Students hand their texts to the sheet with - - - - - -

teacher and to the other groups, so song lyrics
they can look at the transcription
while listening the staging.
While the songs are playing, the Rubric 4 L, I 5’ CC1 C1 -
students have to evaluate the W, R W
songs of their peers through the
Rubric 4.
The teacher will use the computer - L, S WG 20’ CC1, CC2, C1, C2, -
to play the songs that the CC3, CC4 C3
students have created.
Staging First group Projector L SG 5’ CC3, CC4, C2 Rubri c 4

CC18
Debate - L, S WG 5’ CC1, CC2, C3 -
CC3, CC4
Second Projector L SG 5’ CC3, CC4, C2 Rubri c 4
group CC18
CC3, CC4
Third group Projector L SG 5’ CC3, CC4, C2 Rubri c 4
CC18
CC3, CC4
Fourth Projector L SG 5’ CC3, CC4, C2 Rubri c 4
group CC18
CC3, CC4
Fifth group Projector L SG 5’ CC3, CC4, C2 Rubri c 4
CC18
CC3, CC4
Sixth group Projector L SG 5’ CC3, CC4, C2 Rubri c 4
CC18
CC3, CC4
Seventh Projector L SG 5’ CC3, CC4, C2 Rubri c 4
group CC18
CC3, CC4
Eight group Projector L SG 5’ CC3, CC4, C2 Rubri c 4
CC18
CC3, CC4
Each student hands in the Rubric Rubri c 4 I 5’ - - Rubri c 4
4
Debate: did you enjoy doing this - S, L WG 10’ CC1, CC3, C3 -
project? Why do you think you CC4
did it? What have you learnt?
35
5.4 Didactic Unit 3: Love of my life
The first sessions can be used as the starting point for the pronunciation approach. Thus, the
teacher can notice where students have more difficulties when it comes to pronunciation by
making them read out loud. Due to the fact that I could not take that step, I will base the
activities on Villalobos’ (2008) statement on the biggest difficulties of students when facing
pronunciation:
Spanish speakers, for instance, find it hard to pronounce vowel sounds such as / ə/ and
recognize the difference between /i:/ 1 vs. /u:/ and /u:/ vs . /ʊ/. Regarding consonants, making
the distinction between /b/ vs. /v/ vs. /f/, /θ/ vs. /ð/ and /ʃ/ vs. /tʃ/ is what represents the
biggest challenge for them. By listening to songs Spanish speakers can learn to identify these
sounds and perceive the difference among them. In addition to vowels and consonants, they
can understand connected speech by analyzing assimilation, linking and reductions, and other
aspects such as -ed endings, since song Iyrics provide lots of examples. (2008: 100)
Regarding the exercises to work pronunciation, I based some of them on Villalobos’ (2008)
proposals. As this didactic unit will take place at the end of the 2nd term of the school year, for
the final project students will be able to perform their own song in Sant Jordi. Therefore, each
group will have to write new verses for the song. When all the groups are finished, each students
will have to evaluate each song through a rubric. Then, on April 23rd —Sant Jordi—, students
will sing the song with more punctuation in front of all the students and their parents. By doing
that, we encourage students to engage themselves in the learning and creative process because
they feel as it is their own song, and that the reward for doing a good job is to be able to play it
in front of his colleagues and his parents.
Taking into account the situations where Spanish speakers find more difficult (according to
Villalobos, 2008), we will focus on vowels /ə/, /i:/, /u:/ and /ʊ/ and consonants /b/ vs. /v/ vs. /f/,
/θ/ vs. /ð/ and /ʃ/ vs. /tʃ/. However, although some exercises will be focused on these sounds,
the main aim of this didactic unit is to improve their English pronunciation. By listening to the
song and repeating it again and again, students will work on their pronunciation; finally, when
they create their own verses, they will already know how to pronounce the words they will
introduce. I have done some of the exercises I will introduce in this didactic unit in my first year
of Translation and interpreting degree —they were more complex, obviously—, and I know that
focusing on specific sounds to try to distinguish them also improves the whole English
36
pronunciation. The aim of these exercises is not how to transcribe words phonetically, but to
learn how to pronounce them.
As pointed out also by Villalobos, songs are useful to learn aspects such as -ed endings —/t/,
/d/, /ɪd/. Therefore, this will be the last pronunciation point we will work with. For doing that,
there is another Queen song that I am sure most students will be familiar with, called 39’.
For the final project, students will have to choose one song between Love of my life or 39’. As
the didactic unit could not be conducted, a song is picked randomly to create and guide the final
sessions.
8.1.3.1 Competences, dimensions, objectives and evaluation criteria

Area: English Unit: Love of my Timing: 11 sessions Class: 4th of ESO School Year: 2020- Teacher: Arnau
life (55 minutes each) 2021 (1st trimester) Mulet Mulet
G. Oral communicative dimension:
C1. To get information and understand oral texts • To improve pronunciation
C2. To plan and product oral texts adequate to • To recognize the difference between the vowels /i:/ and /u:/,
communications situations and between
C3. To use oral interaction strategies to communicate
• To recognize the difference between the consonants /v/ and
H. Reading comprehension dimension: /f/
C4. To apply comprehension strategies to get information
and understand written texts’ content • To recognize the difference between minimal pairs
C6. To select and use enquiries to access to text • To improve and distinguish the three different -ed endings
comprehension and to acquire knowledge (/t/, /d/, /id/)
I. Written expression dimension:
C7. Planning written texts using the elements of
communicative situation
C8. To produce written texts of different typologies and
C9. To revise a text to improve it depending on the communicative
purpose
CC1. Oral comprehension: global, literal and interpretative As there might be some students with different profiles and
CC2. Oral comprehension strategies difficulties, here are some methods to deal with students with
CC3. Oral production strategies dyslexia, hyperactivity or learning difficulties:
CC7. Reading comprehension: global, literal, interpretative and valuative • In the case of the students diagnosed with hyperactivity,
CC8. Reading comprehension strategies make sure they know what they are doing, the objective to
CC9. Search and management of information achieve and the time they have to complete a certain task.
CC10. Selection criteria and information valuation Abstain from constantly calling them by their names or
CC11. Written expression planning strategies bringing up their hyperactivity to the whole group.
CC13. Revision, correction, reparation and presentation • In the case of the dyslexic students, keep them from writing
strategies long sentences and do not make them read out loud if they
CC14. Written interaction strategies don’t feel comfortable. In this particular project, they can
CC15. Creative production be the ones who provide the arms in the staging, so they
CC16. Use of dictionaries don’t have to speak in front of the whole class.
CC17. Oral, written and audio-visual literary texts
CC18. Oral interpretation, out loud reading, recitation, singing • We can manage the case of the students with learning
and representation
difficulties with the collaborative work that is present
37
CC19. Oral or written comments about literary works or in all the project, but also with specific methodologies
fragments such as peer tutoring, a methodology that bring us the
CC20. Pragmatics
opportunity to mix students with different learning
CC21. Phonetic and phonology
CC22. Lexis and semantics tempos and make the most out of this apparently
CC23. Morphology and syntax disadvantageous situation.
CC24. Verbal and non-verbal strategies to overcome misunderstandings
1. To produce written texts Is not able to Can formulate simple Can express himself in a Can write clear and
using the new vocabulary produce a phrases with simple written form with help at detailed texts in the
and adequate coherent written connectors some points appropriate style
grammatical structures production
2. To understand oral texts using Is not able to Can understand the main Can understand an Can understand an
oral comprehension strategies understand an oral idea of an oral text oral text in almost its oral text in its entirety
text entirety
3. To produce oral texts and to Is not able to Can formulate simple Can express himself in Can express himself
follow and participate in an oral produce phrases with simple an oral form with help clear and detailed
interaction coherent oral connectors at some points
production
Rubric 1 - - - -
Rubric 2 - - - -
Rubric 3 - - - -
Rubric 4 - - - -
Rubric 5 - - - -

1st Session
Sessi Activity Resource Ski Grouping Tim Key Specific Evaluation

on # s/ Content competences Criteria
lls e
Material
1 Introduce the didactic unit by explaining Blackbo L WG 15’ CC1, CC2 C1 -
students what it is about: objectives, ard
methodology, learning through songs, the final
project, etc.
Brainstorm: ask students if they know - L, WG 20’ CC1, CC2, C1, C2, C3 -
anything about the band ‘Queen’. After the S CC3, CC4
brief brainstorm, explain them the basic
context of the band and its era: 80’s and 90’s,
the music genre, the film released in 2018 and
its impact all over the world, etc.
After this introduction, show them the scene Projector, L, R WG 5’ CC1, CC2, C1, C4 -
from the film ‘Bohemian Rhapsody’ where Love of my CC7, CC8
Freddie Mercury sings ‘Love of my life’. life
Before starting the video, give them a copy
of the song lyrics (Love of my life) so they
can look at them while listening.
Make groups of three-four students and ask - L, WG 20’ CC1, CC2, C1, C2, C3 -
them to discuss the following questions: S CC3, CC4
what does it mean for you? What feelings
does this song bring back to you? Who do
you think this song was written for?
Meanwhile, the teacher gives feedback to
the groups based on the observation and
the monitoring.
Give students the Rubric 1, so they know Rubric 1 - - - - - -
what we expect from them.
38
2nd Session
Session Activity Resources Ski Grouping Time Key Specific Evaluation

# / Material lls Content compete nces Criteria
2 According to the topic, ask students to write - L, W IW 15’ CC1, CC2, C1, C7, C8 -
down how do they think the love of their life CC11, CC13
would be like? They have to write a short
description text to present it to the rest of the
class.
Give students time to practice their texts. - R, S IW 15’ CC3, CC4, C2, C4, C5 -
CC7, CC8
After having finished it, they have to read it - S IW 30’ CC1, CC2, C1, C7, C8 -
out loud to the rest of the class. They will have CC11, CC13
to place themselves in front of the class;
however, those who do not feel comfortable
doing that, they can read it from their seats.
Each student will have 1 minute to read.
Meanwhile, the teacher will assess each
presentation and will realize where students
have more difficulties when speaking.
According to that, he or she can decide to
work on different aspects of pronunciation.
3rd Session
Session Activity Resource Ski Grouping Time Key Specific Evaluation

# s/ Content compete nces Criteria
lls
Material
3 Brainstorm about pronunciation: - L, S WG 15’ CC1, CC2, C1, C2, C3 -
vowels and consonants. What kind of CC3, CC4
sounds are there in English language?
Are they similar to Spanish sounds?
Give students the Table 1: Vowels and Table 1: L WG 20’ CC1, CC2 C1 -
explain them how vowels work in English. Vowels
After the explanation, give them some Love of my L WG 20’ CC1, CC2 C1 -
examples extracted from the song ‘Love of life
my life’ so they can relate the theory with
a song they already know. It is important
that students have the piece of paper with
the song lyrics in front of them so they can
take notes on it.
Create groups of 4 students: these groups - - - 5’ - - -
will last until the end of the didactic unit,
so they will always work together.
4th Session
Sessi Activity Resourc Skills Grouping Time Key Specific Evaluation

on # es Content compete nces Criteria
4 After having introduced the vowels, introduce the - L WG 25’ CC1, CC2 C1 -
puzzle methodology and collaborative learning.
Divide students in two grouping: Jigsaw groups - L, S WG 15’ CC1, CC2 C1, C2 -
(the groups created in the previous session) and
expert groups (temporary groups
having one student from each jigsaw group join
other students assigned to the same
pronunciation aspect).
Assign each student one of the three - L WG 15’ CC1, CC2 C1 -
pronunciation aspects (the vowels /i:/ and
/u:/; the vowels /u:/ and /ʊ/; or the neutral
vowel schwa /ə/)
Ask students to be experts on their assigned - L WG 5’ CC1, CC2 C1 -
pronunciation aspects by searching more
information at home.
39
5th Session
Sessi Activity Resou Ski Grouping Time Key Specific Evaluation

on # rces Content compete nces Criteria
lls
5 Flipped classroom: divide students by expert groups, - L, S SG 20’ CC1, CC2, C1, C2, C3 -
so they share the information they learnt at home CC3, CC3
and they discuss and debate it.
Bring he students back to jigsaw groups where - L, SG 20’ CC1, CC2, C1, C2, C3 -
they present their pronunciation aspect to the S CC3, CC4
group (the teacher floats from group to group to
observe the process).
Each student fills the Rubric 2 where they Rubri c 2 R, W IW 5’ CC7, CC8, C4, C6, C7 Rubri c 2
evaluate the explanation of their peers. C10, C19,
Give students the Exerci se 7: they have to do it at Exercise L WG, 5’ CC1, CC2 C1
home and hand it in the next session. 7 IW
The teacher does a quiz on the material by using - L, WG 10’ CC1, CC2, C1, C2, C3 kahoot
‘kahoot’: each group is a team and they have to S, CC3, CC4,
answer questions related to pronunciation. R, CC7, CC8,
6th Session
Sessi Activity Resourc Skills Grouping Time Key Specific Evaluatio

on # es Content compete nces n Criteria
6 Brainstorm: introduce the English consonants by - L, S WG 15’ CC1, CC2, C1, C2, C3 -
asking the students what they know about it: CC3, CC4
How many consonants are there? Which are the
most difficult to pronounce and distinguish?
Go over the peer tutoring methodology and - L WG 20’ CC1, CC2, C1, C2, -
the fixed roles.
Create pairs of students with an asymmetric - L WG, 10’ - - -
relationship (derived from the performance PW
of the roles of ‘tutor’ and ‘tutored’) which is
attained through a framework of relation
previously planned by the teacher.
Give them material on consonants (Table 2: Table 2: L WG, 15’ CC1, CC2 C1 -
Consonants) and the Exercise 8. Explain these Consonants PW
two materials to the students. and
Exercise 8
7th Session

7 Peer tutoring: the ‘tutor’ and the Table 2: L, S, PW 20’ CC1, CC2 C1 3
‘tutored’ work on the material Consonants R, W CC3, CC4, C2, C3
received in the previous session. They CC10, CC13,
have to complete the Exercise 8 CC24
Teacher: functioning and monitoring
of the pairs.
The teacher gives feedback to the - L PW 10’ CC1, CC4 C3 -
pairs based on the observation and
the monitoring.
Each pair recites the words from the Exercise 8 Rubric S IW 20’ CC3, CC18 C2 Rubri c 5
Exercise 8; according to the Rubri c 5. 5
Students have to hand the Exercise 8 Exercise 8 - - - - - Exercise 8
to the teacher.
The teacher does a quiz on the Table 2, Exercise 8 L, S, PG 15’ CC1, CC2 C1, C2, C3 kahoot
material by using ‘kahoot’: each pair and any materi als R, CC3, CC4,
of students is a team and they have the stude nts want W CC10, CC13,
to answer questions related to to make use of CC24
consonants.
40
8th Session
Sessi Activity Resourc Skills Groupi Tim Key Specific Evaluation

on # es Content competen Criteria
ng e
ces
8 Brainstorm: go over past simple and regular verbs and L, S WG 15’ CC1, CC2, C1, C2 -
ask students if they find hard to distinguish a regular CC3, CC4
verb in his present form from his past tense form.
The teacher explains the context of the song ‘39’ and its 39’ L, R WG 10’ CC1, CC2, C1, C4 -
meaning. After the brief explanation, show them both CC7, CC8
the deleted scene from ‘Bohemian Rhapsody’ and a real
performance by Queen from the song ‘39’. Before
starting the video, give them a copy of the song lyrics
(39’) so they can look at them while listening.
Make groups of three-four students and ask them to - L, S SG 15’ CC1, CC2, C1, C2, -
discuss the following questions: What were your CC3, CC4 C3
thoughts when you first listened to the song? What
feelings or memories does this song bring back to
you? Meanwhile, the teacher gives feedback to the
groups based on the observation and the monitoring.
Show students the video explaining the three different Projec L WG 20’ CC1, CC2 C1 -
-ed ending pronunciation (/t/, /d/, /ɪd/) tor
Homework: students have to prepare the song for - - - - - - -
next session, focusing on regular past tenses
pronunciation (-ed).
9th Session
S Activity Resou Skills Grouping Time Key Specific Evaluation

rces Content competences Criteria
9 Each group prepare the song: each participant have to - L, S, R PW 30’ CC1, CC2, C1, C2, C3, -
choose one part of the song and practice it. It is up to CC3, CC4, C4
each group to decide which part corresponds to each CC7, CC8
participant.
The teacher gives them the Rubric 5, so they know how Rub - - - - - -
they will be evaluated. ric 5
After having finished, each group have to go in front of Proj L, S SG 30’ CC1, CC2, C1, C2, C3 Rubric 5
the class and sing the song. Each participant will sing ecto CC3, CC4,
their part with the background song without lyrics. r CC18
While they perform the song, the teacher assesses Rubric 5
them according to the Rubric 5. Then, he or she has
to give a mark for each student as well as another
mark for each group.
10th Session
S. Activity Resourc Skills Grouping Tim Key Specific Evaluation

es Content competence Criteria
e
10 After having finished all the activities related to ‘Love - L WG 10’ CC1, CC2 C1 -
of my life’ and ‘39’, students will have to choose one
for their final project. To be able to do that, they will
take a piece of paper and write the name of the song
they want to choose. One student will collect all the
pieces of paper and the teacher will do the recount.
Once the song has been chosen, the students start Rubric 1 L, S, SG 30’ CC1, CC2, C1, C2, -
preparing a first draw of their guide notes keeping in R, W CC3, CC4, C3, C7,
mind the Rubric 1 and what they have learnt in the CC10, CC15 C8
previous sessions. The teacher assumes the ‘guide
role’, so the students can resort to him if
Exchange projects with other groups to evaluate Rubric 3 R, W SG 25’ CC7, CC8, C4, C6, Rubric 3
them through the Rubric 3. Return the guide notes to CC10, CC13, C9
each group and hand in the first draw of the dialog.
41
11th Session
Sessi Activity Resourc Skills Grouping Time Key Specific Evaluation

on # es Content compete nces Criteria
11 Each group works on the feedback to correct the - L, S, R, SG 20’ C1, CC2, CC3, C2, C9 -
dialog from the suggestions from the other W CC4, CC7,
groups. CC8, CC13
Keep working and improvising their texts. - L, S, SG 20’ CC13, CC15 C2, C,4, C9 -
R, W
The teacher gives feedback to each group - L SG 15’ CC1, CC4 C1 -
monitoring.
Homework: students have to record their - - - - - - -
songs. They can send them via mail to the
teacher or they can bring a pen drive for
next session. Furthermore, they have to
bring a copy (one for each group and one
for the teacher) of the verses they have
created.
The teacher gives them the Rubric 4, so Rubric 4 - WG, 5’ - - -
students know how they will be assessed. SG
12th Session
Sessi Activity Resources Skills Grouping Time Key Content S.C Evalua
on # tion
12 Students hand their texts to the teacher sheet with - - - - - -
and to the other groups, so they can look at song lyrics
the transcription while listening the
staging.
While the songs are playing, the students Rubric 4 L, W, R IW 5’ CC1 C1 -
have to evaluate the songs of their peers
through the Rubric 4.
The teacher will use the computer to - L, S WG 20’ CC1, CC2, CC3, CC4 C1, C2, -
play the songs the students have created. C3
Staging First group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4
Debate - L, S WG 5’ CC1, CC2, CC3, CC4 C1, C2 -
Second group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4

Third group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4
Fourth group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4
Fifth group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4
Sixth group Projector L SG 5’ CC1, CC2, CC10 C1 Rubric 4
Hand in the Rubric 4 Rubric 4 I 5’ - - Rubric 4
Debate: did you enjoy doing this project? - S, L WG 10’ CC1, CC3, CC4 C3 -
Why do you think you did it? What have
you learnt?
42
6. Discussion
The three didactic proposals could not be conducted, so the answers to the objectives set at the
beginning of the essay could not be accomplished. Moreover, even though the objectives were
set at the beginning of the essay, the instruments are the tools to know the reality of the use of
songs in education, and they are the main resource to base the didactic proposals on. Therefore,
the fact that no data could be gathered changed the perspective and the approach in which the
teaching proposals were set.
Thus, the theoretical framework provided all the information to create and answer the
objectives, as well as to create the didactic proposals. As I pointed out in the third didactic unit,
I did not have the opportunity to investigate which were the difficulties of the students regarding
pronunciation, so I resorted to Villalobos’ (2008) statement on the biggest difficulties of Spanish
students when facing English pronunciation.
I think that, with a biggest understanding and knowledge of the target students’ profile, that is,
more data about the learners whom the didactic proposals are addressed to, they could have
been prepared and created more precisely. Even though there are plenty of information about
the use and the benefits of using music as didactic material, the target learners and their context
and conditions are not the same. Therefore, each teacher has to evaluate their students to know
how to approach the use of songs in foreign language classrooms.
43
7. Conclusions
In this essay, I tried to justify the use of music and songs as a useful didactic material to introduce
in English as a foreign language teaching and learning. In the theoretical framework, therefore,
evidence on the use of songs in foreign language classrooms was provided, studying its benefits
when teaching pronunciation, culture and creativity.
In the methodology, I have created three instruments to be conducted before the didactic
proposals are produced, as they reflect the reality on the introduction of songs in foreign
language classrooms, and they answer the objectives set. Then, I have created three didactic
proposals to work on the three main aspects of the theoretical framework: pronunciation,
culture and creativity. Since I could not gather any data from the instruments created in the
methodology, I resorted only to the theory exposed in the theoretical framework, but I think
that the didactic proposals have potential to be introduced in a secondary school education
environment.
As this essay was not aimed at an exhaustive research on the potential didactic of songs, some
questions appeared when creating the teaching proposals: does teaching through songs has the
same impact on all languages? Are there some languages more likely to be taught through music
and songs? Would this methodology stimulate the desire of learning English even for those
students who do not like English? I think that teaching proposals involving songs can be
approached from any perspective, and I think that there is still a lot of work to do if we want
music to be implemented in the curriculum as frontline didactic material.
Selection criteria can be diverse regarding the author that suggests it, and I think that teachers
are in favor of introducing music in their teaching classrooms, but most of them do not know
neither how to use songs properly nor which songs they have to choose to be effective for their
students. I think that there is a huge disconnect between the theory regarding the benefits of
using songs in foreign language classrooms and the teaching proposals including music.
Therefore, I think that there should be more essays covering the implementation of didactic
proposals, instead of continuing with the research of more benefits or different approaches on
the reasons of using song in foreign language teaching and learning.
Although I have gathered all the elements in order to create song-based activities, I think that it
will only be when I put them into practice, that is, when I conduct them in a real educational
44
environment that I will realize where are the gaps of the proposals, which aspects can be
improved and their effectiveness in students.
Teachers should not be scared of creating their own didactic proposals and conducting them in
their classrooms, because this is the only way to explore if songs are appliable in an education
scenario, and if these didactic units require extra abilities from teachers to be created and
introduced. The benefits on the use of songs are already gathered and discussed; however, I
think it us up to each teacher to try to use them as a basis to create their own didactic proposals
and to try to give this fantastic resource a real use in our education.
45
8.1 Annexe 1: Rubrics
8.1.1 Rubric 1
PLANNING INDICATION EXCELLENT VERY AVERAGE FAILING (NA) EVALUATI
(AE) GOOD (AN) (AS) ON
OBJECTIVE The demand has
WORDING been set
The objectives have
been defined
PREVIOUS The previous
KNOWLEDGE knowledge of each
AND member of the
ACQUIRED group has been
KNOWLEDGE identified
The knowledge that
has to be acquired
for the project has
been identified
PLAN AND An action plan is
ORGANIZATI designed, according
ON OF THE to timing
PROJECT
The content learnt
in class is applied
ORGANIZATIO Collaborative
N OF THE working is applied
PROCESS OF
Each member’s role
SEARCHING OF
and function are
INFORMATION
identified
TRANSFER On the puzzle
OF methodology, we
INFORMAT have provided new
ION perspectives in
both jigsaw groups
and expert groups
DIALOG/S Good organization
ONG when creating the
PRODUCTI dialog/songs
ON All content learnt
during the project
have been included
in the dialog/song
LEARNING We have been able to
add new learnings
The puzzle
methodology and
the peer tutoring
have helped to
integrate a new
way of learning and
teaching
GROUP Each member of the
WORKING group has
contributed on the
learning process
46
8.1.2 Rubric 2
CRITERIA EXCELLENT VERY GOOD AVERAGE (AS) FALLING (NA)

(AE) (AN)
EXTENSION AND Brief and Complete A bit extensive Extensive
IDEAS complete
Distinction Distinction No clear distinction No distinction between the
between the between the between the main main idea and the
main idea and main idea and idea and the secondary ones
the secondary the secondary secondary ones
ones ones
COMPREHENSION/ Reflects perfect Reflects good Reflects Do not reflects
UNDERSTANDING understanding understanding of understanding of understanding of the
of the topic the topic the topic topic
Excellent Good Ordinary Poor organization
organization organization organization
Do not includes Some Enough unnecessary A lot of unnecessary
unnecessary unnecessary information information
information information
QUESTIONS Is able to answer Is able to answer Is able to answer Is not able to answer any
all the questions a lot of questions some questions questions
8.1.3 Rubric 3
CRITERIA XCELLENT (AE) VERY GOOD (AN) AVERAGE (AS) FALLING (NA)
RHYME Thorough rhymes: Very good rhymes: Ordinary rhymes; Bad rhymes: they do not
well matched and well structured however, they follow follow a poem structure
structured the poem structure (ABBA, AABB…) and are
(ABBA, AABB…) disjointed
VOCABULARY Uses words and Uses complex and Makes some Makes too many
expressions beyond taught vocabulary vocabulary mistakes vocabulary mistakes and
the taught and is expressive. and the vocabulary the vocabulary is too
vocabulary. The is basic. basic.
vocabulary used is
varied and rich. The
student is very
expressive
GRAMMAR The student does not The student makes The student makes The student makes
make grammar few mistakes, but many mistakes, and plenty of mistakes. It is
mistakes. It is very they are usual at this some of them are not impossible to
easy to understand learning level. The usual at this learning understand the text
the text text is level; however, it is
understandable possible to
understand the
student
CREATIVITY The song is very The song is creative: The song is not The song is not creative:
creative: it tells an it has meaning and is creative; however, it disjointed lines with no
interesting story interesting has meaning clear meaning
47
8.1.4 Rubric 4
NAME OF THE GROUP:
CRITERIA EXCELLENT (AE) VERY GOOD (AN) AVERAGE (AS) FALLINF (NA)
ORIGINALITY The project is done with The project is creative The project is not very The project is unoriginal and is
great resolute and original creative not creative.
imagination,
exceptionally creative and
original.
LANGUAGE USAGE All verb tenses learnt Some verb tenses Just some verb tenses learnt No verb tenses learnt during the
(GRAMMAR AND during the project are learnt during the during the project are project are included
SYNTAX) included and used project are included included and not used
correctly and used correctly correctly
VOCABULARY The student uses words The student uses The student makes some The student makes too many
and expressions beyond basic vocabulary. The vocabulary mistakes and vocabulary mistakes and the
the taught vocabulary. student uses the the vocabulary is very basic. vocabulary is too basic. The
The vocabulary used is taught vocabulary. The student use just some student does not use the taught
varied and rich. The The student is taught vocabulary. It is vocabulary. It is very difficult to
student is very expressive expressive. difficult to understand the understand the student.
student.
PRONUNCIATION It is clear and very It is clear and It is not clear. It is difficult It is not clear; it is impossible to
natural. It is very easy to natural. It is easy to understand some words understand the student
understand the student. to understand the or sentences.
student
FLUENTNESS Perfect staging, with good Good staging, with Regular staging, with Poor staging, with no body
body language and adequate body some body language language and bad
interactions language and and regular interactionis
interactions interactions
INTONATION The patterns of pitch The patterns of pitch The patterns of pitch The patterns of pitch variation
Tonality and tonicity variation are correct; it is variation are partially variation are sometimes are usually incorrect or
easy to infer what the correct. The student incorrect; it is not easy to unexisting and therefore it is
student says. The student remarks the tonic- infer what the student says. impossible to infer what the
clearly remarks the tonic- syllable The student makes some student says. The student makes
syllable. mistakes at remarking the plenty of mistakes at remarking
tonic-syllable. the tonic-syllable.
Observations:
8.1.5 Rubric 5
CRITERIA EXCELLENT (AE) VERY GOOD (AN) AVERAGE (AS) FALLING (NA)
PRONUNCIATION Distinguishes and Distinguishes the Does distinguish the Does not distinguish
[t], [d] and [id] pronounces the differences between [t], differences between [t], between [t], [d], and [id]
differences between [d], and [id], and [d], and [id], but finds it and does know how to
[t], [d], and [id] pronounces them difficult to pronounce pronounce them
perfectly properly them
GENERAL Good pronunciation. Pays Good pronunciation. Some Bad pronunciation. A lot Bad pronunciation. Plenty
PRONUNCIATION attention to the aspects mistakes on aspects of mistakes on aspects of mistakes on aspects
worked in previous worked in previous worked in previous worked in previous
sessions (vowels and sessions (vowels and sessions (vowels and sessions (vowels and
consonants) consonants) consonants) consonants)
INTONATION The patterns of pitch The patterns of pitch The patterns of pitch The patterns of pitch
Tonality and tonicity variation are correct; it is variation are partially variation are sometimes variation are usually
easy to infer what the correct. The student incorrect; it is not easy to incorrect or unexisting
student says. The student remarks the tonic-syllable infer what the student and therefore it is
clearly remarks the tonic- says. The student makes impossible to infer what
syllable. some mistakes at the student says. The
remarking the tonic- student makes plenty of
syllable. mistakes at remarking the
tonic-syllable..
48
8.2 ANNEXE 2: EXERCISES
8.2.1 Exercise 1
1. Watch the video of the game Irish drinking songs performed in the TV show Whose line is it
anyway and answer the following questions:
1. What is the main topic?

•
2. Which resources do they use to create a funny scene?
•
3. Write a brief summary of the song (20-40 words)
•
8.2.2 Exercise 2
1. Watch the video of the game Irish drinking songs performed in the TV show Whose line is it
anyway and answer the following questions:
1. What is the main topic?

•
2. Which resources do they use to create a funny scene?
•
3. Write a brief summary of the song (20-40 words)
8.2.3 Exercise 3
1. Based on the following images, draw a picture to finish them (see the example)
Example:
2. Then, write a story behind the picture you have created (150-200 words). The story has to
include the following verb tenses: present perfect and past simple.
•
(This exercise was extracted and adapted from https://www.artworkarchive.com/blog/7-fun-
exercises-to-quickly-improve-creative-thinking)
49
8.2.4 Exercise 4
1. Complete the table introducing new types of houses: provide an image of the house, which
type of house it is, in which country we can find this house and its purpose.
IMAGE TYPE OF HOUSE COUNTRY PURPOSE
Cave homes Matmata, Tunisia These houses provide protection from the
north African sun and desert winds
Underground Coober Pedy, As Coober Pedy is one of the hottest places

houses Australia on earth, people live in caves below the
ground, where the temperature is always
comfortable
Yurts or Ger kyrgyzstan, Transferable nomad house. when the

central asia domestic animals have eaten the grass of
that area, the nomads move the house
1.
2.
8.2.5 Exercise 5
Original Translation
There is a house built out of stone/Wooden floors, walls and
SECTION 1
window sills/Tables and chairs worn by all of the dust/This is a

place where I don't feel alone/This is a place where I feel at home/
'Cause, I built a home/For you/For me
Until it disappeared/From me/From you/And now, it's time to

SECTION 2
leave and turn to dust/Out in the garden where we planted the

seeds/There is a tree as old as me
Branches were sewn by the color of green/Ground had arose and
passed it's knees
By the cracks of the skin I climbed to the top/I climbed the tree to
see the world/When the gusts came around to blow me down/I
SECTION 3
held on as tightly as you held onto me/I held on as tightly as you

held onto me/And, I built a home/For you/For meUntil it
disappeared/From me/From you/And now, it's time to leave and
turn to dust
1. Translate your previously assigned section of To build a house.
2. Find complex vocabulary or grammar.
3. Be expert on that grammar constructions or vocabulary to explain it to expert groups.

50
8.2.6 Exercise 6
1. Culture Share. Explain your peer (in any language or languages you want) an item of your own
culture and its importance within that culture. He or she will have to take notes in the L1 and
then explain it back to you in English. You will assess and mark the following questions about
the explanation of your peer.
Your name: Excellent Good Needs
improvement
Name of the student assessed:
The explanation is understandable
The main important aspects are gathered and summarized
Detail aspects are included

Good pronunciation and intonation
Complex vocabulary and grammar
8.2.7 Exercise 7
1. Vowels /i:/ vs. /ɪ/: Choose the correct pronunciation from that given in parentheses .
Love of my life, you’ve hurt (/miː/ /mɪ/)
You’ve broken my heart and now you (/li:v/ /lɪv/) (/miː/ /mɪ/)
Love of my life, can’t you (/siː/ /sɪ/)
(/brɪŋ/ /bri:ŋ/) (/ɪt/ /i:t/) back

(/brɪŋ/ /bri:ŋ/) (/ɪt/ /i:t/) back
Don’t take (/ɪt/ /i:t/) away from (/miː/ /mɪ/)
(/bɪˈkɒz/ /b i:ˈkɒz/) you don’t know
What (/ɪt/ /i:t/) (/miːnz/ /mɪnz/) to (/miː/ /mɪ/)
8.2.8 Exercise 8
Find the minimal pairs and classify them in the following table:
/f/ /b/ /v/
• Practice the pronunciation of all the words in the box to read them out loud.
51
8.3 ANNEXE 3: SONGS
8.3.1 Song 1: To build a home 8.3.2 Song 2: This city

There is a house built out of stone I've been seeing lonely people in crowded rooms
Wooden floors, walls and window sills Covering their old heartbreaks with new tattoos
Tables and chairs worn by all of the dust It's all about smoke screens and cigarettes
This is a place where I don't feel alone Looking through low lights at silhouettes
This is a place where I feel at home But all I see is lonely people in crowded rooms
'Cause, I built a home This city's gonna break my heart

For you This city's gonna love me then leave me alone
For me This city's got me chasing stars
It's been a couple months since I felt like I'm home
Until it disappeared Am I getting closer to knowing where I belong?
From me This city's gonna break my heart
From you She's always gonna break your heart, oh
And now, it's time to leave and turn to dust I remember mornings when my head didn't hurt
And I remember nights when art didn't feel like work
Out in the garden where we planted the She wakes up at noon and she's out 'til three
seeds She leaves her perfume all over me
There is a tree as old as me But I remember mornings when my head didn't hurt
Branches were sewn by the color of green
Ground had arose and passed it's knees Oh, this city's gonna break my heart
This city's gonna love me then leave me alone
By the cracks of the skin I climbed to the top This city's got me chasing stars
I climbed the tree to see the world It's been a couple months since I felt like I'm home
When the gusts came around to blow me Am I getting closer to knowing where I belong?
down This city's gonna break my heart
I held on as tightly as you held onto me She's always gonna break your heart
I held on as tightly as you held onto me
Ooh-ooh-ooh, ooh, ooh, ooh, ooh, oh (x2)
And, I built a home
For you She got a hold on me
For me She got me wrapped 'round her finger
She got a hold on me
Until it disappeared She got me wrapped 'round her finger
From me
From you This city's gonna break my heart (oh, yeah)
This city's gonna love me then leave me alone (it's
And now, it's time to leave and turn to dust gonna love me then leave me alone)
This city's got me chasing stars (oh)
It's been a couple months since I felt like I'm home
Am I getting closer to knowing where I belong?
This city's gonna break my heart (hey, yeah)
She's always gonna break your heart
Ooh-ooh-ooh, ooh, ooh, ooh, ooh, yeah

Ooh-ooh-ooh, ooh, ooh, ooh, ooh, oh
This city's gonna break my heart, hey

She's always gonna break your heart
52
8.3.3 Song 3: Love of my life 8.3.4 Song 4: 39’

Love of my life, you've hurt me In the year of thirty-nine
You've broken my heart Assembled here the volunteers
And now you leave me In the days when lands were few
Here the ship sailed out into the blue and sunny
Love of my life, can't you see? morn
Bring it back, bring it back The sweetest sight ever seen
Don't take it away from me
because you don't know And the night followed day
What it means to me And the story tellers say
That the score brave souls inside
Love of my life, don't leave me For many a lonely day
You've stolen my love Sailed across the milky seas
And now desert me Never looked back never feared never cried
Love of my life, can't you see? Don’t you hear my call?

Bring it back, bring it back Though you’re many years away
Don't take it away from me Don’t you hear me calling you?
Because you don't know Write your letters in the sand
What it means to me For the day I’ll take your hand
In the land that our grand-children knew
You will remember
When this is blown over In the year of thirty-nine
Everything's all by the way Came a ship from the blue
When I grow older The volunteers came home that day
I will be there at your side And they bring good news
To remind you how I still love you Of a world so newly born
I still love you Though their hearts so heavily weigh
Hurry back, hurry back For the earth is old and grey
Don't take it away from me Little darlin’ we’ll away
Because you don't know But my love this cannot be
What it means to me Oh, so many years have gone
Love of my life Though I’m older than a year
Love of my life Your mothers eyes from your eyes cry to me
Don't you hear my call?

Though you're many years away
Don't you hear me calling you
Write your letters in the sand
For the day I'll take your hand
In the land that our grand-children knew
Don’t you hear my call?

Though you’re many years away
Don’t you hear me calling you?
All your letters in the sand
Cannot heal me like your hand
For my life still ahead pity me
53
8.4 ANNEXE 4: TABLES
8.4.1 Table 1 8.4.2 Table 2

54
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FACULTAT DE PSICOLOGIA, CIÈNCIES DE L’EDUCACIÓ I DE L'ESPORT BLANQUERNA

ENGINYERIA I ARQUITECTURA LA SALLE

(UNIVERSITAT RAMON LLULL)

Màster en Formació del Professorat d’Educació

TREBALL FINAL DE MÀSTER

Using songs in EFL teaching and learning: a

ESTUDIANT: Arnau Mulet Mulet

8.1.4 Rubric 4 ................................................................................................................. 47

Key words: EFL, pronunciation, culture, creativity, motivation.

This essay is structured in seven sections: introduction, objectives, theoretical framework,

Finally, a bibliography of all the resources used in this essay is provided.

The objectives set are:

2. To examine in which way teachers can use music as a didactic material.

3.1 The use of songs in EFL in nowadays education

3.2 Motivation and its importance in the learning process

3.3 Using songs to teach pronunciation

Pronunciation is a crucial aspect when learning a language because is the means to

Moreover, although pronunciation is placed in the highest-ranking of students’ interests in many

3.4 Using songs to boost creativity

3.5 Using songs to raise cultural awareness

4.1 Participants and context

4.2.1.1 Questionnaire about the use of songs in English classroom - students

Respon les preguntes següents marcant amb una X de 1-5

2. Has treballat mai amb activitats 5. El treball amb aquestes activitats ha

4.2.1.2 Questionnaire about the use of songs in English classroom - teachers

Respon les preguntes següents marcant amb una X de 1-5

3. Has utilitzat aquestes activitats en un 6. Estaries disposat a tornar a treballar amb

4.2.2 Observation grid

Activities involving songs in English as a foreign language YES NO OBSERVATIONS/COMMENTS

Students’ interests have been taken into account when

Context about the song is given before or after having

5.1 Selection criteria

1. Are words, phrases, verses or choruses repeated?

5.2 Didactic Unit 1: Whose line is it anyway?

5.2.1. Competences, dimensions and objectives

8.1.1.2 Sequencing of sessions

S Activity Reso S Group Ti Key Specific Evaluatio

Ses Activity Res S Group Ti Key Specific Evaluatio

Ses Activity Resource Skill Group Ti Key Specific Evaluatio

S Activity Resour Skill Group Ti Key Specific Evaluatio

Ses Activity Resources Sk Group Ti Key Specific Evaluation

Ses Activity Resource Skills Group Ti Key Specific Evaluati

Ses Activity Resources Skill Group Ti Key Specific Evaluati

Ses Activity Resources Skill Group Ti Key Specific Evaluatio

The students start creating the - R, IW 20’ CC8, C8 -

Ses Activity Resources / Sk Group Ti Key Specific Evaluati

S Activity Reso Sk Group Ti Key Specific Evaluati

Ses Activity Resource Skills Group Ti Key Specific Evaluati

Ses Activity Resources / Sk Group Ti Key Specific Evaluati

Staging First group Projector L S 5’ CC3, CC4, C2 Rubri c 4

5.3 Didactic Unit 2: Houses around the world

8.3.1 Competences, dimensions and objectives

8.1.2.2 Sequencing of sessions

Sessi Activity Resource Skills Grouping Time Key Specific Evaluati

Sessi Activity Resources / Skills Grouping Time Key Specific Evaluation

Ses Activity Resources / Skills Grouping Time Key Specific Evalua

Sessi Activity Resources / Skills Grouping Time Key Specific Evaluati

Sessi Activity Resources / Skills Grouping Time Key Specific Evaluation

Each student hands in the Exercise 5 Exercise 5 - IW 5’ - - Exercise 5