Meaningful Integration of Songs And/Or Their Music Videos in the Lesson Plan with Regard to Linguistic and Communicative Competences

Meaningful integration of songs and/or their music videos in the lesson plan with regard to linguistic and communicative competences

with practical examples

Markéta Bilanová

Projekt Síť vzdělavatelů učitelů cizích jazyků NEFLT

registrační číslo CZ.1.07/2.4.00/31.0074 je součástí IPRM Ústí nad Labem Centrum.

Tento projekt je spolufinancován Evropským sociálním fondem a státním rozpočtem České republiky.

PREFACE

There is no doubt teachers of English make use of songs and music videos (e.g. YouTube) nowadays much more than they used to in the past. In the majority of textbooks and course books, listening activities involving pop or folk songs can be found, which encourages the ones who might still hesitate. Teachers know very well they need motivated students who cooperate in their classrooms and they know that the majority of students in teen age like listening to music on their mobile devices (some are even sitting at desks with their earphones still plugged in their ears not realizing the lesson has already begun). The problem however is that songs are often used just as fillers to change the mood or pace of a lesson or they tend to get relegated to the Friday afternoon slot as a sort of “reward” for the week’s hard work. They are insufficiently and often meaninglessly integrated into the lesson plan with no regard to the topic or aim of the lesson. In my practice as a teacher trainer I have observed many lessons where songs were incorporated but just one typical activity prevailed – the obvious “fill in the gaps according to what you hear”. I often wondered why teachers use this activity as the only suitable one for listening to songs and I have come up with some possibilities like “it is easy to prepare” or “it is least time consuming” etc. but when I really considered all the facts, I found out this is in fact a false precondition in comparison with other activities. So, in this little brochure, apart from the popular “fill in the gaps” exercise that will be mentioned in the chapter concerning the usage of interactive whiteboard, I would like to provide many other suitable examples for classroom or outside classroom listening activities that can be meaningfully incorporated into the lesson plan as the “core” of the lesson and not just a filler. Song activities will be introduced in context and classified firstly according to the amount of necessary equipment or aids and secondly according to the linguistic or communicative competences they should develop. The majority of activities can be used with various age groups and with slight alterations also with students of almost any level. Finally, let me accentuate the importance of accompanying the chosen songs with music videos. The variability of activities which they can provide enhance the probability of successful comprehension and thus nurture inner motivation and active involvement of your students. CONTENTS

General rules of incorporating songs into lesson plans 6

1. PRE-LISTENING ACTIVITIES 6 2. WHILE-LISTENING ACTIVITIES 9 3. POST-LISTENING ACTIVITIES 15

Examples of activities 18 1. ACTIVITIES REQUIRING NO HANDOUTS 18 2. ACTIVITIES REQUIRING HANDOUTS 26

General rules of incorporating songs into lesson plans In this chapter a brief summary of possible activities suitable for work with songs and their lyrics will be provided. Practical examples of lesson plans with particular songs and concrete activities will be shown in the next chapter. Similarly to reading of articles, writing or speaking about a certain topic, even listening to songs in the lesson should involve three main stages: pre-listening, while- listening and post-listening exercises, none of which is of higher importance than the other two. Very often teachers just hand out gapped photocopies of song lyrics and press the play button on their CD players. This is what we want to avoid when trying to incorporate songs into the lesson plan meaningfully. Our aim here is not to “catch a mumbled word”, “fill up time till the end of a lesson” or “listen for pleasure” to a song that has just come up in a textbook or is a recent hit on a local radio. What we want is to shift the responsibility for our students’ learning English onto the students! If we provide them with a meaningful listening activity in the course of our lesson they are likely to listen to the song some more in their own free time (voluntarily!). The positive influence of music and rhythm on memorizing vocabulary or grammatical phrases has already been proven by numerous studies, so there’s no need to explain the benefits of listening to songs and their impact on improving students’ competences. 1. PRE-LISTENING ACTIVITIES The pre-listening activities include things the students do before they hear the song (a passage, watch the music video). They help them comprehend the most of what they are going to hear. Many students tend to claim they “cannot hear” it, they “have no talent” for languages etc. If they really think so, persuading them otherwise is futile. What you can do, on the other hand, is to provide them with some necessary strategies which can enhance their chances at success. One of the strategies is to let students use their imagination and actively browse their already acquired vocabulary elements they think might be involved in the listening exercise. Examples of pre-listening activities: • Brainstorming – provide students with the title of the song/ first line/ just a few seconds of the music video and ask them to predict phrases that they expect to hear. • Topic guessing – provide students with the first verse/ a few chosen expressions or play the music video without sound that supplies the general visual environment of the song and ask what the song is probably going to be about. Accept all ideas they come up with. • Vocabulary/grammar bingo – choose carefully (in advance and on purpose) certain expressions (12-15) from the first verse of the song and write them on the board. Ask students to choose 9 words and write them in any order, one in each box, onto their bingo cards (a chart 3x3 squares). Ask students to cross out those expressions on their cards which could already be heard while listening. When a student gets a row crossed out (horizontally, vertically or diagonally), they shout ‘bingo’. Variation if the song contains past or present perfect tense: Write infinitives of irregular verbs that appear in the song on the board, ask students to write them down as mentioned above. Give them some time to remember the irregular forms and then play the first verse of the song. If they have the infinitive of the verb that can be heard on their card, they cross it out. The bingo chart might be quickly drawn on a piece of paper if the students are already acquainted with the procedure of the game or photocopied and cut out:

• Grasp the meaning – Give students a column with expressions from the song and another one with their definitions. Ask them to match the words with their meaning. More advanced students may be asked to define the words themselves or create meaningful sentences. • Sound matching game – Choose words from the song that can be ordered into three or four groups according to phonemes they contain and ask students to divide them. • Spelling bee – Give students phonetic transcriptions of some of the words and ask them to decipher their spelling. • Choose the correct transcription – Make a list of such words that are difficult to pronounce. Write two different phonetic transcriptions next to each word, one of which should be correct. Ask students to look at the transcriptions and choose the correct one for each word. (This can be used as a while-listening activity for new lexical items well). • Where’s the stress? – Choose or multi-syllable expressions from the song and ask students to mark the stress. • Sentence jumble – Prepare a list of jumbled sentences from the song. Ask students to rearrange the scrambled words to form correct sentences. Students check correctness while listening to the song. Other types of pre-listening activities are based on depicting the story of the song. You may need to use pictures as a visual prompt. There are several different methods of working with the pictures: • Tell a story – Give students a worksheet with pictures depicting several sentences from the song lyrics. Elicit some ideas of what they can see in each picture. Then get them to work in pairs and predict the meaning (name) of the song. This activity is most suitable for interactive whiteboards. A following while-listening activity: put the pictures in chronological order according to what you hear. • Draw a picture – Decide on a representative picture of something that happens in the song. Dictate the information about this picture, a line at a time, to the students who draw (not write) their interpretation. For example, ‘ The sun is shining in the sky, there are a lot of people in the street, there is a dark cloud overhead, it’s just starting to rain,’ etc. By the time you have finished, a lot of essential lexis and phrases from the song will have been circulating, and the song should not be difficult to follow. • Line matching – Choose some of the song lines and divide them into two halves. Cut out strips with the half-lines on them. Students work in pairs or small groups to match the corresponding halves then listen to the song and check • Cross it out – Prepare lyrics with some extra lines/ words. Ask students to read the lyrics and guess which lines do not belong to the song. • Song jumble – Cut up the lyrics (without chorus) into separate lines. In small groups, students try to work out the original order. This is demanding especially for the choice of lyrics, there has to be a clear, predictable story or timeline, eg. Tom’s Diner by Suzanne Vega. • Vocabulary guessing game – Give students the words of a song with an ‘either/or’ choice for certain words on each line. Students choose which word is more likely to be used in each case, then they listen and check if they were correct. • Answer the questions – Prepare some questions related to the song and get students to answer them without listening (open cloze, true/false questions or multiple-choice). 2. WHILE-LISTENING ACTIVITIES While-listening activities and exercises are carried out in the course of the students listening to the passage you play. You should specify the aim of the activities precisely so that nobody has any doubts as for what exactly is required of them. Do not start playing the recording or video until you are absolutely sure all students know what to do. After the first playing let the student some time on their own (or in pairs) to reconsider what they have just accomplished, then, play the whole recording once more before you check answers. If there are still tangible signs of hesitation, you may play the recording for the third time, stop it after every single question and thus give the students the opportunity and time to correct themselves once more. On the other hand, listening to songs should never become a bore or chore, so be reasonable Examples of while-listening activities: Ok, let’s have a look at the infamous filling in the gaps first  • Filling in the gaps – this type of activity should not be overused. When gapping a text, you have to think about the aim of the activity and not just delete every eighth word or a word at the end of the line (even though the latter case could be justifiable as the rhematic, stressed and thus comprehensible expressions can be found at the end). The aim can vary; you can focus on pronunciation of new expressions, rhyming words, lexical fields (words that have something in common), grammatical structures, etc. You can make a gap for a word, for a letter or for the whole structure (which is then more demanding, so you can let students cooperate). You can prepare an open cloze or multiple-choice quiz, where students have the possibility to decide which expression suits the gap better. To prepare quickly a neat filling in the gaps activity, I would recommend a freeware application HotPotatoes (http://hotpot.uvic.ca/), where you can prepare your gapped text in literally no time and its printscreen will look like this (excerpt):

Song by U2: I Still [Not Find] What I’m Looking For

I [climb] highest mountain I [run] through the fields Only to be with you Only to be with you

I [run] I [crawl] I [scale] these city walls These city walls Only to be with you

But I still [not find] what I'm looking for But I still [not find] what I'm looking for

I [kiss] honey lips [feel] the healing in her fingertips It [burn] like fire This burning desire

I [speak] with the tongue of angels I [hold] the hand of a devil It [be] warm in the night I [be] cold as a stone

But I still [not find] what I'm looking for But I still [not find] what I'm looking for

One of the functions of the HotPotatoes application is the so called JCloze, whose main screen, after you have copied the text you wish to use, looks like this:

If you want to make gaps, you just double-click your mouse on the word you want to delete and press the “Gap” button. If you reconsider, you press “Delete Gap”. If you want to delete all gaps, you press “Clear Gaps”, if you do not want to think ybout which word to delete, press “Auto-Gap” – this function will enable you to gap every Nth word (you can set your own number):

After you have finished choosing words to be gapped, press the “web6” button on the upper toolbar:

You will see this window:

First press “View the exercise in my browser”, which will enable you to check the exercise and you can also fill in the gaps offline (you can send a link to your students). If you “Upload the file to the hotpotatoes.net Website”, your students can fill in the exercise online. You can also use the interface on interactive whiteboards. If you do not change the fonts or color (which is possible), your exercise will look like this:

You can then copy+paste your exercise to create something similar to what I pasted above (p.12) or use ctrl+P and export your exercise into a Word document, which can be seen in the next chapter. • Odd one out – is an inverted exercise to the cloze quiz. You have to prepare lyrics with some extra words and students listen to the song and delete extra words which they do not hear. Variation: • Spot the mistakes – Hand out copies of the lyrics with deliberate mistakes. Play the song for students to mark the corrections. You may also highlight only some words on each line for students to decide if the highlighted words are right or wrong. • Word order – hand out lyrics with randomly ordered words on lines (some lines may remain unchanged). Students listen to the song and number words on each line in the order in which they hear them in the song. • Vocabulary grab or Flap the word – Divide students into groups of three or four people. Give each group slips of paper with words from the song. Play the song and tell them to listen for the words on the cards. When they think they hear one of the words, they quickly grab the appropriate card (preferably laminated) before anyone else does. You can make the task more challenging by including some words which do not appear in the song. Variation – stick laminated expressions on the board and use fly flaps to hit the words that could have been heard. You may then deduct points for words which were grabbed/flapped incorrectly. For more information see this YouTube video.1 • Answer the question – Prepare intriguing questions (open cloze, multiple-choice or true/falls) about the lyrics (funnier if the song is trivial or well known). As the song is played, students try to work out the meaning from the context. Play the song only once and stop immediately after the passage where the answer was revealed: Paul Anka – Diana: 1. Is the girl (Diana) younger or older than the singer? PLAY: “I'm so young and you're so old…” STOP => she is older 2. Does it bother him? PLAY: “This, my darling, I've been told…” STOP => he doesn’t but probably his surrounding social network (family or friends) disapproves of her

1 http://www.youtube.com/watch?v=7z33cRAYD24&list=TLGe96zyWUCtVjZeGYiLN0v6qBF_6hxKGH 3. Does he mind that? PLAY: “I don't care just what they say…! STOP => he doesn’t 4. Does Diana love him? PLAY: “Cause forever…I love you but do you love me” STOP => he isn’t sure (students usually hear *I love you but you love me, which does not make sense => time to explain the difference of isochrony between Czech and English – syllable-timed vs. stress-timed languages). Songs based on a story can provide an excellent tool for both learning new vocabulary and checking students’ understanding of the lyrics (Suzanne Vega). • A dictation – Play the song pausing after each line (or ask them to work in pairs and do not pause the recording until the end of the strophe). Then check correctness by reading the whole lyrics. If there are any missing words, repeat the process. This can be done with slow, preferably a cappella songs (Nancy Sinatra – Bang Bang). • A verse game – Give each students a card with one (or two) lines from the lyrics and ask them to arrange themselves in the correct order as the song is being played. This is ideal for kinesthetic learners as it gives them an opportunity to have a stretch and to stop them from becoming restless. Another possibility of the above mentioned method is to ask students to order the lines of the songs by putting them one after another on the floor or stick them on the board. Variation: Give everyone one or two cards with the lines from the lyrics and ask them to stand up whenever they hear their line. • Order up the lines – photocopy lyrics, cut the lines up and place them in an envelopes for each student or pairs. Ask students to order the lines according to the lyrics you play. • Matching pictures – Get students to work in pairs or small groups. Give each group a collection of pictures connected with the song. Students listen and put the pictures in the order in which they hear them in song. • Action movements – Play one line of the song at a time. For each line, the students invent a mimed action, which they teach each other and then all perform. Regularly replay the song from the beginning for them to recall and do the relevant actions. After they have done one or two verses, hand out the complete lyrics; in small groups, the students find movements for the rest of the song. At the end, all come to watch a performance of the different versions. 3. POST-LISTENING ACTIVITIES The post-listening activities or follow-up are a must as far as meaningfulness is concerned. Students will realize that the purpose of the listening activity was not only to fulfill the listening comprehension tasks (and comply with the teacher’s assignment) but that now they have learned a few new expressions or phrases in a context, they were provided a talking matter to discuss or write their opinion of, they have broadened their horizons, got more reasons to advocate their stand, etc. Concerning activities that may follow after the while-listening stage there are many different approaches and variations one can choose from. Depending on what type of skills they are intended to develop, they may be divided into five categories – speaking activities, writing activities, reading activities, grammar activities and vocabulary activities. See below for various methods of using these follow-up activities. Examples of post-listening activities: Songs that are based on a story as well as those which carry a certain meaning or a message provide a very useful source for enhancing primarily speaking and writing skills. Here are a few suggestions for working with them: • Discuss the story – Ask students to talk to a partner and discuss what happened in the song. Then ask some of them to retell the song with the whole the class. • Discuss the meaning – Ask students to talk to a partner and discuss the meaning or the message of the song. Then elicit the gist of the meaning from the whole class. Students can also choose four or five lines that best summarize the song message and discuss in pairs or groups whether they agree or disagree with the ideas expressed in the song. (E.g. Englishman in New York by Sting) Songs may also be followed with a discussion on the song topic: • Discuss the topic – For example, if the song is about the future, students can be asked to speak about their own future. If the song evokes a hypothetical situation, such as ‘If I had a million dollars’ students can tell the class what they would do if they won a million dollars. Apart from developing their speaking skills they also practice certain grammatical structures that are subconsciously incorporated in their speech. (E.g. El Condor Pasa by Simon and Garfunkel) To develop students’ writing skills you may apply the following ideas: • Finish the story – Students write a paragraph concerning with the ending of the plot in the song. • Write a review – Students write a review of the song for a newspaper or website. (E.g. Aha! By Imogen Heap) • Change the lyrics or continue the song – Students replace some of the words from the song with different words or continue thy lyrics in similar manner. (E.g. Elephant Song by Eric Herman – see p. 19) • Complete the summary – Prepare a gapped summary of the song and ask students to complete it with the missing information. Variation: Prepare a song summary with deliberate mistakes. Students read the summary and correct the mistakes. • Meaning look-up – If you intend to consolidate the vocabulary used in the song, ask students to find the meaning of unknown words on their smartphones • Vocabulary match – Prepare a list with definitions of some of the words included in the song. Students try to find the words that match the definitions. • Definitions – Explain the meaning of the new words from the song and ask students to use each of them in a new sentence. You can make this task more challenging by forming groups competing to create most sensible sentences. Variation: Choose correct forms of some verbs from the song to complete the sentences meaningfully (prepared by Denisa Lipusová): 1. Nobody …………. ever …………. that mountain. 2. Have you …………….. a tarantula in your hand? 3. ………….. an insect ever …………… into your ear? 4. I ……………….. very tired lately. 5. I ……………….. everywhere but I still ………………... my keys. 6. He ……………….. her lips a thousand times. 7. He ………………… to me recently but I still remember his voice. 8. Peter ………………… eight marathons in the past seven months • Vocabulary galore – Point out the most important words from the song and get students to write their synonyms or antonyms. This activity can be also done in a form of competition where students are encouraged to think of the most words. If you think your students would have difficulty producing the words themselves, you may prepare a word-match activity. • Match words – Prepare a list of words which are synonymous to some of the expressions in the lyrics. Students read the lyrics and look for the words which are the same or similar in meaning to those you typed in. Similarly, it can be applied with antonyms. For further grammar practice a song may be followed by an activity focused on the grammatical structures that appeared in the song: • Verb form determination – Students look at the lyrics from the song and identify the verb forms or complete the sentences with the correct form of the verbs. (See page 29). • Making questions – Ask students to come up with their own questions corresponding with the song lyrics and. If the song contains any indirect questions you may ask students to transform them into direct ones and vice versa. • Reporting - Ask students to rewrite some of the song statements in reported speech. • Search and underline – Ask students to look for certain grammatical structures within the lyrics, e.g. ‘underline all adjectives or find a sentence in the present continuous.’ • Finish the sentences – Prepare the beginnings of complex sentences using certain type of clause and let students complete them with their own ideas.

Example activities: In this chapter particular examples of songs and accompanying activities will be provided. If not stated otherwise, all exercises were prepared by the author. You can find links to corresponding YouTube videos in the footnotes.

Examples of activities 1. ACTIVITIES REQUIRING NO HANDOUTS THE FROG SONG (Liam Lynch)2 Focus: listening comprehension, present simple (3rd person practice) Interaction: individual or pairs, then whole class Time (minutes): 1:19 - Pre-listening activity: Do you know any idioms in English? (Elicit answers or prepare your own examples of what an idiom is). Do they have their equivalents in Czech? - While-listening activity: 1. Note down as many differences as you can distinguishing the two frogs. 2. Notice one famous idiom. - Follow-up: group discussion or short essay – Why do you think the frogs sang: “Don’t judge a book by its cover” and what does it imply? Lyrics: We’re just two lazy frogs Laying on a lazy log – you might think We look the same – but we’re not the same We’re not the same at all ’cos I’m green – and I’m blue I don’t like pizza – but I do I don’t like monkeys – I really like monkeys I don’t watch TV – hey, let’s watch some TV We’re both frogs but we’re not the same We like different things and it’s OK – don’t judge a Book by its cover – we’re different from each other Differing but it’s OK ’cos I’m a Virgo – I’m a Pisces I hop wherever I go – I rather 5-speed

2 http://www.youtube.com/watch?v=Ku-2et3qcL0 I like eating bugs – I like fruit I drink coffee from a mug – I play the flute

THE ELEPHANT SONG (Eric Herman and the Invisible Band)3 Focus: listening comprehension, present simple (3rd person negative practice), vocabulary – animals Interaction: individual or pairs, then whole class Time: 3:06 - Pre-listening activity: The song is going to depict some animals. You have 2 minutes to think of 5 animals which you can say at least one sentence about. - While-listening activity: Correct all the mistakes the singer made while describing the animals in his song - Follow-up: 1. In groups of 3-4 (or individually at home) add your own animals to the song and the whole class should correct your propositions e.g.: Giraffes, I like Giraffes. I like how they flap their wings and fly through the sky. No, no, no. That’s birds! Birds, I like birds. I like how they change their colors and blend into trees. No, that’s chameleons! 2. If you can play the guitar, sing the song with the students and they will correct your suggestions as choral response. 3. Your students can make their own music video in PowerPoint or the program “Paint” on PC. You can find more ideas and additional verses here:4

3 http://www.erichermanmusic.com/video.html

Lyrics © 2007 Words and Music by Eric and Roseann Endres Elephants, I like elephants. 2x I like how they swing through trees, elephants… Girl: No…– Singer: What? – Girl: Elephants don’t swing through trees…– Singer: They don’t? Then what am I thinking of? – Girl: Monkeys. – Singer: Oh…well in that case… Monkeys, I like monkeys. I like how they swim in the ocean…I like… Girl: No, that’s fish. – Singer: Oh, I see… Fish, I like fish. I like how they scratch at fleas, and sniff at trees, and bark at the mailman. Girl: No, no, no! – Singer: No? – Girl: Those are dogs! God I like dogs. Singer: Right? – Girl: Yeah! Curled up on the windowsill purring, and chasing mice… Girl: No, no…– Singer: What the…– Girl: Cats. – Singer: Cats of course… Cats, I like cats. I like how they say, Cock-a-doodle-doo! Girl: No, no, no, they go meow. – Singer: They do? – Girl: You’re thinking of roosters. – Singer: Ohh… Roosters, I like roosters. I like how they reach into beehives for the honey. Girl: Uh uh… – Singer: No? – Girl: Bears do that. – Singer: Ahh, bears…yes, yes, yes… Bears, I like bears. I like how they jump up high, to catch a fly, and sit on a lily pad.

4 http://mybabymonsters.com/stories/childrens-movies-animated-stories/collaborative- video-the-elephant-song-childrens-art-film-14-guest-artist/310 Girl: No, no, no, no, no, no! Frogs. God I like frogs. Girl: Yeah. Running through a maze for some cheese… Girl: No, that’s mice. – Singer: Oh…mice… Mice, I like mice. I like how they say, “hee haw, hee haw!” Girl: No, they go squeak, squeak. That’s a donkey. – Singer: Hmmmmm. Donkeys, I like donkeys. I like how they stomp through the jungle with their big, gray trunks. Girl: No, that’s an elephant. – Singer: Right, like I said: Elephants, I like elephants.

ANTS IN YOUR PANTS (Eric Herman and the Invisible Band)5

Focus: pronunciation – minimal pairs (bear x hair, bees x knees etc.) Interaction: whole class Time: 1:54 - Pre-listening activity: What does it mean if you “have ants in your pants”? You probably know what an “ant spray” is but does “bear spray” also exist? - While-listening activity: Dance according to the lyrics, miming out what is being sung - Follow-up: Project – in groups, make your own version of the music video as a PowerPoint presentation or a short movie and send it to Eric Herman6

5 http://www.erichermanmusic.com/video.html

6 http://www.youtube.com/watch?v=szL62FNNiBc Dance like you’ve got ants in your pants. (x3) Now STOP, and spray some ant spray. Dance like you’ve got bees on your knees. (x3) Now STOP, and spray some bee spray. Dance like you’ve got a bear in your hair. (x3) Now STOP, and spray some bear spray. Bop, bop, bop, bop ’til you drop. Hula, hula, hula, hula ’til you droola. Jump like you got bumped on your rump. (x3) Now STOP. (You have to stop in midair if that’s where I said "Stop.") Dance like you’ve got fire on your feet. (x3) Now STOP, and jump into a pool. Dance like you jumped into a pool. (x3) Now STOP, and shake yourself off like a wet dog. Dance any way. Dance anyhow. Dance every day and night. Keep on dancing, now STOP. Dance any way you want to. Dance any way you can. Dance like you’ve got ants in your pants again. Dance like you’ve got ants in your pants. (x2) Dance like you’ve got bees on your knees. (x2) Dance like you’ve got a bear in your hair. (x2) Jump like you got bumped on your rump. (x2) Bop, bop, bop, bop ’til you drop. Dance, dance, dance. Don’t ever STOP. (Um, I said, "Don’t ever stop.")

THE TALE OF THE SUN AND THE MOON (Eric Herman and the Invisible Band)7

Focus: past tense regular vs. irregular verbs, vocabulary describing parts of the day Interaction: individual or pairs, then whole class Time: 2:58 - Pre-listening activity Speak about your daily routine, what do you do during the day. - While-listening activity: 1. make a list of regular and irregular verbs which appear in the song in the past tense or as past participle 2. note down any words that can describe (or mean) a part of the day - Follow-up: divide verb into regular and irregular Lyrics: © 2007 Words and Music by Kenn Nesbitt and Eric Herman

The Sun was in his bathing suit, the Moon in her pajamas. They played all day until the two were called in by their mamas. The Sun went home and climbed in bed, his mama sang a tune. And soon the Sun was fast asleep and dreaming of the Moon. The Moon decided not to go. Instead she stayed outside. She danced and played and laughed and sang, ’til she was sleepy-eyed. When morning came, the Sun arose and went outside to play. But could not find his friend, the Moon, who slept inside all day. So now these two are best of friends apart by dark and light. The Sun turns in at evenfall. The Moon comes out at night. The shining Moon sees no sunlight. The Sun sees no moonbeams. But when they both are fast asleep, they’re in each other’s dreams.

7 http://www.erichermanmusic.com/video.html

BANG BANG – (Nancy Sinatra) Focus: listening comprehension, used to vs. would Interaction: individual or pairs, then whole class Time (minutes): 2:43 - Pre-listening activity: 1. Write these words in this order on the board and ask students if they know what song you are going to play and if not, then what they suppose the son is going to be about: FIVE – SIX – BLACK – WHITE – HORSES – RODE – I – HE – MY – GROUND – FIGHT – SHOT – WIN – HIT 2. BINGO – ask students to choose 9 of these words and place them in their 3x3 Bingo grid e.g.:

six win rode

my fight hit

black ground he

When they have finished, tell students to cross out words they have heard while you play the first verse of the song. When they have crossed out three words in a row (horizontally, diagonally, or vertically), they can shout Bingo!

- While-listening activity: Imagine this is a dictation in pairs, you have 30 seconds to decide how you divide your task, but after the second listening, you should have written down the whole song. - Follow-up: 1. Explain the meaning of the following sentences: He would always win the fight He would always laugh and say "Remember when we used to play?" I used to shoot you down. 2. Write an essay explaining the meaning of the lyrics

Lyrics: I was five and he was six We rode on horses made of sticks He wore black and I wore white He would always win the fight

Bang bang, he shot me down Bang bang, I hit the ground Bang bang, that awful sound Bang bang, my baby shot me down.

Seasons came and changed the time When I grew up, I called him mine He would always laugh and say "Remember when we used to play?"

Bang bang, I shot you down Bang bang, you hit the ground Bang bang, that awful sound Bang bang, I used to shoot you down.

Music played and people sang Just for me the church bells rang.

Now he's gone, I don't know why And 'till this day, sometimes I cry He didn't even say goodbye He didn't take the time to lie.

Bang bang, he shot me down Bang bang, I hit the ground Bang bang, that awful sound Bang bang, my baby shot me down

2. ACTIVITIES REQUIRING HANDOUTS

Focus: numbers, parts of the body, animals Interaction: individual or pairs Time: 2:23 - Pre-listening activity: 1. Before listening to the song discuss in pairs what you know about rhinos. For example: Rhinos have two tails (FALSE) Rhinos have twelve toes (TRUE) Rhinos have two horns (TRUE) Rhinos can see well (FALSE) Rhinos can run as fast as zebras (TRUE) Rhinos do not have many teeth (FALSE) Rhino herds contain about 20 rhinos (FALSE) Listen to the song and check your answers.

- While-listening activity: 1. Listen to the song and answer the following questions: - Who are his 3 friends? - Where are they from? - Where do they all live? - What other animals are mentioned? - How much does the rhino weigh? Listen again and complete the missing parts of the rhino’s body 3. Fill in the gaps with parts of the rhino’s body:

THE RHINO SONG

Rhino, everybody knows You got one ………, four ………, twelve ……… Mr. Rhino, look what grows Two big ……… on the tip of your ………

Now you got three friends, Mr Rhinoceros The elephant, buffalo and hippopotamus You got two bad ………., but you’re not deaf In Africa and in Asia there’s not many of you left

Mr. Rhino, everybody knows You got one ………, four ………, twelve ……… Mr. Rhino look what grows Two big ……… on the tip of your ………

Five, six seven makes a herd And on your ………, rides a white tip bird Eight, nine, ten you weigh a ton But you’re fast as a zebra when you’re on the run

Chorus

Brambles and nettles you love to crunch With your many, many ……… you munch and munch You’re the one and only, sure as you’re born Bigger and better than a unicorn

The following exercise was created by M. Ines8

8 Ines, M.: The Rhino Song (on-line). Scribd 2009 (citace říjen, 14., 2009). Přístup z internetu: URL: http://www.scribd.com/doc/16925694/The-Rhino-Song U2 - I Still ...... (Not Find) What I'm Looking For

- Pre-listening: Look at the handout and decide what verb form can be possibly filled in. Try to prepare for more contingencies. - While-listening: Fill in the gaps with correct forms of the verbs in brackets according to what you hear - Follow-up: Explain the usage of “felt” in the sentence “I have kissed honey lips, felt the healing in her fingertips”. Why is present perfect used in the sentences and why is there the past tense in “It burned like fire”?

I ______(climb) highest mountain I ______(run) through the fields Only to be with you Only to be with you

I ______(run) I ______(crawl) I ______(scale) these city walls These city walls Only to be with you

But I still ______(not find) what I'm looking for But I still ______(not find) what I'm looking for

I ______(kiss) honey lips ______(feel) the healing in her fingertips It ______(burn) like fire This burning desire

I ______(speak) with the tongue of angels I ______(hold) the hand of a devil It ______(be) warm in the night I ______(be) cold as a stone

But I still ______(not find) what I'm looking for But I still ______(not find) what I'm looking for

I believe in the kingdom come Then all the colors will bleed into one Bleed into one Well yes I'm still running

You ______(break) the bonds and you ______(loose) the chains ______(carry) the cross Of my shame Of my shame You know I ______(believe) it

But I still ______(not find) what I'm looking for But I still ______(not find) what I'm looking for

William Shakespeare/ Bratři Ebenové: Sonnet 57 and 66

- Pre-listening: 1. Discuss what you know about William Shakespeare, the works he wrote or the times he lived in. Compare the Shakespearean version of Sonnet 57 and the modern paraphrase, mark major lexicological differences, then play the Czech translation by Jan Vladislav performed by Bratři Ebenové (CD Já na tom dělám, 2002) 2. Tell students they are going to listen to another musicalized poem, Sonnet 66, and show them the matching exercise on page 31 (you can use interactive whiteboard for presenting the HotPotatoes interface as you can see below, print out the lines and cut up strips of the Czech translation, or just distribute the printed out handouts). Students’ task is to try to match the Czech translation to the original. - While-listening: Students follow the lines in the Czech language and check whether they assembled the text in the correct order. - Follow-up: Listen once more, now with the English text cut up into lines and try to reconstruct the whole Sonnet 66.

SONNET 57 PARAPHRASE9 Being your slave, what should I do but tend Being your slave, what should I do but wait Upon the hours and times of your desire? Upon whenever you desire something? I have no precious time at all to spend, I have nothing to do with my time, Nor services to do, till you require. No services to perform, until you ask me. Nor dare I chide the world-without-end hour Nor do I dare get angry at the tediously slow hours Whilst I, my sovereign, watch the clock for While I watch the clock for you, you, Nor think the bitterness of absence sour Nor do I dare think bitterly about your absence When you have bid your servant once When you have bid your slave (me) goodbye; adieu; Nor dare I question with my jealous thought Nor dare I question with my jealous thoughts Where you may be, or your affairs suppose, Where you may be, or what you could be doing, But, like a sad slave, stay and think of But, like a sad slave I wait and think of nothing nought Save, where you are how happy you make But how happy the people must be around you. those. So true a fool is love that in your will, So loyal a fool is love that, in whatever your choice of action, Though you do any thing, he thinks no ill. You may do anything you desire, and he [love] thinks no evil of you.

9 http://www.shakespeare-online.com/sonnets/57detail.html

Imogen Heap – Aha!

- Pre-listening: Who is Imogen Heap? Do you know her music? Can you guess the meaning of these expressions and phrases: Wheat-meat-dairy-free / Teetotal / Happy clappy / Golden boy boots Cost you to keep me quiet! / A-ha! / Gotcha now! / Wave save the planet flag Hook, line and sinker / Candid camera / Four-wheel drive - While-listening: Follow the lyrics and try to find out what the song is about – summarize each verse. (Answer below).

Eat, Sleep, breathe it, you're full of the stuff Go bag it, tie it up tight Wheat-meat-dairy-free, teetotal, happy clappy High on life, you should try it, try it, you know Go on while no one's looking.

A-ha! Gotcha now! Caught red handed in the biscuit tin! Cost you to keep me quiet!

Golden boy boots, Pocket pedal stool Picking sharp smart moves Plastic, tin can, paper separator Busy bee wave, wave save the planet flag But sneaky in suburbia

A-ha! Candid Camera Hook, line and sinker For the four-wheel drive Cost you to keep me quiet!

Nicest, sweetest, upmost in everything So charming, very charming Well read, can play the fool, no one's ill at ease and put their deepest swiss bank trust in you No one saw it coming

Aaaha! Aaaaaaha! Aaaaaaaaaha! You killed a man Cost you to keep me quiet!

- Follow-up: Reading of the in-depth analysis of the songs verses10 written by user ReyForTea on Imogen Heap’s Ibabble: Official Forum:

Everyone says one thing and does another. Hypocrisy becomes a problem when feelings are hurt or when politics are involved. Imogen Heap’s “Aha!”, from her 2009 album, Ellipse, cheekily explores the problems that hypocrisy causes on both the personal and social levels. The first line of the first stanza of the song is the ordinarily playful phrase, “La la la la, la la la la, la la la la, la la la,” which then repeats once more in the second line.This phrase is typical in a child’s speech when he or she is in unimportant, carefree situations. By using a phrase reserved for carelessness and playfulness to begin her song, Heap alludes to the idea that one’s word is a carefree child’s game to a hypocrite. Heap then implies vulgar language in the third line; “Eat, sleep, breath it you’re full of the stuff.” In that context, “stuff” is a pronominal noun to which shit is the implied antecedent; Heap wishes to say that hypocrites, people who speak so carelessly, are “full of...[shit].” The lyrics continue by alluding to the event that inspired the song: “Wheat meat, dairy free, t-total happy-clappy//High on life, you should try it you know” refers to the anecdote Imogen Heap shares with her fans at concerts before playing the song. Heap invited a potential boyfriend to her house for a dinner date for which she had cooked a meal that followed his strict dietary restrictions: He did not eat wheat, meat, or dairy. Heap slaved over making a suitable meal for her date. After the meal, Heap made peppermint tea and brought-out the biscuit tin to eat a chocolate biscuit. So, she had one, and then, he also had one. The biscuit had wheat and dairy in it. She then questioned him as to why he was eating the biscuit, and he said, according to Heap, “Oh, it’s just a biscuit.” The anecdote is further alluded to in the chorus: “Aha! Gotcha now//Caught red handed in the biscuit tin....” This anecdote, the core of the song, is very dear to me, because I share a similar experience: My sister-in-law and I are both ovo-vegetarians. On Thanksgiving, she didn’t want to come have dinner, because she didn’t want to eat any of the food that was going to be on the table and she didn’t want to burden anyone, so I encouraged her to come, because I was going to cook something for myself that she could also eat. After the meal, my mom brought out flan. My sister ate some of the flan. I inquired. She shrugged it off, saying that it was just flan. The mood of the song remains moderately happy until the last line of the chorus, which examines the actions of the person caught in the act of being of a hypocrite: “cost you to keep me quiet.” This line introduces the notion that, when caught in the act of hypocrisy, hypocrites would like to keep the people who witnessed the act quiet. Thereafter, the song moves to the third stanza, which focuses on political hypocrisy. The first line, “Golden boy boots, pocket pedal stool,” characterizes stereotypical politician. “The golden boy boots” are a metaphor for the politician’s perfection in character, and the “pocket pedal stool” is a misnomer for “pocket pedestal.” Heap purposefully uses the misnomer to further the idea that hypocrites don’t speak truthfully. Subsequently, the “pocket [pedestal]” speaks of the politicians ability to preach anywhere at anytime. The third and fourth lines of the stanza give an example of said preaching; “plastic, tin can, paper separator,//Busy bee wave, wave save the planet flag.” Despite the politician’s preaching, he is then caught in an act of hypocrisy in the chorus of the song: “Aha! Candid camera//Hook, line and sinker for the 4 wheel drive//Cost you to keep me quiet.” Though not a politician, the political group PETA (People for the Ethical Treatment of Animals) advocates for animal protection. Every year, PETA spends a fair portion of its budget to advertise its image. However, from 1998 to 2009, PETA has killed over 85% of the the pets has had up for adoption. That is, it killed over 23,640 adoptable pets, because of budget shortages. Instead of spending so much money advertising, PETA could have better used the money to increase the adoption rates, thereby preventing the holocaust of pets of which it partook. Heap continues to reprimand hypocrites in the fifth stanza of “Aha!” by characterizing a character nearly equivalent to the character she characterized in stanza three. The

10 http://www.imogenheap.com/forum/viewtopic.php?p=144472&sid=26b5888dd512212e8db2f63d92227f88 first line of the stanza references the creative, playful language exhibited in the first and second lines of the song, reconfirming that hypocrites are not careful in speaking; “nicest, sweetest, upmost in everythingest.” Heap then makes an allusion to the Nazi gold; “Deepest Swiss bank trust in you.” During the Second World War, Nazi Germany transferred $440,000,000—of which $318,000,000 are estimated to have come from looting—of gold into the Swiss National Bank. Many of the gold bars that Germany transferred read “Auschwitz,” one of the most infamous concentration camps. (The gold was sometimes even ripped from the teeth of the Jews.) Thus, The Swiss National Bank very well knew that it was aiding Germany fund its war effort and fund its holocaust effort. Recently, when the Swiss National Bank was questioned about the gold, it denied the accusations, in accordance with the lyrics “Well read, can play the fool.” Later, in the chorus, Heap states that in helping the Nazis, The Swiss National Bank “...killed a man.” Surely, it did so by aiding the Germans during the Second World War. However, Imogen’s accusation is nearly unheard in the crescendo of the music. It is as if the playful instruments were covering-up her voice, solidifying the lyric “Cost you to keep me quiet.” Therefore, the playful instruments—one of the instruments used in this piece is a toy piano—further the frivolity and carelessness in speech of hypocrites. Finally, Imogen Heap ends with two distinct sounds. Though many listeners would not pay attention to it, the unashamed use of the piano is the last sound of the song. In her VBlog, Imogen stated that she took-out the piano from the song, because, without it, the song had more life. She went against her word, however, by putting the piano into the song. She then reprimands herself by shouting “Oi!” as the final lyric of the song. In juxtaposing the piano into the song and shouting a reprimanding word in unison, Heap asserts that we are all hypocrites. Even though we are fantastic at catching other people in the act, we are also guilty of going against our own word.

The Corpse Bride – Emily’s song11

- Pre-listening: 1. What qualities or personality traits do you consider as important in a partner? 2. Watch the video of a sequence of Tim Burton’s Corpse Bride on YouTube until Emily starts singing. What three flowers does she mention and why are they important for brides? 3. Explain the pun in the spider’s question “Why so blue?” - While-listening: Make two columns, one for Emily and one for Victoria, put down what advantages do each of them have as prospective wives. In what aspects is Emily (the corpse bride) better for Victor than his fiancée Victoria and vice versa? - Follow-up: Explain the usage of the definite article in this sentence: “If he only knew the you that we know”

11 http://www.youtube.com/watch?v=MoLY2QRoV1w What does that whispy little brat have that you don't have double? She can't hold a candle to the beauty of your smile How about a pulse? Overrated by a mile, Overbearing! Overblown! If he only knew the you that we know and that silly little creature isn't wearing his ring And she doesn't play piano, or dance or sing, no she doesn't compare But she still breathes air Who cares? Unimportant! Overrated! Overblown! If only he could see how special you can be. If he only knew the you that we know If I touch a burning candle I can feel no pain If you cut me with a knife it's still the same And I know her heart is beating And I know that I am dead Yet the pain here that I feel Try and tell me it's not real For it seems that I still have a tear to shed The sure redeeming feature from that little creature is that she's alive Overrated! Overblown! Everybody knows that's just a temporary state which is cured very quickly when we meet our fate Who cares? Unimportant! Overrated! Overblown! If only he could see how special you can be If he only knew the you that we know If I touch a burning candle I can feel no pain In the ice or in the sun it's all the same Yet I feel my heart is aching Though it doesn't beat it's breaking And the pain here that I feel Try and tell me it's not real I know that I am dead Yet it seems that I still have some tears to shed

Dumb ways to die12

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12 http://www.youtube.com/watch?v=IJNR2EpS0jw

Online game: http://www.sporcle.com/games/Sheldon/metro

Set fire to your hair Poke a stick at a grizzly bear Eat medicine that’s out of date Use your private parts as piranha bait

Dumb ways to die, so many dumb ways to die, dumb ways to di-i-i-ie, so many dumb ways to die

Get your toast out with a fork Do your own electrical work Teach yourself how to fly Eat a two week old unrefrigerated pie

Dumb ways to die, so many dumb ways to die, dumb ways to di-i-i-ie, so many dumb ways to die

Invite a psycho-killer inside Scratch a drug dealer’s brand new ride Take your helmet off in outer space Use your clothes dryer as a hiding place

Dumb ways to die, so many dumb ways to die, dumb ways to di-i-i-ie, so many dumb ways to die

Keep a rattlesnake as a pet Sell both your kidneys on the internet Eat a tube of superglue “I wonder what’s this red button do?”

Dumb ways to die, so many dumb ways to die, dumb ways to di-i-i-ie, so many dumb ways to die

Dress up like a moose during hunting season Disturb a nest of wasps for no good reason Stand on the edge of a train station platform Drive around the boom gates at a level crossing Run across the tracks between the platforms They may not rhyme but they’re quite possibly

The dumbest ways to die The dumbest ways to die The dumbest ways to di-i-i-ie So many dumb So many dumb ways to die

"Be safe around trains. A message from Metro."

Englishman in New York by Sting13 - Pre-listening activity: 1. What does the title of the song suggest? 2. What do these words have in common? modesty – propriety – sobriety – gentleness

3. Do you know the man on the cover of this magazine? What can you tell about him judging by his looks?14

13 http://www.youtube.com/watch?v=d27gTrPPAyk 14 http://www.victorwatts.com/New%20Portraits/QuentinCrisp.html I don't drink coffee______my dear I like my toast ______And you can hear it in______when I talk I'm an Englishman in New York

See me walking down ______A ______here at my side I ______everywhere I walk I'm an Englishman in New York

I'm an alien, I'm a legal alien I'm an Englishman in New York I'm an alien, I'm a legal alien I'm an Englishman in New York

If "manners maketh man" as ______Then he's the ______It takes a man to ______and smile Be yourself ______they say

I'm an alien, I'm a legal alien I'm an Englishman in New York I'm an alien, I'm a legal alien I'm an Englishman in New York

Modesty, propriety can lead to notoriety You could end up as the only one Gentleness, sobriety are rare in this society At night ______brighter than the sun

Takes more than combat gear ______Takes more than a license for a gun Confront your enemies, avoid them______A gentleman will walk but ______

If "manners maketh man" as ______Then he's the ______It takes a man to ______and smile Be yourself ______they say

- Follow-up:

1. Discuss the meaning of these phrases: - Be yourself no matter what they say. - Manners maketh man. - At night a candle’s brighter than the sun. - It takes more than combat gear to make a man. 2. Which of these two sayings do you agree more with and why? - Be yourself no matter what they say. - When in Rome, do as Romans do. 3. What are some of the challenges of “being yourself” in a foreign country as well as in your homeland? 4. If you were “A Czech in New York”, would there be any challenges for you? 5. Are Czechs tolerant of visible peculiarities? In what way? 6. Discuss the factual background information of the song and the personality the song is dedicated to? (The man in the music video and The Times cover is Quentin Crisp). Enjoy The Silence by Depeche Mode

W_ _ _ _ l_ _ _ v______B_ _ _ _ t_ _ s______C_ _ _ c______i_ I_ _ _ m_ l_ _ _ _ _ w_ _ _ _ P______t_ m_ P_ _ _ _ _ r_ _ _ _ t______m_ C_ _ _ y_ _ u______O_ m_ l_ _ _ _ _ g_ _ _

Ref:

A_ _ I e_ _ _ w_ _ _ _ _ A_ _ I e_ _ _ n_ _ _ _ _ I_ h_ _ _ i_ m_ a_ _ _ W_ _ _ _ a_ _ v_ _ _ u______T_ _ _ c_ _ o_ _ _ d_ h_ _ _

Vows a_ _ s_ _ _ _ _ T_ b_ b_ _ _ _ _ F______a_ _ i______W_ _ _ _ a_ _ t______

P______r_ _ _ _ _ S_ d_ _ _ t_ _ p_ _ _ W_ _ _ _ a_ _ m______A_ _ f______

Pretty Woman by Roy Orbison

Pretty woman, walking down the street Pretty woman, the kind I like to meet Pretty woman I don't believe you, you're not the truth No one could look as good as you Mercy

Pretty woman, won't you pardon me Pretty woman, I couldn't help see Pretty woman That you look lovely as can be Are you lonely just like me Wow

Pretty woman, stop a while Pretty woman, talk a while Pretty woman, give your smile to me Pretty woman, yeah yeah yeah Pretty woman, look my way Pretty woman, say you'll stay with me 'Cause I need you, I'll treat you right Come with me baby, be mine tonight

Pretty woman, don't walk on by Pretty woman, don't make me cry Pretty woman, don't walk away, hey...okay If that's the way it must be, okay I guess I'll go on home, it's late There'll be tomorrow night, but wait What do I see Is she walking back to me Yeah, she's walking back to me Oh, oh, Pretty woman

Love Is Blindness by U2

Love is blindness I don’t ……………to see Won’t you wrap the night death – breath Around me Take my …………… Love is blindness hammy – honey

In a ……………car In a crowded …………… sleet – street You see your love Made complete peep – deep ……………is ripping The knot is slipping Love is blindness thread – dead

Love is clockworks And cold …………… steel – steal Fingers too numb to feel ……………the handle squeeze – sneeze Blow out the …………… Love is blindness win – want Love is blindness I don’t ……………to see Won’t you wrap the night kettle – candle Around me Oh my love, blindness morning – mourning

A little …………… Without …………… sense –sex No call And no warning Baby…a dangerous ……………. hurt – heart That almost makes ……………. parked – packed Love is drowning In a ……………well All the secrets and no one to tell idiot – idea Take the money ……………., blindness

Love is blindness I don’t …………….to see Won’t you wrap the night Around me Oh my love, blindness

Sam Cooke – Wonderful World

Don't know much about history Don't know much biology Don't know much about a science book Don't know much about the French I took

But I do know that I love you And I know that if you love me too What a wonderful world this would be

Don't know much about geography Don't know much trigonometry Don't know much about algebra Don't know what a slide rule is for

But I do know that one and one is two And if this one could be with you What a wonderful world this would be

Now I don't claim to be an "A" student But I'm trying to be So maybe by being an "A" student baby I can win your love for me

Don't know much about history Don't know much biology Don't know much about a science book Don't know much about the French I took

But I do know that I love you And I know that if you love me too What a wonderful world this would be

La ta ta ta ta ta ta (History) Ooh ooh ooh ooh ooh ooh (Biology) La ta ta ta ta ta ta (Science book) Ooh ooh ooh ooh ooh ooh (French I took)

But I do know that I love you And I know that if you love me too What a wonderful world this would be

Thank you for…………………. me (4x) Thank you for…………………. me (4x)

Thank you for………………….me (4x) Thank you for………………….me (4x)

And for not………………….me (4x) And for not………………….me (4x)

Thank you for………………….with me (4x) Thank you for………………….with me (4x)

Thanks for not………………….me(4x) Thanks for not………………….me(4x)

You are………………….with me (4x) You are………………….with me (4x)

Thanks for………………….with me (4x) Thanks for………………….with me (4x)

Thank you for………………….me Thank you for………………….me

And …………………."I could be" And …………………."I could be"

Thank you for…………………."Baby" Thank you for…………………."Baby"

Thank you for………………….me Thank you for………………….me

Thank you for………………….me (3x) Thank you for………………….me (3x)

Thank you, thank you for………………….me Thank you, thank you for………………….me

Thank you for………………….my heart Thank you for………………….my heart

Thank you for………………….me apart Thank you for………………….me apart

Now I've a strong, strong heart Now I've a strong, strong heart

Thank you for………………….my heart Thank you for………………….my heart

CHRISTMAS THEME SONGS:

AULD LANG SYNE15 - Pre-listening: 1. Discussion: Who was Robert Burns? When do we sing Auld Lang Syne?

English translation Scots pronunciation guide Burns’ original Scots verse IPA pronunciation guide (minimalist) (as Scots speakers would sound)

Should auld acquaintance be Should old acquaintance be forgot, Shid ald akwentans bee firgot, ː ld ə.kwɛ n.təns bi forgot, and never brought to mind ? an nivir brocht ti mynd? fəɾ .ɡ ot, and never brought to mind ? Should old acquaintance be forgot, Shid ald akwentans bee firgot, ən nɪ .vəɾ brɔ xt tɪ məin? Should auld acquaintance be and old lang syne ? an ald lang syn*? ʃɪd ː ld ə.kwɛ n.təns bi forgot, fəɾ .ɡ ot, and auld lang syne* ? ː l lɑ ŋ səin? CHORUS: CHORUS:

CHORUS: For auld lang syne, my Fir ald lang syn, ma jo, CHORUS: dear, fir ald lang syn, For auld lang syne, my for auld lang syne, wil tak a cup o kyndnes fəɾ ː l lɑ ŋ jo, we'll take a cup of yet, səin, mɑ dʒ əʊ , for auld lang syne, kindness yet, fir ald lang syn. fəɾ ː l lɑ ŋ we’ll tak a cup o’ for auld lang syne. səin, kindness yet, wiː l tɑ k ə kʌ p ə

for auld lang syne. kəin.nəs jɛ t, And surely you’ll buy your pint cup ! fəɾ ː l lɑ ŋ and surely I’ll buy mine ! An sheerly yil bee yur pynt-staup! səin. And surely ye’ll be your pint-stowp ! And we'll take a cup o’ kindness yet, an sheerly al bee myn! and surely I’ll be mine ! for auld lang syne. An will tak a cup o kyndnes yet, And we’ll tak a cup o’ kindness yet, fir ald lang syn. ən ʃ eː r.li jiː l bi juːɾ for auld lang syne. pəin.stʌ up! ən ʃ eː r.li ɑː l bi məin! ən wiː l tɑ k ə kʌ p ə

kəin.nəs jɛ t, CHORUS ː l lɑ ŋ səin. CHORUS CHORUS

We twa hay rin aboot the braes, CHORUS We twa hae run about the braes, We two have run about the slopes, an pood the gowans fyn; and pu’d the gowans fine ; and picked the daisies fine ; Bit weev wandert monae a weery But we’ve wander’d mony a weary But we’ve wandered many a weary fet, ː heː rɪ n ə.but fit, foot, sin ald lang syn. ðə breː z, sin auld lang syne. since auld lang syne. ən puː d ðə ɡʌu.ənz fəin; bʌ t wiː v wɑ n.əɾ t mʌ .ne CHORUS ə wi f t, CHORUS ː ɾ ɪ ɪ CHORUS ː l laŋ səin. We twa hay pedilt in the burn, We twa hae paidl’d i' the burn, We two have paddled in the stream, fray mornin sun til dyn; CHORUS † frae morning sun till dine ; from morning sun till dine ; But seas between us bred hay But seas between us braid hae But seas between us broad have roard roar’d roared sin ald lang syn. ː heː pe.dlt ɪ n sin auld lang syne. since auld lang syne. ðə bʌɾn, freː moːɾ.nɪ n sɪ n tɪ l CHORUS dəin; CHORUS CHORUS bʌ t siː z ə.twin ʌ s bred heː roː rd An thers a han, my trustee feer! lː laŋ səin. And there’s a hand, my trusty And there’s a hand my trusty friend ! an gees a han o thyn! fiere ! And give us a hand o’ thine ! And we’ll tak a richt‡ gude-willie- and gie's a hand o’ thine ! ‡ And we’ll take a right good-will waucht , CHORUS And we’ll tak a right gude-willy draught, fir ald lang syn. waught, for auld lang syne. for auld lang syne. ː n, mɑ CHORUS trʌ s.tɪ fiːɾ! CHORUS n ə ðəin! CHORUS ː ː xt, lː laŋ səin.

CHORUS 15 http://en.wikipedia.org/wiki/Auld_Lang_Syne#cite_note-11 2. Compare the English and the Scottish versions; try to pronounce the verses in Scottish English (according to the IPA). - While-listening: Sing the song along - Follow-up: Discuss the meaning of the lyrics. Do you know any other Scottish hymns?

STRAIGHT NO CHASER – CHRISTMAS CAN-CAN16

- Pre-listening: Straight No Chaser is the name of a professional a cappella group, which originated in 1996 and consists of 10 former students of Indiana University. Their video “The 12 Days of Christmas” from 1998 gained widespread popularity and has been viewed over 17 million times. The newer version from 2008 can be found here: http://www.youtube.com/watch?v=2kYEK-pxs_A. Play the video of the 12 Days of Christmas first and let the students count, how many Anglo-Saxon Christmas carols (or Christmas songs) they are able to recognize. (Tricky: there are 2 Jewish songs). - While-listening: Play the concert version of Christmas Can-Can and ask students to fill in the gaps with expressions you can hear (sometimes more than 1 word is needed). - Follow-up: Play the cartoon music video and let students fill in missing expressions which can be seen on screen.

16 Concert version: http://www.youtube.com/watch?v=7E-47VmFopE Animated version with hints: http://www.youtube.com/watch?v=1ZveAyEMWJ0 STRAIGHT NO CHASER – CHRISTMAS CAN-CAN

Christmas, Christmas time is here, and Christmas songs you love to hear thoughts of and and , but mostly

Christmas, Christmas time is here, the and red nosed songs and songs we love to hear all played a each year

Heard this same song and it's only It's not even cold outside Christmas, Christmas time is here, and Christmas songs you love to hear thoughts of and and , but mostly

Christmas , starting every year

It's October, stores with Christmas trees

Ransack the , shop until you lose your mind

Spike the , sit back and watch Rudolf, Frosty, Tiny Tim, and Scrooge the prince, or Charlie Brown It's time...It's time to do the Christmas can-can if you can't, can't dance well that's ok (not going to do the kick line)

All you need is a , some about a thousand wrap them up and pray for

Run to your find your Christmas screaming all the way (fa-la-la-la-la)

Maine all the way to California it's the Christmas can-can to Christmas day It's the most wonderful time of year we're running mad with Christmas cheer hey what's troubling you my friend?

It's not fair if your (not fair if your ) Dreidel, Dreidel, Dreidel I made it out of clay You realize that Christmas ain't the only holiday Hey he's right who made these laws

Look! Wait! Here comes

Hey do the can-can help them if you can-can join in the parade

(I’m gonna grab some )

All you need is a , some about a thousand wrap them up and pray for

Run to your find your Christmas screaming all the way (fa-la-la-la-la) Prance all the way to Indiana it's the Christmas can-can that's the end

Wait -- for our ending we should share this Hava Nagila, happy Chanukah to you, a happy Chanukah to you, a happy Chanukah to you A merry Christmas, Chanukah and also Kwanzaa. Merry Christmas, happy Chanukah, and merry Kwanzaa too.

Other ideas:

Environmental problems: The Saints Are Coming (U2 feat. Green Day) Social problems: Evolution (Korn) Relationship issues: Enjoy the Silence (Depeche Mode/Lacuna Coil) Personal values: The Fear (Lily Allen)

List of references:

1. http://www.youtube.com/watch?v=7z33cRAYD24&list=TLGe96zyWUCtVjZeG YiLN0v6qBF_6hxKGH 2. http://www.youtube.com/watch?v=Ku-2et3qcL0 3. http://www.erichermanmusic.com/video.html 4. http://mybabymonsters.com/stories/childrens-movies-animated- stories/collaborative-video-the-elephant-song-childrens-art-film-14-guest- artist/310 5. http://www.erichermanmusic.com/video.html 6. http://www.youtube.com/watch?v=szL62FNNiBc 7. http://www.erichermanmusic.com/video.html 8. Ines, M.: The Rhino Song (on-line). Scribd 2009 (citace říjen, 14., 2009). Přístup z internetu: URL: http://www.scribd.com/doc/16925694/The-Rhino- Song 9. http://www.shakespeare-online.com/sonnets/57detail.html 10. http://www.imogenheap.com/forum/viewtopic.php?p=144472&sid=26b5888dd 512212e8db2f63d92227f88 11. http://www.youtube.com/watch?v=MoLY2QRoV1w 12. http://www.youtube.com/watch?v=IJNR2EpS0jw 13. http://www.sporcle.com/games/Sheldon/metro 14. http://www.youtube.com/watch?v=d27gTrPPAyk 15. http://www.victorwatts.com/New%20Portraits/QuentinCrisp.html 16. http://en.wikipedia.org/wiki/Auld_Lang_Syne#cite_note-11 17. http://www.youtube.com/watch?v=2kYEK-pxs_A. 18. http://www.youtube.com/watch?v=7E-47VmFopE 19. http://www.youtube.com/watch?v=1ZveAyEMWJ0