Teaching Listening Skills to Young Learners through "Listen and Do" Songs
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Mus t a fa Şe vik
T u r k e y
Teaching Listening Skills to
Young Learners through
“Listen and Do” Songs
I
f it’s true that listening skills are The purpose of this article is two-
the most important outcomes of fold: I will first provide a theoretical
early language teaching (Demirel discussion about listening skills and
2004), that explains the constant YLs, and about songs and YLs in gen-
demand for methods that successfully eral; second, I will provide a sample les-
improve listening skills of learners. son for what can be called “Listen and
Songs can be one of the most enjoy- Do” songs for YLs at the beginning
able ways to practice and develop lis- level. These are the songs to which stu-
tening skills. Any syllabus designed for dents physically respond by perform-
teaching English as a Second/Foreign ing an action (e.g., a song contains
Language (ESL/EFL) to young learn- the words “wake up,” and whenever
ers (YLs) typically contains songs, students hear “wake up” they perform
chants, and rhymes (Bourke 2006). an action, such as raising their hands).
Musical expression is an essential part Teachers around the world can apply
of the human experience, and chil- this lesson to songs of their own choice
dren respond enthusiastically to songs to make students active participants in
and welcome them. the listening activity from start to fin-
Klein (2005) argues that teach- ish. Following the lesson plan is a short
ing YLs is different from teaching
list of online song resources for teach-
adults. YLs tend to change their mood
ing young ESL/EFL learners.
every other minute, and they find it
extremely difficult to sit still. On the Listening skills and young
other hand, children show greater learners
motivation than adults to do things Listening is the receptive use of
that appeal to them. It therefore helps language, and since the goal is to make
if the teacher is inventive and selects sense of the speech, the focus is on
a wide variety of interesting activities, meaning rather than language (Cam-
especially with songs. eron 2001). Sarıçoban (1999) states
10 2012 N u m b e r 3 | E n g l i s h T e a c h i n g F o r u mthat listening is the ability to identify and Songs and young learners
understand what others are saying. For learn- The most prominent features of songs
ers, listening is how spoken language becomes that reinforce language acquisition include
input (i.e., it is the first stage of learning a their rhythmic and repetitive nature and the
new language). In the classroom, this happens joy that the association between melody and
by listening to the teacher, a CD, or other content brings to the learning activity. Chil-
learners. It is the process of interpreting mes- dren have a keen awareness of rhythm, and
sages—what people say. they have not yet experienced the anxiety that
Two theories of speech perception portray can accompany learning a second language
listeners as having very different roles. In the (Krashen 1981). Therefore, songs are consid-
first view, listeners play a passive role and ered to be a sine qua non of teaching ESL/EFL
simply recognize and decode sounds, and in to YLs. I feel that among the many advantages
the second view, listeners play an active role of using songs in YL ESL/EFL classrooms, the
and perceive sounds by accessing internal most striking ones are the following.
articulation rules to decode speech (Crystal
1997). Whether speech perception is active Songs are key to primary practice
or passive, or a combination of both, Phillips Most primary school teachers generally
(1993) says that listening tasks are extremely use songs as a teaching technique, and Cam-
important in the primary school setting, eron (2001) claims that the use of songs
providing a rich source of language data from and rhymes is also important for YLs in
which children begin to build up their own foreign language classrooms. Likewise, John-
ideas of how the foreign language works. This stone (2002) claims that teachers of YLs may
knowledge is a rich source that YLs draw on make an important contribution to children’s
to produce language. early language education by introducing their
Listening is the initial stage in first and classes to recorded songs. Demirel (2004)
second language acquisition. According to makes the strongest claim when he argues
Sharpe (2001), the promotion of children’s that the most effective way to teach listening
speaking and listening skills lies at the heart comprehension, pronunciation, and dictation
of effective learning in all subjects of the pri- to YLs is through teaching songs.
mary curriculum. Therefore, ESL/EFL teach-
ers have to make the development of children’s Songs create a safe and
listening skills a key aim of primary teaching natural classroom ethos
and equip them with the best strategies for According to Cullen (1998, 1999), songs are
effective listening. significant teaching tools in teaching ESL/EFL
Linse (2005) also considers the teach- because, as most teachers find out, students
ing of listening skills as foundational to the love listening to music in the language class-
development of other language skills. We room and they often hold strong views about
should, however, be aware that any kind of music. This affinity with music makes songs
listening comprehension activity needs to be vital tools to create a safe and natural class-
well guided with clear aims. To this end, Ur room ethos and to overcome feelings of shy-
(1996) argues that a listening purpose should ness and hesitation on the part of the learners.
be provided in the definition of a pre-set task. Because of their limited attention span,
The definition of a purpose (a defined goal, as YLs need a variety of activities. YLs are often
in the “wake up” example) enables the listener shy, and they should join in classroom activi-
to listen selectively for significant informa- ties when they feel ready rather than when
tion. Providing the students with some idea of the teacher demands—an opportunity that
what they are going to hear and what they are songs create (Djigunovich and Vilke 2000).
asked to do with it helps them to succeed in The learning characteristics of YLs also reveal
the task; it also raises motivation and interest. a need to develop a strong emotional attach-
The fact that learners are active during the lis- ment to their teacher. Listen and Do songs
tening, rather than waiting until the end to do support this attachment since the students
something, keeps the learners busy and helps and the teacher are physically involved in
prevent boredom. doing the same actions; that is, they share a
E n g l i s h T e a c h i n g F o r u m | Number 3 2012 11common experience. The students’ education, 3. Linguistic reasons: In addition to build-
including language education, is a process in ing fluency, songs provide exposure to a
which they should be encouraged to contrib- wide variety of the authentic language
ute physically, emotionally, and intellectu- students will eventually face in non-
ally. This type of learning environment is best academic settings.
achieved when the teacher creates a safe, non-
threatening context within which learners can How to teach songs
play with language. A word of caution is necessary. As language
teachers, we should always bear in mind that
Songs provide opportunities for our main responsibility is to teach the target
repetition and practice language. No matter how fun and enjoyable
Songs provide excellent opportunities for song activities may be for YLs, we should not
repetition and practice that might otherwise get carried away by the music and rhythm of
be tedious. Repetition of language is pleasur- songs. Our main responsibility is not to teach
able—such as repeating choruses, or singing singing skills, but to teach the target language.
cumulative songs where each verse borrows Therefore, if songs are used ineffectively, they
words from a previous verse (e.g., “The can easily become mere entertainment and
Twelve Days of Christmas”). This repetition, pleasurable interruptions in the school day
most often accompanied by physical actions, that, in the long term, result in boredom and a
helps learning and in turn leads to familiar- lack of interest. There should be a clear reason
ity so that children feel comfortable with the in the language teacher’s mind as to why and
foreign language (Rumley 1999). In addition, how to use a song. Songs can be an effective
as argued by Sharpe (2001), by singing songs means of developing children’s language skills
pupils gradually internalize the structures and only when they are well integrated into a
patterns of the foreign language as well as the scheme of work and carefully selected for the
specific language items that the teacher wants cognitive and linguistic needs of pupils.
them to learn. Kirsch (2008) states that listening activities
should be based on meaningful, appropriate,
Songs provide opportunities for and authentic texts (e.g., a story, song, or
real language use poem) that assist listening and remembering
According to Sharpe (2001), songs provide and that match the language and grade level
an occasion for real language use in a fun and of pupils.
enjoyable situation. She claims that singing is Ersöz (2007, 20) suggests that teachers
a vital part of the life of a young child, inside should be careful to choose songs that:
and outside the school, and incorporating the • contain simple and easily understood
foreign language into this fundamental activ- lyrics
ity is another way of normalizing it. Young • link with a topic or vocabulary that
children readily imitate sounds and often learners are studying in class
pleasurably associate singing and playing with • contain repetitive lines
rhythms and rhymes from an early age. • allow children to easily do actions (to
Schoepp (2001) believes that the follow- help emphasize meaning)
ing three patterns emerge from the research
on why songs are valuable in the ESL/EFL Total Physical Response
classroom: In relation to how to present songs to YLs,
1. Affective reasons: A positive attitude Phillips (1993) points out that we should
and environment enhance language incorporate some of the techniques from
learning. Songs are an enjoyable activ- the Total Physical Response (TPR) approach
ity that contribute to a supportive, (such as Listen and Do songs). TPR is built
non-threatening setting with confident around the coordination of speech and action,
and active learners. focusing on teaching languages through phys-
2. Cognitive reasons: Songs contribute to ical activity (Richards and Rodgers 2001).
fluency and the automatic use of mean- This is an extremely useful and adaptable
ingful language structures. teaching technique, especially in the case of
12 2012 Number 3 | E n g l i s h T e a c h i n g F o r u mYLs who listen to their teacher’s instructions • Ask the students if they already know
in the form of commands and then follow any words in English related to the
those instructions. For example, in the intro- title of the song. On the board, write
duction of new commands, the teacher first any English words that the students
says, “Wash your hands,” and then shows the mention.
action to this command. Next, the teacher • Finally, explain the unknown vocabu-
gives the command and asks the students to lary from the song through actions and
perform the action. Similar routines are car- visuals. There are usually very colorful
ried out all through the lesson. pictures in YLs’ books, and it is time-
Likewise, Sarıçoban and Metin (2000) saving to make use of them.
suggest that adding motions that parallel the
words of the song makes songs more mean- Stage 2: While-teaching activities
ingful and enjoyable. Choosing action songs This stage is useful to help the learners
to which learners can dance or act while sing- understand the text through activities. As
ing will ensure a lively atmosphere. pointed out earlier, one advantage of Listen
Overall, there seems to be general agree- and Do songs is that students are active as
ment among scholars and teachers that a they are listening. However, do not expect
three-staged approach is the most effective your students to learn the song and the
way to present songs to YLs. These stages are accompanying actions in the first listening.
(1) pre-teaching, (2) while-teaching, and (3) They will need to listen to the song a few
post-teaching. In the following lesson plan, times. Drawing on my experience, I suggest
Listen and Do songs will be presented accord- listening to a song three or four times and
ing to these three stages. carrying out the tasks described below.
First listening. The aim of the first listen-
A lesson plan for Listen and Do songs ing, as pointed out by Harmer (1991), is to
Before you start teaching any song, ascer- give students an idea of what the listening
tain that the classroom CD player is ready for material sounds like. Let the students listen
use and that every student can hear equally to the song without any interruptions so
well. If you are going to use handouts, distrib- that they will have an opportunity to hear
ute them to the students but tell them not to the music and the lyrics. This may also be
read the lyrics until after the first listening. If termed free listening. I find this activity quite
you are using a textbook, tell the students the beneficial and motivating for my students,
page number. If you do not have a textbook or and they express positive feelings about free
access to a photocopier, you may write the lyrics listening. After the free listening, tell the stu-
on the board or on a poster before you start. dents to look at the lyrics of the song (from
the handout, textbook, board, or poster),
Stage 1: Pre-teaching activities since this is probably the best time to let stu-
According to Davies and Pearse (2000), dents see and read the lyrics. (If the students
this stage is useful to prepare the learners read the lyrics before the first listening, they
for what they are going to hear, just as we may try to read along and not concentrate.)
usually prepare for real-life situations. Impor- Next, read the lyrics of the song aloud and
tant points to consider for this stage, mainly ask the students to listen and follow from the
derived from my own teaching experience, are handout. Finally, read the lyrics aloud line
as follows: by line and ask the students to repeat every
• To get the students interested in the line aloud.
topic of the song and to warm them up, After you have completed the repetition
you can show a picture or other realia phase, use the power of TPR to teach the
related to the song and ask the students actions for the song. Read every line aloud,
what they think the song is about. Tol- demonstrate the associated action or actions,
erate some native language use, as these and ask the students to do the same actions.
are YLs and beginners. The following well-known song, “Head,
• Next, read the title of the song aloud, and Shoulders, Knees, and Toes” (Oxford Uni-
explain it through actions and visuals. versity Press 1997), illustrates the activity.
E n g l i s h T e a c h i n g F o r u m | Number 3 2012 13Teacher: stands in front of the class and says Third listening. This is the stage when stu-
“head” and touches his or her head dents are asked to sing the song along with the
with both hands CD or the teacher line by line. As a teacher,
Students: say “head” and touch their heads as check for correct intonation of language—not
shown by their teacher music—and pronunciation, and do some
Teacher: says “shoulders” and touches both remedial work on any problematic intonation
shoulders or pronunciation.
Students: say “shoulders” and touch their Fourth listening. Ask the students to sing
shoulders as shown by their teacher the complete song along with the CD and
Teacher: says “knees” and touches both join in the singing yourself. Also, ask the
knees students to do the accompanying actions. My
Students: say “knees” and touch their knees as own experience demonstrates that the final
shown by their teacher listening can be carried out a few times, as the
Teacher: says “toes” and points to his or her students are eager and interested to sing the
toes whole song and perform the actions.
Students: say “toes” and point to their toes as
shown by their teacher Stage 3: Post-teaching activities
Teacher: says “eyes,” “ears,” “mouth,” and This stage is generally accepted as the
“nose” and meanwhile touches stage when the teacher moves on from listen-
them in order, as in the previous ing practice to focus on other language skills
examples such as reading, speaking, and writing. In
Students: say “eyes,” “ears,” “mouth,” and this context, Listen and Do songs are suitable
“nose” and meanwhile touch the for competitions, games, and simple drama
corresponding body parts as in the activities. Some suggested examples follow.
previous examples • Depending on the number of stu-
dents, divide the class into two or
At this stage, it is the responsibility of three groups. Assign a part of the song
the teacher to ascertain that each student to each group, then ask the groups
understands the vocabulary and actions in the to sing along with the CD and at the
song and that they can do the actions when same time do the actions. TPR songs
they are asked. It is for the teacher to decide in general are suitable for class, group,
whether to do extra repetitions. Drawing on or individual competitions, so you may
my own experience, I feel it is always a good wish to turn this song into a competi-
idea to double-check student comprehension tion by assigning points to every cor-
of words and actions; students may say they rect pronunciation and action. In my
understood everything because they want to own teaching context I choose four
proceed to the next stage right away. To check representatives from each group and
student understanding, randomly name the ask them to sing their part with the
vocabulary that you have taught and ask the actions. This game is greatly enjoyed by
students to do the accompanying actions. the majority of students.
Second listening. Play the song again and • As an alternative to the above activity,
guide the students both by singing and doing the following game may be played:
the actions that you have already taught. This choose two students and call them
time, ask the students to just listen and do to the front. Then give commands
the actions under your guidance. Hearing the randomly related to the song and
teacher sing the song and seeing the teacher do reward the quickest correct action with
the actions help students overcome feelings of applause by the class. The following
shyness and lack of confidence. Besides, stu- description illustrates this activity: The
dents find it funny and interesting when they teacher says “knees,” and the students
see their teacher doing the actions to a song. are expected to touch or point to their
I believe that this situation motivates the stu- knees. The quickest student to touch
dents and prepares them for the third listen- or point to his or her knees wins a
ing, where they will be asked to sing the song. point and is applauded by the class.
14 2012 Number 3 | E n g l i s h T e a c h i n g F o r u mThe teacher names other items from A focus on literary skills at the
the song, and again the student who is post-teaching stage
quickest to do the appropriate action I have noticed that songs create opportuni-
gets a point. This game becomes even ties for a smooth transition from singing and
more fun if the teacher lets the stu- listening to reading and literacy exercises. To
dents in the class give the commands. foster reading and literacy skills at the post-
Besides, if students “take over” in this teaching stage, you may carry out the fol-
way, the activity is not always centered lowing activity. I will illustrate two examples,
on the teacher, and consequently there again using the “Head, Shoulders, Knees, and
is more room for student practice. Toes” song.
• The same game may be played as a • The teacher makes sets of cards with a
whole class as well. The teacher ran- key word from the song on each (e.g.,
domly gives commands, and any stu- mouth, head) and then cuts each card
dent to do an incorrect action is taken in half, with a part of the word on each
out of the game. The last remaining half. Next, the teacher asks the students
student is announced as the winner. to work in pairs and reconstruct the
• To strengthen students’ speaking skills, words by finding and putting together
the teacher performs the actions ran- the two halves correctly. Once the stu-
domly, without speaking, and asks the dents finish the activity, the teacher asks
students to name the correct words or the pairs to show and read aloud the
the correct commands. I generally turn words that they have reconstructed.
this activity into a competition between • Alternatively, using the structure “I
the teacher and the students by giving have _____,” the teacher writes dif-
a point for every correct student utter- ferent sentences on cards (e.g., “I have
ance to the students and a point to two eyes”) and cuts each sentence into
the teacher for the opposite case. The pieces with a word on each piece. Then,
students in my own teaching context the teacher asks the students to form
were very eager to beat the teacher, and small groups and gives the pieces for a
hence this activity was very popular. different sentence to each group. Next,
• To foster students’ writing skills, the the teacher asks the groups to construct
teacher sticks a picture, or several a sentence by using the words they
pictures, on the board and asks dif- have. Finally, each group is asked to
ferent students to come up and write read its sentence aloud.
what the picture shows. For example,
I usually put a picture or drawing of Follow-up activities
a human body on the board for the The post-teaching activities that have been
song “Head, Shoulders, Knees, and discussed so far are mostly immediate activi-
Toes” and draw arrows linked to the ties. However, it may be beneficial for the
head, shoulders, knees, toes, eyes, ears, students to sing the song the next day, or
mouth, and nose. Next, I teach the for a number of days after it is taught. These
structure “I have _____” and write an repetitions of the song may be termed as
example sentence on the board (e.g., long-term follow-ups, and such activities aid
“I have brown eyes”). Then I name in the building and development of long-term
an item (e.g., ears) and call a student memories on the part of the students. The
to the board. The student first has to following two activities may be tried as follow-
write the word ears in the blank line. ups when you return to a song a day or two
Then, the student has to write a sen- after students first learn it.
tence using the “I have _____” struc- • Prepare a worksheet consisting of the
ture. (“I have two ears.”) It is a good pictures of the key words from the song
idea at this point to help your students and leave a blank space below each
write the sentences and ask the other picture so that students can fill it in
students both to help and to copy the with the right word. For example, the
sentences from the board. pictures may be of parts of the body
E n g l i s h T e a c h i n g F o r u m | Number 3 2012 15mentioned in the song. Distribute the I have selected from this website are
worksheets and ask the students to “Bounce the Ball”; “Here We Go!”;
complete the task individually in 3–5 “Let’s Move!”; “Fruit Vendor”; and “In
minutes. If you think that this activity the Kitchen.”
is too challenging for your students, 3. www.songsforteaching.com/index
you may wish to provide a list of the .html – This website aims to use music
key words at the top or bottom of the to promote learning and provides an
worksheet. Once the students com- extensive selection of songs that can
plete the task, ask them to check their be used with young ESL/EFL learners.
answers with a classmate. Finally, ask The sections titled “early childhood
different students to read their answers songs” and “languages” provide a great
aloud. This activity allows you to check number of songs appropriate for ESL/
both writing and speaking skills. EFL classes. The names of a few songs
• Prepare sets of flashcards with a key I have selected from these two sections
word from the song on each. Again, the are “Can You Move Like Me?”; “Jump
flashcards might be of parts of the body Up!”; “Directions”; “Counting 1 to
from the song. Depending on your 10”; and “Five Fingers.”
class size, you may wish to give a set of
flashcards to every student, or you may Conclusion
divide the class into groups of three or Developing listening skills is a fundamen-
four students. Once you decide on the tal component of any ESL/EFL curriculum
format, distribute the flashcard sets and for YLs, and songs are regarded as one of the
ask the students to listen attentively as most effective techniques to this end. Songs
you name the key words that appear have a definite place in the YL classroom; they
on the flashcards. The students are to provide meaningful and enjoyable language
pile up the flashcards in the order they practice, especially in fostering listening skills.
hear. Once you finish naming all the The hope is that the more songs YLs experi-
key words, check for the correct order ence, the better language learners they will
of flashcards. If you increase the pace become. The effectiveness and importance of
of your naming of the items as you go songs increase when they are used in combi-
along, the activity becomes more chal- nation with TPR, which involves game-like
lenging and fun. Make sure that you movements.
change the order in which you name It is my hope that the sample lesson plan
the key words every time. in this article will bring songs to the atten-
tion of teachers of English to YLs and rein-
A short list of online resources for songs force the practice of using songs in ESL/EFL
1. http://learnenglishkids.britishcouncil contexts. It is important that ESL/EFL teachers
.org/en/songs – This website has been understand the reasons for using songs in the
designed by the British Council and YL classes and understand teaching procedures.
provides a number of animated and Then they will discover their own reasons for
subtitled songs for teaching English and ways of using songs effectively and mean-
to YLs. There are also online pre- and ingfully in their respective teaching contexts.
post-activities and exercises for the
teacher to use. The names of a few ani- References
mated songs I have selected are “Over Bourke, J. M. 2006. Designing a topic-based syl-
the Mountains”; “The Wheels on the labus for young learners. ELT Journal 60 (3):
Bus”; “Twinkle, Twinkle, Little Star”; 279–86.
“The Leaves on the Tree”; and “My Cameron, L. 2001. Teaching languages to young
Computer Mouse.” learners. Cambridge: Cambridge University
2. www.kididdles.com – This website Press.
also provides an extensive selection of Crystal, D. 1997. The Cambridge encyclopedia of
songs, lyrics to read, and free printable language. 2nd ed. Cambridge: Cambridge Uni-
lyric sheets. The names of a few songs versity Press.
16 2012 Number 3 | E n g l i s h T e a c h i n g F o r u mCullen, B. 1998. Music and song in discussion. The Phillips, S. 1993. Young learners. Oxford: Oxford Internet TESL Journal 4 (10). http://iteslj.org/ University Press. Techniques/Cullen-Music.html Richards, J. C., and T. S. Rodgers. 2001. Approach- ——. 1999. Song dictation. The Internet TESL es and methods in language teaching. Cambridge: Journal 5 (11). http://iteslj.org/Techniques/ Cambridge University Press. Cullen-SongDictation.html Rumley, G. 1999. Games and songs for teach- Davies, P., and E. Pearse. 2000. Success in English ing modern languages to young children. In teaching. Oxford: Oxford University Press. The teaching of modern foreign languages in the Demirel, Ö. 2004. Yabanc1 dil öğretimi: Dil pas- primary school, ed. P. Driscoll and D. Frost, aportu, dil biyografisi, dil dosyas1 [Teaching 114–25. London: Routledge. modern foreign languages: Language passport, Sarıçoban, A. 1999. The teaching of listening. The language biography, language dossier]. 2nd ed. Internet TESL Journal 5 (12). http://iteslj.org/ Ankara, Turkey: Pegem A Publishing. Articles/Saricoban-Listening.html Djigunovich, J. M., and M. Vilke. 2000. Eight Sarıçoban, A., and E. Metin. 2000. Songs, verse years after: Wishful thinking or the facts of life. and games for teaching grammar. The Internet In Research into teaching English to young learn- TESL Journal 6 (10). http://iteslj.org/Techniques/ ers, ed. J. Moon and M. Nikolov, 67–86. Pécs, Saricoban-Songs.html Hungary: University of Pécs Press. Schoepp, K. 2001. Reasons for using songs in the Ersöz, A. 2007. Teaching English to young learners. ESL/EFL Classroom. The Internet TESL Journal Ankara, Turkey: EDM Publishing. 7 (2). http://iteslj.org/Articles/Schoepp-Songs Harmer, J. 1991. The practice of English language .html teaching. 2nd ed. Harlow, UK: Longman. Sharpe, K. 2001. Modern foreign languages in the Johnstone, R. 2002. Addressing ‘the age factor’: primary school: The what, why and how of early Some implications for languages policy. Strasburg, MFL teaching. London: Kogan Page. France: Council of Europe. Ur, P. 1996. A course in language teaching: Practice Kirsch, C. 2008. Teaching foreign languages in the and theory. Cambridge: Cambridge University primary school. London: Continuum. Press. Klein, K. 2005. Teaching young learners. English Teaching Forum 43 (1): 12–17. Krashen, S. D. 1981. Second language acquisi- tion and second language learning. Oxford: Mustafa Ş evik is an Assistant Professor at Pergamon. Mehmet Akif Ersoy University Turkey, where Linse, C. T. 2005. Practical English language teach- he teaches in both the undergraduate and ing: Young learners. New York: McGraw-Hill. master’s programs in TEFL. He has taught Oxford University Press. 1997. Super songs: Songs EFL for 16 years, and is the author of a for very young learners. Oxford: Oxford Univer- book for young learners and a variety of sity Press. articles for EFL learners and teachers. E n g l i s h T e a c h i n g F o r u m | Number 3 2012 17
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