People’s Democratic Republic of Algeria

Ministry of Higher Education and Scientific Research

Larbi Ben M’hidi University-Oum El Bouaghi

Faculty of Letters and Languages

Department of English

Investigating the Effect of Songs on EFL Students’ Metaphor

Comprehension

A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Master

in Language Sciences and Teaching English as a Foreign Language

By: Akram BOURKAIB

Supervisor: Dr. Sarah MERROUCHE

Examiner: Mrs. Fadila HADJRIS

2014-2015

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Dedication

In the Name of God, Most Merciful, Most Compassionate

This work is dedicated to

My dear grandmother who never forgot me in her prayer for all the

words are insufficient to express my love to her

My dear mother who stood by my side at every turn

To my brothers: “Dady and Bissou”

with whom I share many passions of life

To my dear sisters: “Asma and Khaoula”

The oldest “Asma”, who guides me through life and the youngest

“Khaoula” to whom I wish the best luck in her ‘doctor’ dream

To my best “Lyna”

To my friends:

“Issam, Mouh, Achraf, Mijou, Aymen, Pipi and Gassou”

To Hamlaoui Redha and Larouk AbdelDjalil

To: Mira, Marwa and Mayssa

To everyone who helped me with this work

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ACKNOWLEDGEMENTS

Praise is to Allah for giving me health, strength

and spirit to overcome all the downs of life

This work would not have been accomplished without the

guidance of my supervisor, Dr. Sarah MERROUCHE, who

Was a true source of wisdom, guidance and knowledge

throughout this research.

Also, I would like to thank my examiner

Mrs. Hadjris for her precious comments during my viva

My thanks go to my close friends with whom I spent five years

of my life

I would like to express my deepest gratitude to Mr.Ayadi Karim

and Mrs. Guerfi. S who were a source of great help throughtout

the experiment period

Finally, I would not forget my dear teachers at Larbi Ben M’hidi

University especially: Mrs. Bouricha, Mr. Filali, Mr.Bouri,

Mr.Ayadi, Mr.Boulemaiz, Mrs. Arrouf for offering me a model

to follow in life.

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ABSTRACT

This dissertation is concerned with the use of songs in EFL classes and its impact on enhancing the

students’ level of cultural awareness with a particular focus on metaphor comprehension. This work

also aims at investigating the students’ perception of the role of culture in foreign language teaching

and learning. We adopted a ‘mixed method approach’ in which two types of research tools were

used, ‘qualitative and quantitative’, in order to gain a deep understanding of the matter at hand.

The quasi-experiment the study is based on consist of a pre-test, a treatment, and a post-test. The

sample population involved two groups of first year LMD students at the University of Larbi Ben

M’hidi, with a total of 47 students. The experimental group was exposed to the target language

culture using songs and lyrics for a total of six sessions for a time span of one month and a half.

For the control group, the traditional way of teaching was followed using literary passages. The

Independent Samples t Test and the paired t test were used to analyze the collected data statistically.

The results indicate that there were significant differences between the experimental and the control

group, in that the former outperformed the latter in what relates to the cultural understanding of

metaphors. For the qualitative method, a questionnaire was used to explore the students’ attitudes

towards culture in general and songs in particular. The results show that all the students believe

that culture learning is beneficial, and that integrating songs in the EFL class is highly

recommended.

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LIST OF ABBREVIATIONS

- CLT: Communicative Language Teaching.

- TC : Target Culture.

- FL : Foreign Language.

- L2 : Second Language.

- EFL: English as a Foreign Language.

- SLA: Second Language Acquisition.

- N: Number of Students.

- Q: Question.

- df : Difference.

- USA: the United States of America.

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List of Tables

- Table 1: Students’ Gender

- Table 2: Students’ Age

- Table 3: Experience/Competence with other foreign Language(s)

- Table 4: Importance of Learning about the English Language Culture(s)

- Table 5: Interest in English-Speaking Culture(s)

- Table 6: The English Language Culture(s) VS Foreign Cultures Studied previously

- Table 7: Considering the English Language Culture(s) VS the Algerian Culture

- Table 8: Cultural Elements Students are Interested in

- Table 9: Cultural Elements Provided in Class

- Table 10: Listening to English Songs.

- Table 11: Songs’ Types Students Prefer

- Table 12: Students’ Familiarity with the Term Metaphor

- Table 13: Students’ Views on Metaphors

- Table 14: Ways in which Songs can be Beneficial

- Table 15: Ways through which Students Want to Learn the English Culture

- Table 16: The Control Group and the Experimental Group Pre-test Results

- Table 17: The Control Group and the Experimental Group Post-test Results

- Table 18: The Experimental Group Pre-test and the Post-test Results

- Table 19: The Control Group Pre-test and the Post-test Results

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LIST OF FIGURES

- Figure 1: Hall’s Iceberg Analogy of Culture

- Figure 2: Students’ Age

- Figure 3: Interest in English-Speaking Culture(s)

- Figure 4: The English Language Culture(s) VS Foreign Cultures Studied previously

- Figure 5: Considering the English Language Culture(s) VS the Algerian Culture

- Figure 6: Cultural Elements Students are Interested in

- Figure 7: Cultural Elements Provided in Class

- Figure 8: Listening to English Songs.

- Figure 9: Songs’ Types Students Prefer

- Figure 10: Students’ Familiarity with the Term Metaphor

- Figure 11: Students’ Views on Metaphors

- Figure 12: Ways in which Songs can be Beneficial

- Figure 13: Ways through which Students Want to Learn the English Culture

- Figure 14: Control Group VS Experimental Group Pre-test Results

- Figure 15: Control Group VS Experimental Group Post test Results

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CONTENTS

INTRODUCTION

1. Statement of the Problem ............................................................................................................. 1

2. Purpose of the Study .................................................................................................................... 2

3. Research Questions and Hypothesis ............................................................................................ 3

4. Methodology ................................................................................................................................ 4

5. Structure of the Study ................................................................................................................... 5

CHAPTER ONE: Culture and Language Teaching ................................................................... 6

Introduction ...................................................................................................................................... 3

1.1. What is Culture? ........................................................................................................................ 3

1.1.1. Definition of Culture ........................................................................................................... 3

1.1.2. Conceptualizations of culture .............................................................................................. 3

1.1.2.1. Universal VS Situated culture ...................................................................................... 3

1.1.2.2. Surface and Deep culture ............................................................................................. 3

1.1.2.3. High-context and low-context cultures ........................................................................ 3

1.1.2.4. Monochronic and Polychronic cultures ....................................................................... 3

1.1.3. Relationship between Language and Culture ....................................................................... 3

1.2. Teaching Culture ....................................................................................................................... 3

1.2.1. History of Teaching Culture ................................................................................................ 3

1.3.2. The Importance of Teaching Culture ................................................................................... 3

1.3.3. Strategies and techniques for Teaching Culture .................................................................. 3

1.3.3.1. Multimedia ................................................................................................................... 3

1.3.3.2. Songs ............................................................................................................................ 3

Conclusion ........................................................................................................................................ 3

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CHAPTER TWO: Songs in Language Teaching ........................................................................ 3

Introduction ...................................................................................................................................... 3

2.1. The History of Songs ................................................................................................................. 3

2.2. Definitions of Songs and Music ................................................................................................ 3

2.3. Influence of Songs and Music ................................................................................................... 3

2.4. Songs and Language Teaching .................................................................................................. 3

2.4.1. The Role of Songs in Class .................................................................................................. 3

2.4.1.1. Cultural Significance .................................................................................................... 3

2.4.1.2. Enjoyable Drill ............................................................................................................. 3

2.4.1.3. Songs as Practice Material ........................................................................................... 3

2.4.2. Songs and Classroom Activities .......................................................................................... 3

2.5. Songs and Aspects of Language Acquisition ............................................................................ 3

2.5.1. Songs and First or Second Language Acquisition ............................................................. 3

2.5.2. Songs and pronunciation ................................................................................................... 3

2.5.3. Songs and Motivation ........................................................................................................ 3

2.5.4. Songs and Grammar and Vocabulary ................................................................................ 3

2.5.5. Songs and Cultural Awareness .......................................................................................... 3

Conclusion ........................................................................................................................................ 3

Chapter Three: The Algerian EFL students’ perceptions about the target-language culture 3

Introduction ..................................................................................................................................... 3

3.1. The Questionnaire .................................................................................................................... 3

3.1.1. The Sample ....................................................................................................................... 3

3.1.2. Description of the Questionnaire ...................................................................................... 3

3.1.3. Analysis of the Results ..................................................................................................... 3

3.2. Interpretation of the Results ..................................................................................................... 3

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Chapter Four: The Effects of Listening to Songs on Algerian EFL Students Metaphors

comprehension: Field Investigation ............................................................................................. 3

Introduction ...................................................................................................................................... 3

4.1. Population and Sample ............................................................................................................. 3

4.2. Choice of the Method ............................................................................................................... 3

4.2.1. The Pre-test Phase ............................................................................................................ 3

4.2.2. The Treatment Phase ........................................................................................................ 3

4.2.3. The Post-test Phase ........................................................................................................... 3

4.2.4. Scoring .............................................................................................................................. 3

4.3. Data Analysis ........................................................................................................................... 3

4.3.1. Results of the Pre-Test ...................................................................................................... 3

4.3.2. Results of the Post-Test .................................................................................................... 3

4.3.3. Summary of the Results .................................................................................................... 3

4.4. Limitations of the Study ........................................................................................................... 3

4.5. Pedagogical implications .......................................................................................................... 3

Conclusion ....................................................................................................................................... 3

GENERAL CONCLUSION ......................................................................................................... 3

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1. Statement of the problem

There is a significant move toward the adoption of the English language in different

aspects of life such as daily life use, occupational purposes and/or in education as this

language has gradually became the common tool for human communication around the world.

Indeed, English has become a language in which the number of the non-native English

speakers could significantly excel the number of the native English speakers in the near

coming years. “Being able to read, and write, is like magic or a blessing allowing us to see all

these letters dance before our eyes, forming into words sentences and stories, creating pictures

and movies in our heads" (Cecilie Lichtwarck Aardal, 2014, p. 6). Being able to understand a

foreign language paves the way and access to more exciting literature, well-written language,

funny and exotic words and different and unknown cultures, for language and culture are

inseparable elements making language learning the same as cultural learning (Purba, 2011). In

addition, according to Brown (1994), "Language is a part of culture and a culture is a part of a

language. The two are intricately interwoven so that one cannot separate the two without

losing the significance of either language or culture". (p. 164)

In Algeria, English is a valuable subject within the school system. Algerian students

start learning English from their very first year at the middle school, and many of them are

quite skilled when it comes to English speaking abilities once they reach university.

Furthermore, they are surrounded by an enormous input of English every day mainly through

media. Music, particularly, is universal and all cultures on this planet have music. The use of

songs and lyrics as audio and visual materials in teaching English as a foreign language is an

important aspect not only for language teaching/learning but also to raise students’ awareness

about the English speaking countries; including their values, customs, and traditions that can

help learners communicate more successfully in a range of social contexts as well as to realize

that cultural differences and similarities do exist.

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In foreign language teaching, activities that are designed using songs contribute to the

development of many language aspects embracing grammar and pronunciation; they promote

conversation skills, expand vocabulary, gain familiarity with a range of new expressions,

develop awareness of speech patterns, and reduce stress and anxiety since songs are audio and

written tools essential for foreign language teaching.

The focus of using songs in classroom in our research is on the process of co-

construction of meanings of metaphorical expressions in songs, and song lyrics, by students of

English as a foreign language. Songs have become an integral part of both native and non-

native speakers’ (foreign language learners) experience and can be of a great value if injected

and integrated skillfully in language lessons. Yet, there is a lack of awareness concerning the

use and integration of songs in classroom activities. In other words, “most of the Algerian

teachers of English at the Intermediate and Secondary Levels are not conscious of the

importance of incorporating the cultural components in FL teaching, and do not design

activities to integrate it in their lessons” (Merrouche, 2006, p 487). In the framework of our

research, we wonder whether songs can develop the analytical ability of EFL students to

comprehend metaphors.

2. Purpose of the study

This research aims at investigating the effect of using songs as a tool to raise students’

awareness about the target language culture at the level of first year English students at Oum

El Bouaghi University. Focus is on students’ metaphor comprehension in songs that heavily

rely on metaphors to convey their messages. Metaphor often adopt cultural aspects for their

meaning (Lakoff and Johnson, 1980). Thus, we are going to check if EFL students’ cultural

awareness is enhanced through the use of metaphors introduced in songs.

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3. Research Questions and Hypotheses

This piece of research aims to answer the following questions:

- Are metaphorical expressions difficult to comprehend by the students?

- To what extent can songs help students make sense of metaphorical expressions and

hence raise their cultural awareness?

Accordingly, we hypothesize that:

𝐻1: Using songs in class enhances the comprehension of culture-bound metaphors

𝐻0: Using songs in class does not enhance the comprehension of culture-bound

metaphors.

𝐻2: Students would perceive integrating the target language culture in the framework of

the language class as an important part of their foreign language learning.

5. Methodology

The whole population of the study embraces first year LMD students at the

Department of English at the University of Oum El Bouaghi during the academic year 2014-

2015 using the quasi-experimental method. The sample consists of two groups; the

experimental group and the control group.

To reach our research objectives, an experiment is to be used in order to collect data

for this study. Two heterogeneous groups consisting of first year university students are to be

chosen. The first group is the experimental group of the study; the second one is the control

group. In order to test and assess differences in the level of cultural awareness, specifically

metaphor comprehension, a pre-test in the form of a well-designed quiz is given to both

groups including questions related to both American and British culture, and embracing

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different songs’ types and lyrics. Then, a period of treatment is to take place concerning the

experimental group by providing them with multiple songs and their lyrics related to the

target language and culture. The lyrics will include a multitude of types and style of songs to

depict the cultural elements, metaphorical one, needed to be introduced to students followed

by activities related to general questions and background. The control group, on the other

hand, is introduced to instructions and lessons about metaphors using the traditional way of

teaching (using literary passages) then followed with the same activity. Finally, a post-test is

given to the experimental group and the control one. Afterwards, we compare the results of

both tests collected from both groups to determine if there is any effect of using songs on EFL

learners’ metaphor comprehension that contributes in enhancing their cultural awareness.

After dealing with the experiment, a questionnaire is given to members of the

experimental group and the control group. The questionnaire aims to investigate the Algerian

EFL students’ perceptions about the importance of the target-language culture and their

viewpoints about and interest in English songs and metaphors. The questionnaire includes two

types of questions: multiple-choice items where the student is free to select from a list to

make it easier for learners to answer and facilitate the measurement process, and open-ended

questions to extract further information about the choices made in the former step.

6. Structure of the study

The research is divided into two main chapters:

- Chapter one includes two sections; the first section deals with defining culture and the

relationship between culture and language learning focusing on metaphors.

Section two deals with using songs in EFL classes.

- Chapter two also includes two sections; the first section is concerned with analyzing

and interpreting the results gathered from the questionnaire.

The second deals with the findings of the experiment.

CHAPTER ONE: Culture and Language Teaching

Introduction

1.1. What is Culture?

1.1.1. Definition of Culture

1.1.2. Conceptualizations of culture

1.1.2.1. Universal VS Situated culture

1.1.2.2. Surface and Deep culture

1.1.2.3. High-context and low-context cultures

1.1.2.4. Monochronic and Polychronic cultures

1.1.3. Relationship between Language and Culture

1.2. Teaching Culture

1.2.1. History of Teaching Culture

1.3.2. The Importance of Teaching Culture

1.3.3. Strategies and techniques for Teaching Culture

1.3.3.1. Multimedia

1.3.3.2. Songs

Conclusion

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Introduction

Connections between language and culture often never come to question with first

language learners surrounded by their own culture. However, for foreign language learners an

understanding of language requires a very different form where cultural components and

understandings are situated well beyond the textbook. Linguistic competence alone is not

enough for learners to be fully aware and competent in that language. Thus, an understanding

of the relationship between language and culture is very significant for both learners and

teachers and although separating the two is at times possible, one has to question the

implications of such separation. This chapter introduces the various aspects and concepts of

language and culture, and explores the viability of their relationship based on various plausible

claims.

1.1. What is Culture?

1.1.1. Definition of Culture

Culture in today’s context is different from the traditional, more singular definition, used

particularly in Western languages, where the word often implies refinement. Culture is the

beliefs, values, mind-sets, and practices of a group of people. It includes the behaviour pattern

and norms of that group—the rules, the assumptions, the perceptions, and the logic and

reasoning that are specific to a group. Each of us is raised in a belief system that influences our

individual perspectives to a given degree that we cannot always account for, or even

comprehend, its influence. We are like other members of our culture seeking to share a common

idea of what is appropriate and inappropriate.

Today, a general view of culture is needed in any research in every field embracing

archaeology, linguistics, history, psychology, sociology etc. Malinowski (Stern, 2009) views

culture through a somewhat more interactive design, stating that it is a response to need, and

believes that what constitutes a culture is its response to three sets of needs: the basic needs of

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the individual, the instrumental needs of the society, and the symbolic and integrative needs of

both the individual and the society. It is even said that man is an animal with culture. That is to

say, the factor, which differentiates the human being’s behaviour from the behaviour of animal,

is culture (Mesbahe Yazdi, 2005). In general, from the sociological perspective, culture is the

total of the inherited and innate ideas, attitudes, beliefs, values, and knowledge, comprising or

forming the shared foundations of social action. For Hofstede (2010: 344), who defines culture

as the programming of the mind and views it as a computer system, states “Every person carries

within him or herself patterns of thinking, feeling, and potential acting which were learned

throughout his or her lifetime. Much of these patterns are acquired in early childhood, because

at that time a person is most susceptible to learning and assimilating”. Patterns, according to

Hofstede, are the resulting developments of interactions in the social environment and with

various groups of individuals at different stages: family, educational settings: school, college

and so on.

Likewise, from the anthropological and ethnological senses, culture encompasses the

total range of activities and ideas of a specific group of people with common and shared

traditions, which are conveyed, distributed, and highlighted by members of the group. The

anthropologists’ view of culture can be presented through Geertz’s definition of culture, in

which culture denotes “a historically transmitted pattern of meaning embodied in symbols, a

system of inherited conceptions expressed in symbolic forms by means of which men

communicate, perpetuate and develop their knowledge about and attitudes toward life.”

(Geertz, 1973, p. 89). The ethnographer Spradley (1987) gives further distinctions as to what

culture is. He describes it as embodying three main aspects of human experience. These are

cultural artefacts (what people make and use), cultural knowledge (what people know) and

cultural behaviour (what people do).

Williams (1983; as cited in Martin and Nakayama, 2010: 84) wrote that culture “is one

of the two or three most complicated words in the English language.” There are about two or

8

three hundred and even more definitions for culture. With respect to the definition of culture,

Edward Sapir (1956) says that culture is a system of behaviors and modes that depend on

unconsciousness. Rocher (1972, 2004), an anthropologist, believes that “Culture is a connection

of ideas and feelings accepted by the majority of people in a society” (p. 142). Taylor (1974),

an anthropologist, says in his Primitive Culture that culture in a complex definition includes

beliefs, arts, skills, moralities, laws, traditions and behaviors that an individual, as a member of

a society, gets from his own society. Goodenough (1996) claims that culture is a systematic

association of people that have a certain way of life. Therefore, culture is the only distinction

between human and animals. Of course, animals live in association but it is a special kind. There

are, indeed, a lot of sharing characteristics between human beings and animals such as

associative life, responsibility toward children and so on. However, culture is for men, only.

Spencer (1986) calls culture the milieu of super organic and highlights the separation of culture

from physical and natural factors. He believes that the super organic factor is only for man,

whereas the other two factors are the same for man and animal.

The diversity of definitions which emerged about culture provide a clear evidence that

culture is equipped with a shield resisting any kind of agreement among experts or scholars

from a variety of disciplines. Culture is above all (and most of all) about human beings, the

point that distinguishes it from other disciplines:

The most important single criterion in distinguishing culture from geography,

history, folklore, sociology, literature, and civilization is the fact that in culture we

never lose sight of the individual. The geography for example, of mountains, rivers,

lakes, natural resources, rainfall, and temperature is quite impersonal and would be

what it is whether people were present or not. It is only when we see human beings

in this geographical picture and observe the relationship between their individual

lives and these facts and circumstances of the earth's surface that our perspective

becomes what we may call cultural. (Brooks 1968; as cited in Merrouche, 2006: 10)

9

Another view of culture comes from Davis (2009: 33), defining culture as “a unique and

ever-changing constellation we recognize through the observation and study of its language,

religion, social and economic organization, decorative arts, stories, myths, ritual practices and

beliefs, and a host of other adaptive traits and characteristics. Culture can also include people’s

actions, hopes, and ambitions that draw the path of their life. Thus, reference needs to be made

towards people’s homeland, “the ecological and geographical matrix in which they have

determined to live out their destiny”.

1.1.2. Conceptualizations of culture

1.1.2.1. Universal VS Situated culture

Salzman (1998: 46) in discussing the construct of culture, talks of it as being ‘‘all

inclusive”. He states: “When one talks about culture, however, the explicit mention of language

is, strictly speaking, redundant because any particular language is a form (even though

autonomous) of learned behavior and therefore a part of the culture”. For Salzman, the lexicon

of any language monitors whatever the non-verbal culture emphasizes, in that, those cultural

aspects that are needed by members of any society are highly demonstrated in the vocabulary.

In other words, it is assumed that lexicon represents the basis for the exhibition of our

experiences in the world, and as such creates our conceptualizations about the world. The world

is ‘‘here and now’’ (Situated culture), but there is also the world of innate universal human

experience shared by all of us (Universal culture).

Universal culture, also called an anthropological universal or human universal, is an

element, pattern, trait, or institution that is common to all human cultures. In his book Human

Universals (1991), Donald Brown defines human universals as comprising "those features of

culture, society, language, behavior, and psyche for which there are no known exception".

According to Weisinger and Trauth (2003), from a situated culture perspective, cultural

10

understanding is locally situated, grounded in behaviour, and fixed in the social practices of

everyday life. In other words, the term situated culture is used to describe how our situation,

daily routines and patterns, social relationships with family and peer groups, can influence our

engagements and interpretation of our everyday life experiences.

1.1.2.2. Surface and Deep culture

Culture is composed of traditional ideas and related values. It is learned, shared, and

transmitted from one generation to the next, and it organizes and helps interpret life. The

following iceberg figure illustrates the difference between surface and deep culture that can

“help you go below the surface when considering the relationship between culture and learning.

When thinking about the culture students bring to the classroom, often teachers see only the

most obvious manifestations of culture and miss its more fundamental expressions… Like an

iceberg, nine-tenths of culture is below the surface” (Grant & Sleeter, 2007, p. 125).

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Figure 1: Hall’s iceberg analogy of culture. Reprinted from constant foreigner, by H.T. Edward,

1976, Retrieved 19 May 2015, from http://constantforeigner.com/research/edward-t-halls-

cultural-iceberg/. Copyright 2013 Constant Foreigner. Reprinted with permission.

As we see on the iceberg, food, dress, music, visual arts, drama, crafts, dance, literature,

language, celebrations and games are the surface forms of culture that are the usual markers of

“multicultural education.” Yet, deep culture defines the ways in which people have learned to

respond to life’s problems. For example, all human groups must deal with death. However,

there is great variation from culture to culture in the rituals and practices that have developed

around death.

1.1.2.3. High-context and low-context cultures

In low-context cultures (e.g., the United States), messages are explicit and clear in the

sense that actual words are used to convey the main part of information in communication. The

words and their meanings, being independent entities, can be separated from the context in

which they occur.

In high-context cultures (e.g., Japan), the context of communication is high because, in

addition to the verbal part, it includes a great deal of extra information, such as the message

sender's values, position, background, and associations in the society. As such, the message

cannot be understood without its context. One's individual environment (i.e., physical setting

and social circumstances) determines what one says and how one is interpreted by others.

1.1.2.4. Monochronic and polychronic cultures

Monochronic cultures like to do just one thing at a time. They value a certain orderliness

and sense of there being an appropriate time and place for everything. They do not value

interruptions. They like to concentrate on the job at hand and take time commitments very

seriously. Monochronic cultures handle information in a direct, linear fashion. Schedules,

punctuality, and a sense that time forms a purposeful straight line are indicators of such cultures.

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Unlike monochronic cultures, Polychronic cultures like to do multiple things at the same

time. In polychronic cultures, people work on several fronts simultaneously instead of pursuing

a single task.

Interactions between the two types can be problematic. Monochronic businessmen

cannot understand why the person they are meeting is always interrupted by phone calls and

people stopping by. Such behaviours are interpreted differently; is it meant to be insulting?

When do they get down to business? Are they even serious?

Polychronic businessmen cannot understand why tasks are isolated from the

organization as a whole and time-bound instead of part of the overall organizational goal. How

can you separate work time and personal time? Why would you let something as silly as a

schedule negatively impact on the quality of your relationships?

1.1.3. Relationship between Language and Culture

For language teachers and learners in general, an appreciation for the differences in

opinions regarding the relationship between language and culture can help illuminate the

diversity of views held toward the use of language. In other words, an understanding of the

relationship between language and culture is important for language learners, users, and for all

those involved in language education The way we choose to use language is not just important

for some of us, moreover insight into the various views can assist not only second language

learners but also first language users. In that, it opens the door for a consideration of how both

language and culture can influence people’s life perceptions, and how people make use of their

pre-acquainted linguistic and cultural knowledge in assessing those perceptions. For all

language users, the recognition of how their language affects others can greatly affect the

direction and motivation for both language study and interpersonal relationships, and it can also

add great insight and value to language education, program planning, and curriculum

development. The connection between language and culture was forwarded by Wardhaugh

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through the three plausible relationships: language structure determines language usage,

cultural values determine the way we use language, and the claim that a relationship between

the two does not exist.

Understanding people’s cognitive processes when they communicate is the main reason

making the relationship between language and culture a complex one. According to Wardhaugh

and Thanasoulas, language is defined differently, with the former explaining it for what it does,

and the latter viewing it as it relates to culture. Wardhaugh (2002: 2) defines language to be “A

knowledge of rules and principles and of the ways of saying and doing things with sounds,

words, and sentences rather than just knowledge of specific sounds, words, and sentences”.

While Wardhaugh does not mention culture per se, the speech acts we perform are

inevitably connected with the environment they are performed in, and therefore he appears to

define language with consideration for context. Something Thanasoulas (2001) more directly

compiled in the following “Language does not exist apart from culture, that is, from the socially

inherited assemblage of practices and beliefs that determines the texture of our lives (Sapir,

1970, p. 207). In a sense, it is ‘a key to the cultural past of a society’ (Salzmann, 1998, p. 41),

a guide to ‘social reality’ (Sapir, 1929, p. 209).

Discussing the relationship between language and culture requires some understanding

of what culture refers to. Goodenough (1957, p. 167, taken from Wardhaugh, 2002, p. 219)

explains culture in terms of the participatory responsibilities of its members. He states that a

society’s culture is made up of whatever it is one has to know or believe in order to operate in

a manner acceptable to its members, and to do so in any role that they accept for any one of

themselves.

Malinowski (Stern, 2009) views culture through a somewhat more interactive design,

stating that it is a response to need, and believes that what constitutes a culture is its response

to three sets of needs: the basic needs of the individual, the instrumental needs of the society,

14

and the symbolic and integrative needs of both the individual and the society. For both

Goodenough and Malinowski, culture is defined by benevolence and expectation. While each

person holds their own individual roles and subsequent needs as part of a culture, the various

needs of the culture must also be kept in balance. Consequently, in composing a definition for

culture, we can see that the concept is often better understood in the context of how the members

of a culture operate, both individually and as a group. It is therefore clear how important it is

for members of any society to understand the actual power of their words and actions when

they interact. Above, Salzmann is quoted by Thanasoulas as saying that language is ‘a key to

the cultural past’, but it is also a key to the cultural present in its ability to express what is (and

has been) thought, believed, and understood by its members.

Edward Sapir, in his studies with Benjamin Lee Whorf, recognized the close

relationship between language and culture, stating that it was not possible to understand one

without considering the other (taken from Wardhaugh, 2002, p. 220). Wardhaugh (2002, pp.

219- 220), however reported that there appear to be three claims to the relationship between

language and culture. According to the first claim: “The structure of a language determines the

way in which speakers of that language view the world or, as a weaker view, the structure does

not determine the world-view but is still extremely influential in predisposing speakers of a

language toward adopting their world-view”.

This claim is commonly associated with Sapir and Whorf, the belief that the structure

of the language determines how people see the world, known as the linguistic determinism,

though its definitive phrasing is disputed by many sociolinguists.

An often-cited "strong version" of the claim proposes that language structure determines

how we perceive the world. A "weaker version" of this claim posits that language

structure influences the worldview of speakers of a given language but does not determine it.

Strong linguistic determinism and the idea that difference in language results in difference in

thought, or linguistic relativity, were the basic propositions for the Sapir-Whorf Hypothesis.

15

The hypothesis claims that we see and hear and otherwise experience very largely as we do

because the language habits of our community predispose certain choices of interpretation

(Sapir 1929b, p. 207).

According to the ‘neutral claim’ that a relationship does not exist between language and

culture, when considering language for its communicative powers and its role in the culture that

uses it, would appear to be one for a philosophical debate. Although it is possible to argue about

the potential of analyzing a language and/or culture without regard for the other, the reasons for

such an analysis remains suspicious. The fact that language is used to convey and to understand

messages would suggest a relationship in which both the information giver and receiver assume

one or more roles. When considering such communication in its immediate setting, it would be

difficult to conclude that culture would in no way have an impact on the interaction even on the

smallest of scale.

The third proposed relationship suggesting that people in a culture use language that

reflects their particular culture’s values claims the following: “The culture of a people finds

reflection in the language they employ. Because they value certain things and do them in a

certain way, they come to use their language in ways that reflect what they value and what they

do”.

This is the opposing view of Sapir and Whorf in which it is the ‘thoughts’ of a culture

which are reflected in the language and not the language which determines the thought.

Wardhaugh also notes that people who speak languages with different structures (e.g. Germans

and Hungarians) can share similar cultural characteristics, and people who have different

cultures can also possess similar structures in language (e.g. Hungarians and Finns). Examples

like these indicate that the second relationship between language and culture is quite viable.

As referred previously to Brown (1994:164), "Language is a part of culture and a

culture is a part of a language. The two are intricately interwoven so that one cannot separate

the two without losing the significance of either language or culture". Furthermore, foreign

16

language learning is, at any rate, foreign culture learning, and, in one form or another, culture

has been taught in the foreign language classroom for different reasons, even implicitly.

1.2. Teaching Culture

1.2.1. History of Teaching Culture

The relevance of teaching culture with language is based on the belief that language and

culture are strictly interwoven and the view that culture cannot be taught without language and

similarly, that language cannot be taught without culture. In Peck’s (1998) words, “Without the

study of culture, foreign language instruction is inaccurate and incomplete” (p.1), or it is what

Sellami (2000) refers to as “a lifeless endeavour” (p.4). Both learners and teachers of a second

language need to understand cultural differences, to recognize openly that everyone in the world

is not ''just like me” that people are not all the same beneath the skin .There are significant

differences among groups and cultures. Therefore, language teachers cannot, explicitly or

implicitly, avoid conveying impressions of another culture. The former claim is an evidence

that the integration of culture in language courses is not a recent technique or “tendency” and

that culture has always been present in language instruction.

Culture in foreign language teaching started with a ‘language for reading’ through the

Grammar Translation Method in which culture is viewed as consisting of literature and the fine

arts. Indeed, in the past, studying literature was the aim of learning a foreign language, and this

was the main medium of culture. ‘It was through reading that students learned of the civilization

associated with the target language’ (Flewelling, 1993: 339, cited in Lessard-Clouston, 1997).

In the 1960s and 1970s, some scholars made an endeavour to base foreign language

learning on a universal ground of emotional and physical needs, so that ‘the foreign culture

would appear less threatening and more accessible to the language learner’ (Kramsch, 1993:

224). The Direct Method then emerged emphasizing the use of oral skills based on the premise

that learning a foreign language must be an imitation of the first language. “The goal was to

promote international communication and trade exchange in a Europe characterized by

17

competition and imperialism. Focus was on knowledge about the Target Culture (TC)

geographical, historical, political, economic and technical facts.” (Merrouche, 2006: p. 51).

Another method that started to develop was widely used in the 1960s. The emphasis of

the Audio-lingual Method was not on the understanding of words, but rather on the acquisition

of structures and patterns in common everyday dialogue. Mainly with the outbreak of World

War II where the armies needed to become orally proficient in the languages of their allies and

enemies as quickly as possible which was initially called the “Army Method”, and was the first

to be based on linguistic theory and behavioral psychology.

In the seventies a movement called the communicative approach, also known

as communicative language teaching (CLT), emerged emphasizing interaction and problem

solving, as both are the means and the ultimate goal of learning English, or any other language.

It switched traditional language teaching's emphasis on grammar, the focus of the Grammar

Translation Method, and the teacher-centered classroom to that of the active use of authentic

language in learning and acquisition. In other words, it places less emphasis on the learning of

specific grammatical rules and more on obtaining native-speaker-like fluency

and pronunciation. In that, students are assessed on their level of communicative

competence rather than on their explicit knowledge.

To sum up, integrating culture in foreign language teaching took place initially with

language-driven approaches such as the Lexical Approach, Grammar-Translation, and others,

which give priority to one or more aspects of language shifting to more methodologically

driven, including the Direct Method, CLT, and others, giving priority to methodological

matters.

1.3.2. The Importance of Teaching Culture

Teaching culture as part of the language syllabus is believed to be an influential

instrument in enhancing communicative competence. Clearly, achieving successful

communication requires associating language use with other culturally appropriate behaviours

18

or else students will learn mere utterances without the cultural appropriateness connected to

them.

Canale and Swain’s (1979) and Canale’s (1983) communicative competence model is

comprised of four competency areas: grammatical competence, sociolinguistic competence,

discourse competence and strategic competence. Grammatical competence is concerned with

the mastery the verbal and the non-verbal aspects of a language including vocabulary,

pronunciation, spelling, and other language rules. Sociolinguistic competence, on the other

hand, deals with the appropriateness of utterances taking into consideration the appropriateness

of what is said, as well as the context in which the utterance would be considered appropriate.

Discourse competence is the ability of language learner to create unified texts, either spoken or

written, in which the diversity of grammatical forms and meanings allow for the creation of

multiple genres, such as a personal letter, a speech, or a narrative, to name a few. Finally,

strategic competence refers to the use of communication strategies that are needed into play

when a breakdowns in communication between participants occur, allowing one of the speakers

to compensate for the communication failure by relying on several elements such as facial

expressions, gestures, paraphrase and other verbal or non-verbal cues. The main goal of this

communicative competence can be defined in terms of providing students with meaningful

interactions in authentic or real life situations with native or native-like speakers of the target

language. In that, it is also necessary to teach about the target culture in social studies classes

so that students are not only taught how to meet their communicative goals, but are also taught,

“the sociocultural knowledge of the second language group that is necessary in drawing

inferences about the social meanings or values of utterances” (Canale & Swain, 1979, p.28).

In addition to communicative competence, Culture teaching has many benefits for

language students through allowing them to “feel, touch, smell, and see the foreign people and

not just hear their language” (Peck, 1998, p.3). Consequently, the language learning experience

becomes more real, more purposeful and more authentic for learners when they are taught the

19

cultural contexts of the language itself (Peterson & Coltrane, 2003). Moreover, integrating the

target culture when teaching the target language helps significantly in attracting students’

interest and motivation.

Another benefit of teaching culture is its role to debunk stereotypes associated with the

people of the target culture. Teachers can ensure that the posters covering the classroom walls

are representative of variations in the target culture and do not reflect stereotypical

representations only. For instance, if the only depictions of the French male are beret-wearing,

coffee-sipping, moustache-sporting men sitting at an open-air café and delicately nibbling a

croissant, the stereotype that this is a typical Frenchman would be reinforced.

Joining a L2 or FL class does not always guarantee students’ ability or appreciation to

be tolerant of the target culture, although for language teachers one of the goals of language

instruction is to instil a cultural awareness and acceptance in students (Bateman, 2002).

However, teaching the target culture, simultaneously, with the target language leads to a

positive effect on students’ perceptions and attitudes towards the target language speakers and

their culture. Bateman (2002) calls this “the most compelling reason for culture learning” (p.3).

1.3.3. Strategies and techniques for Teaching Culture

In teaching language and culture to students, there are several strategies of which teachers

may avail. Cullen and Sato (2000) encourage an approach encompassing materials which are

tactile, visual or audio-based in order to touch on many of the various learning styles of students.

Cultural activities should be carefully organized in that teachers are ought to avoid judgments

on differences between the students’ native culture and the culture being explored in the

classroom. Techniques should make lessons motivating and pleasing for students. As Tomasz

Roszyk (2004) put it forward ‘’teaching culture does not have to lead only to studying pure

facts from books but it can be enjoyable as well’’.

There is a great variety of techniques and strategies which can be implemented in the

classroom and teachers should make use of a combination of materials in order to help learners

20

choose the right learning style which would suit them best. Some of the dominating strategies

can be summarized in terms of:

1.3.3.1. Multimedia

"Multimedia refers to any computer-mediated software or interactive application that

integrates text, color, graphical images, animation, audio sound, and full motion video in a

single application" (Pourhosein, 2012, p. 57). Multimedia includes the use of video, CDs, TV,

Computers, the Internet, songs, photographs, and Electronic Dictionaries. Moreover, teachers

can integrate stories, readings, students’ own information, lectures, newspapers, realia,

anecdotes, guest speakers, souvenirs, surveys, illustrations, and literature in the framework of

teaching culture. The use of Multimedia materials has been widely accepted as a useful and

effective tool in the field of second language acquisition (SLA). The most valuable aspect of

using multimedia is its correspondence to the different styles and preferences of learning each

learner has, in addition to the effectiveness of its materials in a number of aspects including

four skills of language learning: listening, speaking, reading (including vocabulary

comprehension) and writing.

1.3.3.2. Songs

Since the meaning is an important device in teaching grammar, it is important to

contextualize any grammar point. Songs are one of the most enchanting and culturally rich

resources that can easily be used in language classrooms offering a change from routine

classroom activities and considered as precious resources to develop students’ abilities in

listening, speaking, reading, and writing. Songs can also be used to teach a variety of language

items such as sentence patterns, vocabulary, pronunciation, rhythm, adjectives, and adverbs. As

stated by Lo and Fai Li (1998:8), learning English through songs also provides a non-

threatening atmosphere for students, who usually are tense when speaking English in a formal

classroom setting. Songs also give new insights into the target culture as a means through which

cultural themes are presented effectively. Through using songs where different language

21

features such as stress, rhythm, intonation are presented, the language which is cut up into a

series of structural points becomes a whole again.

Through using contemporary popular songs, which are already familiar to teenagers, the

teacher can meet the challenges of the teenage needs in the classroom. Since songs are highly

memorable and motivating, in many forms they may constitute a powerful subculture with their

own rituals. Furthermore, through using traditional folk songs the base of the learners’

knowledge of the target culture can be broadened. Songs are very helpful in encouraging

extensive and intensive listening, and inspire creativity and use of imagination in a relaxed

classroom atmosphere. Selecting a song in the classroom is a critical step that requires the

teacher’s experience through taking into consideration several factors such as students’ age and

interests and the language being used in the song as well as to allow learners to take part in the

selection of the songs.

Conclusion

While there is no definitive conclusion to draw about how language and culture are

related, it is evident through the linguistic diversity that a relationship exists. Language

learners need to understand why people think and speak the way they do, and to understand

possible agreements that may exist between a culture and its language. Thus, integrated

studies of language and culture are needed if language learners seek to become competent

language users.

CHAPTER TWO: Songs in Language Teaching

Introduction

2.1. The History of Songs

2.2. Definitions of Songs and Music

2.3. Influence of Songs and Music

2.4. Songs and Language Teaching

2.4.1. The Role of Songs in Class

2.4.1.1. Cultural Significance

2.4.1.2. Enjoyable Drill

2.4.1.3. Songs as Practice Material

2.4.2. Songs and Classroom Activities

2.4.3. The Selection of Songs

2.5. Songs and Aspects of Language Acquisition

2.5.1. Songs and First or Second Language Acquisition

2.5.2. Songs and pronunciation

2.5.3. Songs and Motivation

2.5.4. Songs and Grammar and Vocabulary

2.5.5. Songs and Cultural Awareness

Conclusion

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Introduction

Education is significant at the level of the social, political and economic development

of any nation; thus, effective teaching is essential. Effective teaching does not mean being

perfect or giving a wonderful performance, but rather bringing out the best in students. For

effective teaching to take place, obviously, a good method must be adopted by the teacher.

Deciding what teaching method to use depends on a number of considerations including

students’ background, knowledge, environment, and learning goals. Teachers are aware that

students learn in different ways, but almost all learners will respond well to technology. In our

research, the example of such integrated sources and techniques is the use of songs as a modern

technology. Throughout this chapter, we will deal with songs and music, the different

applications of songs and several examples will be provided.

2.1. The History of Songs

“Language is a treasure that enriches my mind.

Music is a treasure that enriches my soul.

Teaching enriches my spirit.” Veronika Rosová (2007, p. 7)

Music is universal in human culture and all cultures on this planet have music. Language

and communication are also universal. As an anthropological evidence, Livingstone (1973)

claimed that homo sapiens sang (non-linguistic vocalizations) long before speaking. In the case

of infants, their crib language is much likely to resemble singing more than regular speech and

that adults tend to adjust, naturally, to infants and small children with musical motherese

features.

Jusczyk (1986) believes in babies’ sensitivity towards speech that begins even before

birth. Mothers generally tend to use simple language and affectionate terms with higher voice

with their children and this baby talk does not actually hinder a child’s language development,

24

as has been claimed, but rather facilitates it (p. 86). Lullabies, those soft gentle songs sung to

make a child go to sleep, are considered as more than simple nursery songs, serving to combine

musical patterns to words the child hears without comprehension. This language-music

structure provides a pre-formation of listening skills and language facility through cradlesongs

and nursery rhymes. This early memory bonding is believed to help form the basis of literary

repertoire and future creativity. Thus, experts strongly urge both mothers and fathers to seize

and capture every possible opportunity to sing and read to their children.

According to Richman (1993), human vocalization is categorized into two main

opposed systems, expressive sounds (e.g., sighing, crying, laughing) and speech. Richman

believes that a third type of vocalization lies between these two systems -- singing. When it

comes to emotions, singing is the best expressive tool than any other instrument. He further

held that the social functions of singing provide something that speaking does not. Group

singing gives a strong, direct feeling of social cohesion and solidarity, proposing that singing

served as an evolutionary transitional state between primate-like vocalizations and speech.

Merkur (2000), from the Institute of Biomusicology, believes that the musical ability

and musical behavior of homo sapiens originally evolved as an advantageous reproductive

strategy in the ancestors of humans and chimpanzees. He suggests that:

Music is an evolutionary spin-off from patterns of sexual selection. In particular,

males who “made music” together may have attracted females, who chose music-

makers as mates. Thus, we may have music because males that were musical were

more likely to reproduce than males that were not. In short, we have music because to

be human is to be musical. (p. 5)

Music is an essential part of human nature. In the words of Briscoe Darling, a mountain

musician from the Andy Griffith Show, “you got time to breathe, you got time for music.”

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2.2. Definitions of Songs and Music

Firstly, it is worth mentioning that the perception of music and the definition coming

from it vary from one country to another, from nation to nation, from person to person and even

from language to language. In some languages, the concept of music cannot even be translated

to another word. Socrates said, “I know that I know nothing”. We also will know that we do

not know anything certain about a definition of music as there is no exact unique definition in

the world.

In his book “Songs in Action”, Dale T. Griffee (1995) defines songs and music as

follows: “The word songs refers to pieces of music that have words, especially popular songs

such as those one hears on the radio. By music is meant instrumental music, for example,

symphonic, chamber, easy listening, or solo instruments such as the organ, flute or guitar” (p. 3).

Through the following examples, we can see the great diversity and disunity of opinions

relating to what music is. Music is defined as a sound organized in time (Sfetcu, 2014), whereas

according to Luciano Berio, music is “everything that one listens to with the intention of

listening to music” (1981, p. 7). However, Michael Linton (as cited in Rosová, 2007, p. 11)

perceives music as “the organization of sound and silence into forms that carry culturally

derived meanings, cultivated for aesthetic or utilitarian purposes”. Referring to the

Encyclopedia Britannica, a broader definition is available as follows:

Music is an art concerned with combining vocal or instrumental sounds for

beauty of form or emotional expression, usually according to cultural standards of

rhythm, melody, and, in most Western music, harmony. Music most often implies

sounds with distinct pitches that are arranged into melodies and organized into patterns

of rhythm and metre. Music is an art that, in one guise or another, permeates every

human society. It is used for such varied social purposes as ritual, worship,

coordination of movement, communication, and entertainment.

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Jean-Jacques Nattiez’s definition of music can be advanced as a conclusion that summarizes

precisely the previous paragraph: “By all accounts there is no single and intercultural universal

concept defining what music might be” (as cited in Rosová, 2007, p. 11).

2.3. Influence of Songs and Music

Music as one of the neuroleptic factors reduces the signs of nervousness of children and

teenagers by 30%. Music can be used in different domains for several purposes including

therapeutic ones, in psychiatry, pediatrics and child psychiatry. With the aid of music, neuroses

and function failure, stammer, dyslexia, dysgraphia are cured.

“Mood music is very popular now, whether in the dentist’s surgery to relax us, or in

shopping centers to encourage us to buy. Heart surgeons now use music to relax operating teams

during long and stressful operations. In one London hospital women can listen to music during

childbirth to relax them”. (T. Murphey, 1992, p. 37). Moreover, one of the most common

examples, yet among the most prominent is the use of music in films. It forms an essential part,

which should evoke the atmosphere of a particular situation, and mainly corresponding feelings

such as calmness, wellbeing, pleasure, joy, compassion, fear, thrill, tenseness, and others. T.

Murphey also says, “Music has the potential to change the atmosphere”. What is more

significant than his claim is that this fact actually refers to classroom atmosphere, and describes

music as follows: “It seems to give energy where was none, and to spark off images when

students complain of having nothing to write about. Music is the stuff dreams grow on.” (p. 37).

“No one knows why songs are powerful, but everyone knows from a personal point of

view they are”, wrote Dale Griffee (1995, p. 4). Songs combine both the power of music as well

as the power of lyrics. While music touches our hearts, the lyrics with their words and

expressions flow into our minds drawing us into their own world. It can seize and hold our

imagination, emotions, and thought firmly with balanced force regardless of our language

backgrounds.

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To sum up, the disunity of opinions towards music and songs is relevant since it is

evident that music and songs work differently and have a diversity of effects on everyone and

that everyone perceives it distinctively. It is obvious that music has some kind of power, which

can influence the physical as well as the mental condition of our bodies. It can bring about

specific, required atmosphere, in which we react in a particular way. Moreover, it can further

help “recharge” our minds.

2.4. Songs and Language Teaching

Does non-printed media, television shows, films, and songs-belong in the classroom?

Absolutely, non-printed media reach students and make connections in different ways from

printed media. Further, they often focus on contemporary topics and issues that are not yet

included in classroom textbooks. Songs have a special power to express what words cannot

including hopes, fears, dreams, love, hate, anger, pride, aspirations, and disappointments.

Unlike silent textbooks, songs can stand as a bridge to the breadth of human experience since

they are uniquely able to communicate across time and space the beliefs and ideas held by their

composers, performers and listeners. Music is widely spread in modern life, both in the most

and the least technologically advanced societies; it is readily available everywhere we go and

part of nearly all that we do. Music is an accessible medium that depends on our tastes to shape

our personalities and determine our social grouping and compatibility and considered highly

desirable to all children, especially among school-aged ones.

There is one very interesting and remarkable idea relating to songs. It is believed that a

language is easier to express in songs than in speech. Julian Dakin (1968) asserts that “for most

learners, singing or reciting a rhyme is much easier than talking” (p. 5), and T. Murphey’s

utterance is also very similar: “It seems easier to sing language than to speak it” (p. 6). We can

find some reasonable explanation for this fact when considering the beginning of a child’s life.

The very first child’s utterances are sounds like humming, spluttering, muttering, whooping,

which resembles more the sound of singing than talking. T. Murphey (p. 7) writes more

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precisely: “The singing of songs resembles what Piaget (1923) describes as egocentric

language, in which children talk, with little concern for an addressee. They simply enjoy hearing

themselves repeat”.

According to M. Papa and Iantorno (1981: p.7)

Recent researches in the field of foreign language teaching have pointed out that

students’ motivation and interest are among the most important factors for the learning

of a foreign language. There are several means to improve the teaching effectiveness

and to raise the interest and motivation of the students. Recorded tapes, filmstrips,

sound films, songs, comics, newspapers and magazines are all familiar to teachers and

students and they have proved to be, in most cases, very effective because they are

strongly related to everyday life in addition to their authentic cultural content.

According to T. Murphey (1990), music and songs are inevitable nowadays as they cover the

world around us, in theatres, restaurants and cafés, shopping malls, at sports events, in our cars,

and literally everywhere. The only place where music and songs are occasionally seen would

seem in schools. Songs have a place in the classroom so important for language learning to help

create that friendly and co-operative atmosphere. However, they can offer much more.

2.4.1. The Role of Songs in Class

2.4.1.1. Cultural Significance

“Bringing a song into the classroom entails bringing the culture of the song in with it”.

Thus, “songs can be used as a way of looking at a culture and comparing it with other cultures”

(D. Griffee, 1995, p. 5). Accordingly, it can be perfectly used as a cross-sectional topic. Music

is also a potent bearer of cultural ideas, attitudes, and movements. Like works of literature and

art that carry indelible messages from the time and place they were created, musical

compositions, particularly those with texts, are source documents loaded with historical

meaning. Beyond its appeal and its cultural messages, music is one of the eight “learning styles”

29

or modes of intelligence identified by educators and codified by Howard Gardner of Harvard

University and others. Studies have shown that music can help raise students’ engagement;

those disaffected by standard classroom techniques, and it helps improve their overall learning

and performance on tests.

Songs are considered as a significant feature that characterize a given generation and

the current generation is a global rather than a narrow one. The world is developing a common

culture and pop songs are the central spine. Thus, the use of pop songs in the classroom is

participating in the emerging world culture (ibid).

The principle of connecting the school with life was included by Jan Amos Komensky

in the 17th century in his teaching principles and using songs in language teaching is a great

opportunity for applying it.

2.4.1.2. Enjoyable Drill

Jan Amos Komensky demanded to maintain permanent jolly, creative atmosphere. He

said that “cheerful mood is needed to avoid satiety and repugnance, which is the right poison

of teaching.” Undoubtedly, songs have such ability of maintaining jolly atmosphere and “they

provide variety and fun”, claims T. Murphey (p. 4). Songs definitely provide an enjoyable

change of routine in classrooms and beyond being fun; they have a useful part to play in

language teaching.

One of the basic principles when learning a language is repetition. It is commonly held

that “too many drills make boring lessons, but a favourite song can be repeated again and again

with equal enjoyment” (My English Songbook, 1981, p. 5). Additionally, in T. Murphey’s

(1992) words, the repetition mechanism of the language acquisition device is strongly affected

by songs. Songs are comprehensible, enjoyable, and authentic tools full of language we need in

daily life that generate the greatest enthusiasm and is a pleasant and stimulating approach to the

culture of foreign people. As Abidin et al. (2011, p.1988) note:

30

Songs are one of the most captivating and culturally rich resources that can be

easily used in language classrooms. Songs offer a change from routine classroom

activities. They are precious resources to develop students’ abilities in listening,

speaking, reading and writing. They can also be used to teach a variety of language

items such as sentence patterns, vocabulary, pronunciation, rhythm, adjectives and

adverbs.

2.4.1.3. Songs as Practice Material

Song can be used in many various ways involving all the skills such as listening,

reading, writing and speaking, the same way as linguistic areas involving vocabulary,

grammatical structures, and including rhythm, stress, fluency and pronunciation.

The rhythm of the verse helps the learner to put the stress in the right places,

creating a natural flow of language and building up fluency. At the same time the

presence of rhyming words and such poetic device as alliteration13 and

onomatopoeia14 help to focus on certain sounds, thus giving valuable ear-training and

help in pronunciation. In the syntactical area, a song gives us the opportunity to repeat

the same structural item many times, thereby aiding correctness and fluency of

expression. (Sheila Aristotelous Ward, as cited in Rosová, 2007, p. 18).

Songs are very useful at introducing vocabulary because they provide meaningful context for

the concept depending on the choice of songs since there are songs without meaningful context.

From a grammatical point of view, they “provide a natural context for the most common

structures such as verb tenses and prepositions” (D. T. Griffee, pp. 5, 6).

2.4.2. Songs and Classroom Activities

The usual type of activity applied when including songs in the classroom would be “a

word-gap-fill”, however Tim Murphey selected list will be convincing enough to prove that

various activities can be adopted. The following list (T. Murphey, pp. 9, 10) shows what we

can do with songs in class:

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- Listen

- Sing, whistle, tap, and snap fingers while we listen

- Sing without listening to any recording

- Talk about the music

- Talk about the lyrics

- Talk about the singer / group

- Use songs and music to set or change an atmosphere or mood, as ´background furnishing’

- Use songs and music to make a social environment, form a feeling of community, dance, and

make friends

- Write songs

- Perform songs

- Do interviews

- Write articles

- Do surveys, make hit lists

- Study grammar

- Practice selective listening comprehension

- Read songs, articles, books for linguistic purposes

- Compose songs, letters to singers, questionnaires

- Translate songs

- Write dialogues using the words of a song

- Use video clips in many ways

- Do role-plays (as people in the song)

- Dictate a song

- Use a song for gap-fill, cloze, or for correction

- Use music for background to other activities

- Integrate songs into project work

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- Energize or relax classes mentally

- Practice pronunciation, intonation, and stress

- Break the routine

- Do choral repetition

- Teach vocabulary

- Teach culture

- Learn about your students and from your students, letting them choose and explain their music

- Have fun.

Looking carefully at the list advocated by T. Murphey containing 33 types of activities,

we can see that the four language skills (speaking, reading, listening, and writing) are covered

and can be very well and equally practiced.

2.4.3. The Selection of Songs

The teacher plays a vital role in choosing the appropriate songs, and preparing the

corresponding class activities before, during, and after students have listened to songs. Little

(1983) offered some song selection criteria for language teachers. The song should be popular,

meaningful to the student, slow enough to test comprehension as well as clear pronunciation on

the part of the singer. Language teachers should also pay attention to the level of language used

and not forget that songs are not always suitable for all ages. Terroux (1982) supports this view

by arguing that “the song be catchy, easily remembered and age-appropriate” (p. 70).

Murphey (1992) suggests that pop songs may be appropriate for language learning

because their discourse includes simple, affective language with riskless communication

qualities (songs containing taboo language and taboo subject matter should be avoided), native

texts, variety of verbs included, and familiar vocabulary. Certain songs may be easily

remembered due to the quality of the melody and the text. Accordingly, Pop songs and

advertisement have melodies that are catchy and easily learned; therefore, pop songs are well

suited to the task of instruction in the classroom environment.

33

2.5. Songs and Aspects of Language Acquisition

2.5.1. Songs and First or Second Language Acquisition

Researchers agree that there seems to be some sort of symbiotic relationship between

the underlying principles and the mental processing of language and songs; in other words, a

close dependent relationship combine the two of them. According to (Jackendoff, 1994), infants

learn their native language by principles that make sense of aural information; therefore, it

seems reasonable to introduce second language acquisition in a similar way. Since music is also

acquired through the aural sense, musical activities are suggested to aid in first or second

language acquisition. Music has been used more extensively in the ESL classroom since

teachers have more access to songs in English. In Switzerland, adolescents are in contact with

between 8-12 hours a week of English language music, double or triple the number of hours of

English classes in school (Murphey, 1987). Such contact may making learning English in

school easier if, as Lyczak (1979) concluded, prior exposure to language does affect subsequent

learning, even when this exposure is not linguistically meaningful.

2.5.2. Songs and pronunciation

When learning a foreign language, most adults speak with a unique accent that is

phonologically and phonetically different from their native language and even their target

foreign language, known as the interlanguage that is different from their (L1) at the same time

from (L2). According to Leith (1979:540). Moreover, Gatti-Taylor (1980) believed that

phonetic instruction was effectively combined to songs, even in beginning classes, stating that

“It is relatively easy to find song lyrics that stress a particular phoneme” (p. 466).

Techmeier (1969) stated that the most difficult skill in learning a foreign language is

proper pronunciation. Furthermore, he claims that the reason behind a child’s wrong

pronunciation of words may be that the child does not hear the word correctly. According to

Techmeier, as well as Urbanic and Vizmuller (1981), singing helped to develop better hearing

skills and, as a result, promoted and reinforced good articulation of words.

34

2.5.3. Songs and Motivation

Songs are known of their unique feature of creating that jolly, co-operative atmosphere

among learners in the classroom. According to Falioni (1993), “The addition of music to the

foreign language classroom as a teaching method may be a way to focus students’ attention,

and produce a more committed learner” (p. 104). Nambiar (1993) recommends recent pop songs

to enhance motivation in the younger generation: “Songs deal with the whole realm of human

emotions and students are often willing to sing a song in a foreign language even if they do not

fully understand the meaning of the words” (p. 336). Songs also allow timid students to hide

behind the music to avoid stress and pressure.

Effective natural communication cannot exist, in fact, without the exchange of relevant

information. Songs used as teaching aids in the foreign language classroom, facilitate the

development of a natural rhythmic response that is needed in the acquisition of a foreign

language (Jolly, 1975). Accordingly, Murphey stated that in the case of song activities,

“students are doing something with language: they are participating actively in the game called

communication” (p. 8).

2.5.4. Songs and Grammar and Vocabulary

Songs are known of their vital characteristic of including pitches, melodies, rhymes,

beats, and measured phrases that help students remember vocabulary or grammatical structures

and aid in comprehending the general meaning. As Falioni (1993) put it forward, “The new

structures that may seem isolated or out of context in pattern drills, are seen in a different

perspective when they are part of a song” (p. 101).

Achieving language fluency was one of the most valuable contributions of songs, as

Bartle (1962) believes, “some songs lend themselves to the incidental revision of grammatical

points or of verb tenses. Songs are a definite advantage in memorization of phrase constructions.

They are more easily learned and tend to ‘stick’ longer than straight-out grammatical examples”

(p. 11). Songs can be used in different ways in the classroom to achieve different goals. Salcedo

35

(1996) suggested another way to use music for grammatical reinforcement of tenses by using

multimedia computer software with incorporated music video clips. As the video clip is viewed,

the teacher can show the written lyrics on the screen, evoking some discussion of vocabulary

and phrases as well as specific words. Students could click on these linked words in the song

lyrics and get an explanation of the grammatical structure as it is used in that particular song.

The use of songs in class is believed to be only fun. However, experts claim that after

covering a particular language structure in class, students can listen to a song stressing that very

structure. Jolly (1975) supports this claim through her statement that ““It does not require much

time to locate songs which contain grammatical structures identical to those being taught in

class” (p. 13).

2.5.5. Songs and Cultural Awareness

The use of songs, according to Jolly (1975), gives students the opportunity to acquire a

greater understanding of the target language and its culture. Many researchers suggest the

adoption of songs in class as a primary source for teaching language and elements of culture.

“A student may often relate to and express himself through a country’s music more readily and

easily than he can through its language” (Whitaker, 1981, p. 4).

Purcell (1992) clarified how one might use a particular song to explain the habits,

beliefs, or traditions of a given region, city, or a country and how that differs from another city

or country’s traditional celebrations. Moreover, one might also use the same song to teach

geography lesson explaining the location, hills, and size of a region. Purcell asserted that "the

teacher has only to decide what function the song will have in the curriculum, and how it is to

be used; then any number of songs available might be employed" (p. 195).

Sheehy (1973) also advocated the use of songs in classroom stating that, “Folk songs

grow out of the needs and aspirations of people. Their very essence is change and adaptability

both in melody and words. The rhythm and melody are simple and basic, providing a flexible

frame within which stories and emotions are easily expressed” (p. 43). Falioni (1993) shed light

36

on cultural sensitivity emphasizing the use of variety of famous songs because: “By using

certain songs (e.g. some traditional folk music) we may confirm a student’s stereotype or imply

an outdated presentation of a culture’s music” (p. 104). Another way to use music incorrectly,

according to Griffen (1979), is to use borrowed songs (e.g., translated American pop) “implying

that other cultures have nothing to offer and that they only imitate” (p. 943).

Conclusion

In this chapter, we drew attention to the different features and qualities of songs

supporting their significance in language teaching. Songs can motivate students, they can create

a positive atmosphere and they have considerable cultural significance; in addition, they present

an unlimited source of materials to practise pronunciation, grammar, vocabulary and the four

language skills. Malvina Reynolds’s quotation (as cited in Carson, 2015, p. 469) will concisely

close this chapter about songs: “Words make you think a thought. Music makes you feel a

feeling. A song makes you feel a thought.”

Chapter Three: The Algerian EFL students’ perceptions about the target-language

culture

Introduction

3.1. The Questionnaire

3.1.1. The Sample

3.1.2. Description of the Questionnaire

3.1.3. Analysis of the Results

3.2. Interpretation of the Results

38

Introduction

This chapter aims to investigate the Algerian EFL students’ perceptions about the

importance of the target-language culture and their viewpoints about and interest in English

songs and metaphors. A questionnaire was used to measure the students’ perceptions and

attitudes. The chapter includes a detailed description of the questionnaires as well as the

analysis and general interpretation of the findings. The questionnaire was administered to

students of first year in class at the level of Larbi Ben M’hidi University.

3.1. The Questionnaire

The questionnaire is designed to gather information from first year students at the

Department of English. The size of the sample, the questions and the analysis of the findings

are mentioned thoroughly in the following sections.

3.1.1. The Sample

The population of our study is first year students at the Department of English at the

University of Larbi Ben M’hidi for the academic year 2014/2015, with a total number of 280.

Our sample consists of sixty two (62) students. The questionnaire was delivered personally. 47

students returned the questionnaire (i.e. 75.81%). We chose our sample at the level of first year

given that these students were accessible to conduct the experiment and, more importantly,

early exposure to culture is more beneficial and influential that we seek to explore and prove

us as either being correct or not through the analysis.

3.1.2. Description of the Questionnaire

The questionnaire consists of 19 questions divided into four parts: “Background

Information”, “Students’ Attitudes towards the Target Language Culture”, “Students’ Attitudes

towards English songs and metaphors”, and “Further Suggestions”. The questionnaire includes

two types of questions: multiple choice questions where the student is free to select from a list

39

and open-ended questions to extract further information about the choices made in the former

step.

Part One: Background Information

This part aims to gather information about the respondents; Gender (Q1), Age (Q2),

and previous experience with foreign languages (Q3).

Part Two: Students’ Attitudes towards the Target Language Culture

This part is concerned with the students’ attitudes towards the target culture when it

comes to the value of the target culture (Q4), type of interest in the target culture (Q5/Q6),

comparing the native culture to the target one (Q7/Q8/Q9), interest in the target culture

(Q10/Q11).

Part Three: Students’ Attitudes towards English songs and metaphors

This part is devoted to investigate the students’ attitudes towards English songs and

metaphors. Some questions are concerned with students’ familiarity with both elements

(Q12/Q14), type of their interest in the English songs and learning metaphors (Q13/Q17), and

attitudes towards the integration and use of songs to introduce culture in class (Q15/Q16/Q18).

Part Four: Further Suggestions

The last question elicits further information concerning culture in the EFL class. It also

gives students room to express their views about the use of songs in class (Q19).

40

3.1.3. Analysis of the Results

Part One: Background Information

Q1- Gender

Table 1 : Students’ Gender

Gender Number %

Male 12 25.53

Female 35 74.47

Total 47 100 %

The numbers indicate a significant majority for female participants (74.47%). This

demonstrates that nowadays in Algeria females are the dominant gender among students mainly

in foreign languages classes.

Q2- Age

Table 2 : Students’ Age

Age N %

18-20 35 74.47

21-23 11 23.40

31 1 2.13

Total 47 100 %

41

Figure 2: Students’ Age

Most of the students are aged between 18 and 20 with 74.47 %, the average age at this

level. While 23.40 % are aged between 21 and 23, older than the expected age at this level.

Q3- Do you have an experience/competence with other foreign language(s)?

Table 3: Experience/Competence with other foreign language(s)

Language(s) N %

French 40 85,11

Others 7 14,89

Total 47 100 %

The majority of students (85.11%) indicated their knowledge of French as a foreign

language, whereas 14.89% of students revealed that they studied other languages in addition to

French (Spanish, Korean, German, and Turkish). The results obtained are consistent with the

fact that French is the first foreign language Algerian pupils study at the level of the middle and

secondary school.

74,47%

23,40%

2,13%

18-20 21-23 31

42

Part Two: Students’ Attitudes towards the Target Language Culture

Q4- How do you perceive/ evaluate learning about the English language culture?

a/ Beneficial b/ Not important

Table 4: Importance/Value of Learning about the English language Culture(s)

Options N %

Beneficial 47 100

Not important 0 0

Total 47 100 %

100% of the students believe that learning about the culture(s) of the English language

is beneficial and valuable to them. The 100% results might be explained by the influence the

English language and culture have on the minds of learners.

Q5- Which culture of the following English speaking countries you like most?

a/ Britain b/ United States of America c/ Canada d/ Australia

Table 5: Interest in English-Speaking Culture(s)

Options N %

Great Britain 21 44,68

United States of America 23 48,94

Canada 0 0,00

Australia 0 0,00

GB+Canada 2 4,26

USA+Australia 1 2,13

Total 47 100 %

43

Figure 3: Interest in English-Speaking Culture(s)

As shown, the two dominant choices are Great Britain and The Unites States of America,

which are the leading forces in the world at the level of a number of domains, The United States

taking the first place with 48.94%, Great Britain with 44.68%, Great Britain+Canada with

4.26% and USA+Australia with 2.13%. Both Australia and Canada were not selected. The

results depict the dominance of the USA (49%) and GB (45%) at the international level.

Q6- Please justify your choice

80.85 % of students made an attempt to provide an account for their choices. For those

who chose the American culture, the majority of the explanations revolve around ‘easy and

clear accent’ and ‘the influence of media’, mainly movies, in addition to the claim that United

States is a ‘land of diversity’, ‘culture in general’ and ‘civilization’. Similarly, ‘the British

accent’, ‘traditions and life style’ reigned the choices in addition to ‘literature’. On the other

hand, 19.15% of the students did not provide an answer to this question. This might be due to

the students’ belief that the English language cultures are equal or similar without preferences

especially for those who selected more than one culture.

45%

49%

4% 2%

Great Britain United States of America

Canada Australia

GB+Canada USA+Australia

44

Q7- How do you consider the culture of the English language when compared with the

culture(s) of the previously studied language(s)?

a/ Superior b/ Inferior c/ Neither

Table 6: The English Language Culture(s) VS Foreign Cultures Studied previously

Options N %

Superior 34 72.34

Inferior 6 12.77

Neither 3 6.38

Did not answer 4 8.51

Total 47 100 %

Figure 4: The English Language Culture(s) VS Foreign Cultures Studied previously

72.34 % of students believe the English language culture to be superior to French

culture, which is considered as the language studied by the majority. 12.77 % believe that

English culture is inferior to French culture, and mere 6.38 % believe the two cultures to be

equal while 8.51 % of students did not provide an answer. Considering the “Neither” and the

13%

72%

6%

9%

Inferior

Superior

Neither

Did not answer

45

“No answer” students to have the same perception, we may state that this attitude is based on

the belief of equality of the foreign cultures disregarding the huge gap between them in

civilization, history, and stages of exposure. 72.34 % consider the English language culture as

superior to other cultures; this may be accounted for by the dominance of English at the expense

of the other languages and cultures. 12.77% of the informants think the English culture to be

inferior to other cultures; this might be related to the students’ personal preferences and point

of views. As a personal opinion, I totally disagree with the claim that a culture is superior to

another one, and all cultures are equal regardless what criteria to compare.

Q8- Why?

55.32 % of students answered the question, while 44.68 % left it blank. For those who

believe the English culture is superior to other foreign cultures listed a number of reasons to

support their choice, Most of which relate to English as an international and dominant language

in all domains (communication, science, technology, business, media) and being the one mostly

spoken around the world, and more importantly the easiest one to learn. Moreover, English-

speaking countries are considered as more developed and their culture(s) are the most

interesting and have an impact on the whole globe. Other students judged cultures depending

on their background and, mainly, their religious belongings. On the other hand, for those who

chose ‘Neither’, they believe in equality, that every culture is as important and rich as any other.

The findings shed light on a vital factor that students evaluate and judge the culture depending

significantly on its spoken language, i.e., in terms of difficulty or easiness to learn, which plays

a great role in the rejection or acceptance of that culture.

46

Q9- Do you consider the differences between the English language culture and your own

(the Algerian culture)?

Table 7: Considering the English Language Culture(s) VS the Algerian Culture

Options N %

Yes 43 91.49

No 4 8.51

Total 47 100 %

Figure 5: Considering the English Language Culture(s) VS the Algerian Culture

91.49 % of students do consider and compare the English language culture(s) to their

own culture (the Algerian one), while 8.51 % of them do not make such comparison. These

results demonstrate the effects of exposure to a culture that is completely different from the

students’ native one. These figures are consistent with the previous results (See Q7) and explain

the attitude of the Algerian EFL learners towards learning English and its culture: 72.34 % of

students claimed the English culture(s) to be superior to foreign culture(s) studied previously

including their own.

91%

9%

Yes

No

47

Q10- What aspects of culture do you compare?

a- Life style, habits, traditions b- Education, literature c- Media

Table 8: Cultural Elements Students are interested in

Options N %

a 20 42.55

b 9 19.15

c 3 6.38

A+b+c 4 8.51

B+c 2 4.26

A+b 7 14.89

Undecided 2 4.26

Total 47 100 %

Figure 6: Cultural Elements Students are interested in

43%

19%

6%

9%

4%

15%

14%Life style, habits,traditions

Education, literature

Media

A+b+c

B+c

A+b

48

42.55 % of students are solicitous about the life style, habits, and traditions of the target

culture; 19.15 % are concerned with education and literature; 6.38 % opted for media while

4.26 % left a blank space. On the other hand, the other percentages are dispersed in the form of

a combination of choices: life style, habits, traditions, education, literature, and media as a

whole with 8.51 %, 4.26 % for education, literature, and media, and 14.89 % for life style,

habits, traditions in addition to education and literature. The results show that the highest

percentages correspond with the students’ choices stated previously (in Q5 and Q6) in which

life style, habits, traditions, and media go in accordance with those who chose the USA, whereas

education and literature correspond with those who chose Great Britain.

Q11- What cultural elements are mostly provided in your classroom?

Table 9: Cultural elements provided in class

Options N %

Life style, habits, traditions 13 27.66

Education, literature 28 59.57

Media 4 8.51

Undecided 2 4.26

Total 47 100 %

49

Figure 7: Cultural elements provided in class

Students believe their teachers to focus on literature (59.57 %) as the first element,

followed by life style, habits, and traditions (27.66 %) as the second element; media comes third

with 8.51 %. 4.26 % of the respondents did not answer the question. The results might be

translated by the fact that Algerian teachers rely heavily on literature and educational elements

with poor focus on other instruments such as media, including songs and films.

27,66%

59,57%

8,51%4,26%

Life style, habits,traditions

Education, literature

Media

Undecided

50

Part Three: Students’ Attitudes towards English songs and metaphors

Q12- Do you listen to English songs?

Table 10: Listening to English songs.

Options N %

Yes 42 89.36

No 5 10.64

Total 47 100

Figure 8: Listening to English songs.

There is a slight difference among students. The majority (89.36 %) declare their

knowledge and exposure to English songs, while the minority with 10.64 % provided a negative

answer. The results support the interest shown by students in the American as well as the British

cultures seeing both countries as the leading sources in songs production. The “No” answers

may be due to personal life style, beliefs, taste…etc.

89,36%

10,64%

Yes

No

51

Q13- What type of English songs do you like?

a- A song that shows rage

b- A song of hope, joy, or optimism

c- A song that has an emotional connection

d- A song for your dream role

Table 11: Songs’ types students prefer

Options N %

a 2 4.26 %

b 13 27.66

c 10 21.28

d 6 12.77

Undecided 5 10.64

A+b+c+d 3 6.38

B+c 5 10.64

B+c+d 3 6.38

Total 47 100 %

52

Figure 9: Songs’ types students prefer

The choice ‘b’ (a song of hope, joy, or optimism) gained the highest percentage among

students (27.66%) when selected individually, and is included in almost all other choices where

students’ answers take the form of a scattered combination with 51.06 %. It was in the choice

of those who chose the four types as a whole (a+b+c+d) as well as for the triplet choice (b+c+d)

with 6.38 %, and included in the couple choice (b+c) with 10.64 %. Moving to the third type (a

song that has an emotional connection), it was selected by 21.28 % of the respondents followed

by the forth type (a song for your dream role) with 12.77 % then the ‘song that shows rage’

with mere 4.26 %. 10.64 % did not answer the question.

The song of hope, joy, and optimism exceled the other types of songs due to students’

need, or people in general, to escape the stressful activities, daily worries and the non-stop day

of study. The obvious and logical explanation of such variation in students’ choices is their

personal musical tastes, choices and preferences concerning what to listen to and the importance

music plays in their life. For some people music is the most important thing in their life, for

others it is one of the ways to express their emotions, or even to prepare for a good night’s

sleep.

4,26%

27,66%

21,28%12,77%

10,64%

6,38%

10,64%6,38%

A song that shows rage

A song of hope, joy, oroptimism

A song that has anemotional connection

A song for your dreamrole

Undecided

A+b+c+d

B+c

B+c+d

53

Q14- Are you familiar with the term “metaphor”?

Table 12: Students’ familiarity with the term metaphor

Options N %

Yes 38 80.85

No 6 12.77

Did not answer 3 6.38

Total 47 100 %

Figure 10: Students’ familiarity with the term metaphor

The overwhelming majority of students (80.85 %) is familiar with the term ‘metaphor’.

The rest (12.77 %) declared their ignorance of such term.; this may be attributed to an

unacquaintance with the term ‘metaphor’ or to the fact of having a vague definition about the

term.

81%13%

6%

Yes

No

Did notanswer

54

Q15- Do you think students of English should know about metaphors especially to better

understand the messages implied in songs?

Table 13: Students’ views to metaphors

Options N %

Yes 42 89.36

No 3 6.38

Did not answer 2 4.26

Total 47 100 %

Figure 11: Students’ views to metaphors

89.36 % of students believe they should be familiar with metaphors, 6.38 % believe they

should not, and 4.26 % did not give an answer. The findings show that students recognize the

significant importance of metaphors that help understand the messages implied in songs and,

consequently, to better understand the song/singer’s background, way of thinking, in other

words, its culture.

89%

7%4%

Yes

No

Did notanswer

55

Q16- In what way do you think listening to English songs is beneficial for you?

a- It helps to focus on the task at hand

b- It can inspire you, motivate you, and build your enthusiasm

c- It reduces stress levels, relieve frustration, and create peaceful environment

d- It is a way to learn English ( vocabulary, pronunciation, culture)

Table 14: Ways in which songs can be beneficial

Options N %

a 1 2.13

b 5 10.64

c 2 4.26

d 19 40.43

c+d 2 4.26

b+d 11 23.40

b+c+d 5 10.64

Undecided 2 4.26

Total 47 100 %

56

Figure 12: Ways in which songs can be beneficial

When we asked about the way in which listening to songs can be beneficial, the last

choice (choice d) scored the highest: 40.43 % of students showed interest in listening to songs

as a way to learn English (vocabulary, pronunciation, culture). 10.64 % chose ‘b’ in which

listening to songs can inspire, motivate, and build students’ enthusiasm, while 4.26 % selected

‘c’ that songs reduce stress levels, relieve frustration, and create a peaceful environment. Only

2.13% think songs can help to focus on the task at hand. The remaining percentages take the

form of a combination of choices: learning English and reducing stress and frustration (c+d)

with 4.26 %; learning English, reducing stress, and creating motivation (b+c+d) with 10.64 %,

and the choice ‘b+d’ came on top of the scattered choices with 23.40 %. 4.26 % of the students

did not decide on the way in which songs can be beneficial. Depending on the findings, students

find listening to songs beneficial in several ways: from an inspirational tool to a culturally rich

resource. However, learning English including vocabulary, pronunciation and culture was their

major focus. Students’ perceptions maybe explained in terms of breaking the learning routine

because they seek to learn English through a more elaborate and modern way.

2% 11%

4%

41%4%

23%

11%

4%

a b c d c+d b+d b+c+d Undecided

57

Q17- You are interested in learning about the target language culture through

a/ Books b/ Movies

c/ Songs d/others

Table 15: Way through which students want to learn English culture

Options N %

a 8 17.02

b 7 14.89

c 12 25.53

A+c 3 6.38

B+c 7 14.89

A+b 3 6.38

A+b+c 4 8.51

Did not answer 3 6.38

Total 47 100 %

Figure 13: Way through which students want to learn English culture

17%

15%

26%

6%

15%

6%

9%6%

Books

Movies

Songs

Books+Songs

Movies+Songs

Books+Movies

Books+Movies+Songs

Did not answer

58

25.53 % of students demonstrate their interest in using songs to learn the English culture,

while 17.02 % selected books, and 14.89 % opted for movies. Some students selected a

combination of options: books and songs with 6.38 %, movies and songs with 14.89 %, and

books, songs, and movies as a whole with 8.51 %. 6.38 % did not answer the question. Some

students provided other means and choices including ‘chat with friends’, ‘the use of Facebook,

twitter, and many other applications’. Depending on the figures, we can say that students’

perceptions on how to learn about the English culture differ significantly; there are those who

believe in a single instrument as well as in a combination of means as the best way to achieve

this aim. A crucial remark needs to be highlighted: songs and movies, in other words, “Media”,

scored the highest choices (25.53 % and 14.89 % when combined). This may be due to the fact

that media reach students easily and make connections in different ways than other materials,

and more importantly, they often focus on contemporary topics and issues. We can also state

that songs, besides scoring the highest percentage, were included in all choices, because they

have a special power to express what words cannot, and are considered highly desirable to all

students, including all school-aged ones.

Q18- What can you say about the integration of culture in the framework of English

language classrooms?

40.43 % of students answered this question, while 59.57 % did not. Students’ answers

covered different perspectives; there are those who believe in a strong inseparable relationship

between language and culture claiming that learning about the culture facilitates learning its

related language, and that the cultural background is very important to understand the hidden

and implied meanings of utterances. Moreover, students viewed culture as a significantly

effective element in enhancing their level and make them familiar with the numerous cultural

aspects of the language. Some students provided answers about how they view culture without

including the language. They valued the integration of culture as an interesting and exciting

59

element that helps to enrich their knowledge, and a highly motivating teaching tool to avoid

daily routines of the mere four language skills.

Part Four: Further Suggestions

Q19- What can you suggest concerning the use of songs in the classroom?

70.21 % of students answered this question. Most of them encourage the integration and

use of songs as a teaching tool because they are relaxing, enjoyable, and entertaining. Others

emphasize the use of songs as a rich source of vocabulary, to learn pronunciation, stress, tones,

and to develop the students’ listening skills. For some others, songs trigger discussion among

students and are important means to learn more about language use and its culture. few students

view songs as a distracting element in the classroom. 29.79 % of the students did not answer

the question at all. The positive attitude of the majority (70.21 %) might be attributed to

students’ boredom concerning the daily routines of teaching procedures and support the modern

ways of teaching language and culture.

3.2. Interpretation of the Results

The analysis of the students’ questionnaire results has revealed several insights about

students’ perceptions concerning the target language culture when compared with other foreign

cultures as well as with the native one. Results show that students strongly believe in the fact

that learning about English-speaking cultures is beneficial (Q4). Concerning English-speaking

countries (Q5), students exhibit remarkable interest in both cultures of the United States of

America, and Great Britain.

Students manifested their critical thinking when it comes to comparing cultures in that

they believe the English culture to be superior compared with other cultures studied before

(Q7); at the same time, they showed their interest in comparing the English language culture(s)

60

to their own culture (the Algerian one) in Q9, namely what relates to life style, habits, and

traditions.

Concerning the classroom, students think that teachers focus on many cultural aspects

including literature, habits, beliefs, and traditions (Q11). When it comes to familiarity with

English songs, the overwhelming majority declared their knowledge and exposure to them

(Q12), besides their preference of a variety of types (Q13). Moreover, students identified songs

as being beneficial in several regards (Q16), mainly as a means to learn English (vocabulary,

pronunciation, and culture). Regarding metaphors, most of the students showed their awareness

of this concept (Q14), and almost all of them would like to learn more about it (Q15).

Participants chose songs as the first instrument through which they learn about the target

language culture (Q17) and manifested their support concerning the use of songs for being “an

enjoyable”, at times “funny”, “motivating”, besides the pleasant atmosphere they bring to the

class when included. What we can deduce is that students concur with integrating the target

culture in the foreign language class, given the inseparable nature of the relationship between

language and culture.

To sum up, culture learning is viewed as being highly motivating and a positive influential

element. Songs and music are considered unanimously as an important and stimulating mean

of teaching about the target language culture. Accordingly, our first hypothesis which states

that “students would perceive integrating the target language culture in the framework of the

language class as an important part of their foreign language learning” is confirmed.

In chapter four, we will discuss the effects of listening to songs on EFL students’ level

of cultural awareness and precisely metaphors comprehension included in songs.

Chapter Four: The Effects of Listening to Songs on Algerian EFL Students Metaphors

comprehension: Field Investigation

Introduction

4.1. Population and Sample

4.2. Choice of the Method

4.2.1. The Pre-test Phase

4.2.2. The Treatment Phase

4.2.3. The Post-test Phase

4.2.4. Scoring

4.3. Data Analysis

4.3.1. Results of the Pre-Test

4.3.2. Results of the Post-Test

4.3.3. Summary of the Results

4.4. Limitations of the Study

4.5. Pedagogical implications

Conclusion

62

Introduction

This chapter includes a detailed description of the experiment we undertook in the

framework of this study: the subjects involved, the method used, the stages and procedures

followed and the design of the study. The chapter presents also a detailed description of the pre-

test and the post-test and an analysis of their results. It concludes with some suggestions for further

research.

4.1. Population and Sample

The population for our research is first year LMD students at the Department of English,

University of Larbi Ben M’hidi. What made these students the perfect candidates for our study is

the premise that culture is best introduced at early stages. The total number of students in this

population is 280 students.

Our sample consists of 47 students. It is divided into two groups chosen at random: The

control group with 24 students and the experimental group with 23 students.

4.2. Choice of the Method

The choice of the method has a great impact on the work. Choosing a research method

depends on a number of factors, namely the nature of the research, the goals set to be achieved,

and the sample chosen to conduct the research. Singh (2006) emphasizes “The role of the

methodology is to carry on the research work in a scientific manner. The method of research

provides the tools and techniques by which the research problem is attacked” (p. 79). Thus, to

collect valid data and achieve credible and reliable results, the research method should be selected

carefully. The nature of the study entails an experimental design since the main function of the

experiment is to identify causal or “functional relationships” between the variables (Singh, 2006,

p. 137).

63

Our study raises the following questions:

- Are metaphorical expressions difficult to comprehend by the students?

- To what extent can songs help students make sense of metaphorical expressions and hence

raise their cultural awareness?

These questions can be reformulated as the following:

Is there a statistically significant difference in the levels of cultural awareness between those

who were exposed to the target language culture via listening to songs, and those who were exposed

to it through conventional academic means?

Accordingly, we hypothesize that:

𝐻1: Using songs in class enhances the comprehension of culture-bound metaphors.

In other words, there would be a statistically significant difference in the levels of cultural

awareness between students who were exposed to the target language culture via listening to songs

and those who were exposed to it through traditional academic means. Accordingly, the null

hypothesis would be:

𝐻0: Using songs in class does not enhance the comprehension of culture-bound metaphors.

The nature of our research, therefore, requires a quasi-experimental design in which both

the control group and the experimental one go through three phases: the pre-test, the treatment

period, and a post-test.

4.2.1. The Pre-test Phase

The pre-test (see Appendix 2) is in the form of a three part cultural quizz. The first part is

devoted to questions about songs’ titles and singers. The second part is multiple-choice questions

on the meaning of some metaphors. The last part is related to students’ production using

metaphorical language.

64

Students were informed about their involvement in the experiment so that they take the test

seriously. The pre-test was administered two weeks before starting the treatment period (two weeks

of the holidays) for both the control group and the experimental group . The students were asked

to work on the test individually taking all the time they need in answering each question. The test

was completed in thirty minutes. In order to avoid extra pressure that would influence our results,

we informed the students that the test was not related to any of their assignments, evaluation or

assessment.

The pre-test and the post-test were identical concerning the structure and the questions

asked. The first part was the cultural quizz; students were asked to answer multiple choice questions

about songs’ titles, singers’ area of interest, dances, and some concepts related to the world of

music. In the second part, students were asked to identify the meaning of metaphors based on

linguistic contexts provided in sentences. The final part was a production exercise. Students were

asked to write a five-line descriptive paragraph using metaphorical language.

4.2.2. The Treatment Phase

After the pre-test, both the experimental and the control group received the treatment that

lasted six (6) sessions, 45 minutes each. The experimental group was exposed to the target language

culture through intensive listening to English songs. Music is known to carry rich insights into

English-speaking cultures and how English-speaking people think and feel; familiarity with

popular songs and artists gives one something to talk about with one’s English-speaking friends.

In other words, music, songs, and singers can help people construct self-images and provide models

for how to behave. Moreover, song lyrics can express judgments and even conflicts about lifestyles,

values, and appearances.

65

The songs we used in our study were chosen carefully based on a number of criteria:

- Songs that use the right kind of language: We chose songs with a language that is not too

easy or too hard, and which is commonly used in everyday life.

- Desirable content: We preferred songs that tell a story, which could make it easier for

students to understand and visualize its meanings.

- The plot: We mainly adopted Pop music that tends to be about love and romance, which is

good because there is a lot of repeated vocabulary.

Each session was divided into several stages. We started our session by making the students

watch two short videos of three to five minutes using data show and loud speakers to engage all

students in the activity as a previewing stage. The videos of the first session were mainly about the

differences between similes and metaphors, in which a speaker reads and explains what a metaphor

is. The ready-made videos, available on the net, also provided scenes of different famous songs.

Similes and metaphors were introduced orderly and whenever a metaphor or a simile is used, part

of the lyrics is written under the screen to attract the students’ attention to the metaphor. Whenever

something was difficult to comprehend, we repeated that part and offered some simplifications or

answers. One activity was delivered for both groups in which we provided a number of short poems

written in metaphorical language on one side, and on the other one, a list of images. Students were

asked to match each description with the appropriate corresponding image. The aim of the task was

to reinforce the students’ understanding and use of metaphors.

In the second stage, we started playing different songs as the beginning of the viewing stage.

Before playing each song, we discussed the song’s title by asking the students to predict events that

will occur, the plot. We selected some songs that depict clear and meaningful series of events

introduced in the form of an animated video. Initially, we hid the scenes and played the sound

allowing the students to try to figure out the events just by listening. This technique allows the

66

students to be more engaged while listening to the song. Then after discussing, we played the video

to check their predictions or answers about the theme or the story: plot discussion.

The following activity was listening to songs in which the same pattern was used. We

started with playing the song without lyrics in order to force the students to listen carefully; then

we asked them to determine the cultural aspects whenever used, including metaphors, the singer’s

accent (British or American) and the use of informal or jargon language. Afterwards, we replayed

the song and displayed the lyrics through the data show to check and correct their answers. In the

next step, we tried to test their understanding of metaphors included in the song lyrics written in

bold. The task includes a table with two columns, one for the metaphors and the other one for the

scattered answers to match each metaphor with the right meaning. The use of songs and lyrics

allowed us to apply multiple types of activities including asking the students about the singer’s

mood by determining words that can relate to good or bad feelings, and providing famous song

lyrics to fill in the gaps with the right word.

At the end of the session, we summed up things we dealt with during the session. The

summary included the following elements: defining metaphors and discussing their aspects and

uses and the themes of the songs (plot discussion). We also provided students with the opportunity

of evaluating the language used in songs whether easy and meaningful or difficult to understand.

Moreover, we encouraged students to consider the target language culture integrated in songs in

relation to their own culture, the art of using metaphors in songs, the singer’s mood and word

choice of the lyrics to reach better cultural understanding and achieve some kind of cultural

sensitivity of the others’ values and norms.

4.2.3. The Post-test Phase

The post-test was the same cultural quiz as in the pre-test. The aim was to measure changes

and progress in the participants’ understanding of metaphors along with their cultural awareness.

67

The post-test took place at the end of the treatment period, in a period of 30 minutes. As in the pre-

test, students were asked to answer individually and to take all the time they need to answer the

questions.

4.2.4. Scoring

The maximum score for both pre and post-test is twenty (20) points. The first task consists

of six (6) questions related to general knowledge about songs and singers, scored on one (1) point

each. The second task consists of seven (7) questions about the meanings of metaphors introduced

in sentences; the task is scored on one (1) point for each correct answer. In the third task, students

are asked to write a five-line paragraph scored on seven (7) points. The sum of all the marks

amounts to 20 points to make it easy to mark the averages and determine the level of each group.

68

4.3. Data Analysis

4.3.1. Results of the Pre-Test

Table 16: The Control Group and the Experimental Group’s Results in the Pre-test

Control Group Experimental Group

1 8 09

2 7 12

3 8 08

4 16 08

5 7 10

6 5 14

7 8 19

8 7 08

9 6 09

10 6 08

11 5 09

12 6 17

13 8 06

14 14 18

15 15 15

16 15 19

17 19 13

18 10 14

19 16 11

20 13 16

21 18 10

22 10 07

23 17 13

24 18

∑ ∑x= 262 ∑y= 273

M �̅�co = 10.9166 �̅�𝐞𝐱= 11.8695

σx= 4.7814

σy = 4.0147

69

Figure 14: Control Group VS Experimental Group’s Scores on The Pre test

M stands for the mean of the control group. It is calculated using the following formula:

M= ∑x / N1

The Mean of The Control Group (�̅�co)

�̅�co= ∑x / N1

∑x : The sum of the gain results of the control group

N1: The number of students

�̅�co = 262 / 24 = 10.9166

The control group gained the medium average in the pre-test.

The Variance of the Control Group

To calculate the Variance, we take each difference, square it, and then average the result:

σx2=Σ (x - �̅�co)2 / N

σx2 = 22,8623

Depending on the formula above, the variance of the control group in the pre-test is 22.8693.

8

7

8

16

7

5

8

7

6 6

5

6

8

14

15

15

19

10

16

13

18

10

17

18

9

12

8 8

10

14

19

8

9

8

9

17

6

18

15

19

13

14

11

16

10

7

13

0

2

4

6

8

10

12

14

16

18

20

1 2 3 4 5 6 7 8 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 1 9 2 0 2 1 2 2 2 3 2 4

Control Group Experimental Group

70

The Standard Deviation of the Control Group

σx=√22,8623

σx= 4.7814

The standard deviation of the control group in the pre-test is 4.7814.

The Mean of the Experimental Group (�̅�ex)

�̅�ex= ∑y / (N2)

∑y: The sum of the gain results of the experimental group

N2: The number of students in the experimental group

�̅�ex = 273 / 23 = 11.8695

The experimental group scored above the medium average (11.8695) and higher than the control

group in the pre-test.

The Variance of the Experimental Group

To calculate the Variance, we take each difference, square it, and then average the result:

𝝈𝒚𝟐 = Σ (x - �̅�ex) 2 / N

σy2= 16.1185

Depending on the formula mentioned above, the variance of the experimental group in the pre-test

is 16.1185

The Standard Deviation of the Experimental Group

σy =√16.1185

σy = 4.0147

The standard deviation of the experimental group in the pre-test is 4.0147

71

The t test

The t test is one type of inferential statistics. It is used to determine whether there is a significant

difference between the means of two groups.

𝒕 =�̅�𝐜𝐨 − �̅�𝐞𝐱

√σx2𝑁𝑥 +

σy2𝑁𝑦

�̅�𝐜𝐨: the mean of the control group

�̅�ex: the mean of the experimental group

𝛔𝐱𝟐: the variation of the control group

𝛔𝐲𝟐: the variation of the experimental group

t= 0,7410

Depending on the t table at 45 degree (df=n1+n2-2), we find the t value of 2,0141 at the

0,05 level of confidence. The calculated t value is lower than the observed t value (0,7410 ˂

2,0141). Thus, we can assume that the two groups are similar; there is no significant difference

between them.

72

4.3.2. Results of the Post-Test

Table 17: The Control Group and the Experimental Group’s Results in the Post-test

Control Group Experimental Group

1 08 13

2 09 10

3 12 11

4 10 17

5 12 14

6 10 19

7 10 11

8 13 11

9 15 18

10 16 14

11 14 15

12 14 12

13 10 15

14 15 12

15 13 13

16 11 18

17 12 16

18 10 12

19 14 14

20 11 15

21 16 16

22 12 14

23 11 14

24 19

∑ ∑x=297 ∑y=324

M �̅�co =12,375 �̅�ex=14,0849

σx= 2,6178 σy = 2,4663

73

Figure 15: Control Group VS Experimental Group’s Scores on The Post test

The Mean of The Control Group (�̅�co)

�̅�co= ∑x / N1

∑x : The sum of the gain results of the control group

N1: The number of students

�̅�co = 297 / 24 = 12,375

After applying the furmula, we caculated the mean to be 12,375. The control group’s

average increased in the post-test (from 10,9166 to 12,375).

The Variance of the Control Group

To calculate the Variance, we take each difference, square it, and then average the result:

σx2=Σ (x - �̅�co)2 / N

σx2 = 6,8532

After calculating the variance of the data with the proposed formula above, we find that the

variance of the control group in the post-test is 6,8532

89

12

10

12

10 10

13

1516

14 14

10

15

13

1112

10

14

11

16

1211

19

13

1011

17

14

19

11 11

18

1415

12

15

1213

18

16

12

1415

16

14 14

0

2

4

6

8

10

12

14

16

18

20

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Control Group Experimental Group

74

The Standard Deviation of the Control Group

σx=√ 6,8532

σx= 2,6178

The standard deviation of the control group in the post-test is 2,6178

The Mean of the Experimental Group (�̅�ex)

�̅�ex= ΣY / (N2)

ΣY: The sum of the gain results of the experimental group

N2: The number of students in the experimental group

�̅�ex = 324 / 23 = 14,0849

We calculated the mean of the experimental group to be 14,0849. The experimental group’s

average increased (from 11.8695 to 14,0849) and is higher than the control group in the post-test.

The Variance of the Experimental Group

To calculate the Variance, take each difference, square it, and then average the result:

σy2 = Σ (x - �̅�ex) 2 / N

σy2= 6,0830

Depending on the formula mentioned above, we find that the variance of the experimental group

in the post-test is 6,0830

The Standard Deviation of the Experimental Group

σy =√6,0830

σy = 2,4663

The standard deviation of the experimental group in the post-test is 2,4663

75

The t test

𝒕 =𝐗¯𝐜𝐨−𝐗¯𝐞𝐱

√𝛔𝐱𝟐

𝑵𝒙+

𝛔𝐲𝟐

𝑵𝒚

�̅�𝐜𝐨: the mean of the control group

�̅�ex: the mean of the experimental group

𝛔𝐱𝟐: the variation of the control group

𝛔𝐲𝟐: the variation of the experimental group

t= 2,3083

Consulting the t table at 45 degree (df =n1+n2-2), we find the t value of 2,0141 at the 0,05

level of confidence. The calculated t value is higher than the observed t value (2,3083>2,0141).

We can deduce that there is a statistically significant improvement achieved by the experimental

group compared to the control group.

76

Experimental Group’s Results in the Pre-test and Post-test

Paired-Sample t-Test of the Experimental Group

Table 18: Results of the Experimental Group in the Pre-test and the Post-test

Before (the pre-test) After (the post-test) Difference (D) D-M

09 13 04 -10,0869

12 10 -02 -16,0869

08 11 03 -11,0869

08 17 09 -5,0869

10 14 04 -10,0869

14 19 05 -9,0869

19 11 -08 -22,0869

08 11 03 -11,0869

09 18 09 -5,0869

08 14 06 -8,0869

09 15 06 -8,0869

17 12 -05 -19,0869

06 15 09 -5,0869

18 12 -06 -20,0869

15 13 -02 -16,0869

19 18 -01 -15,0869

13 16 03 -11,0869

14 12 -02 -16,0869

11 14 03 -11,0869

16 15 -01 -15,0869

10 16 06 -8,0869

07 14 07 -7,0869

13 14 01 -13,0869

M= 11,8695 M= 14,0869 (D-M)²= 3760,27349

77

The Mean Difference

�̅�= ∑ 𝒅

𝑵

�̅�= the difference scores

N= The number of students in the experimental group

∑= the total sum

�̅�= 𝟓𝟏

𝟐𝟑 , �̅�= 2.22

The standard deviation of the differences

𝑺𝒅= √𝒔𝟐 = √∑ 𝒅𝟐

𝑵− �̅�𝟐

S = the variance

∑ 𝒅𝟐= the sum of the square difference scores

𝑺𝒅 = 633

23- 4.93=22.59

𝑺𝒅 = √22.59

𝑺𝒅 = 4.75

The standard error of the mean difference

SE (�̅�)= 𝑺𝒅

√𝑵

SE (�̅�)= 4.75

4.8

SE (�̅�)= 0.99

78

The t-statistic

𝒕𝑵−𝟏= �̅�

𝑺𝑬(𝒅 ̅)

𝒕𝟐𝟑−𝟏= 2.22

0.99

𝒕𝟐𝟐= 2.2424

The mean of the experimental group in the post- test amounted to be 14,0869, which is

higher than the pre-test mean (11,8695); i.e., there is a difference of 2,2147. To check whether the

development was due to the effect of the independent variable or just a matter of chance, we ought

to conduct the paired samples t test.

t value (2.2424) is higher than the critical t at the level 22 (2.2424> 2,0739). We can conclude that

the difference between the experimental group’s means in the pre-test and post-test is therefore due

to the independent variable, i.e., the manipulation and use of songs during the treatment period.

79

Paired-Sample t-Test of the Control Group

Table 19: Results of the Control Group in the Pre-test and the Post-test

Before (the pre-test) After (the post-test) Difference (D) D-M

8 8 0 -12,375

7 9 2 -10,375

8 12 4 -08,375

16 10 -6 -18,375

7 12 5 -07,375

5 10 5 -07,375

8 10 2 -10,375

7 13 6 -06,375

6 15 9 -03,375

6 16 10 -02,375

5 14 9 -03,375

6 14 8 -04,375

8 10 2 -10,375

14 15 1 -11,375

15 13 -2 -14,375

15 11 -4 -16,375

19 12 -7 -19,375

10 10 0 -12,375

16 14 -2 -14,375

13 11 -2 -14,375

18 16 -2 -14,375

10 12 2 -10,375

17 11 -6 -18,375

18 19 1 -11,375

M=10,9166 M=12,375 (D-M)²= 3408,125

80

The Mean Difference

�̅�= ∑ 𝒅

𝑵

�̅�= the difference scores

N= The number of students in the control group

∑= the total sum

�̅�= 35

24

�̅�= 1.46

The standard deviation of the differences

𝑺𝒅= √𝒔𝟐 = √∑ 𝒅𝟐

𝑵− �̅�𝟐

S = the variance

∑ 𝒅𝟐= the sum of the square difference scores

𝑺𝒅 = √𝟐𝟒. 𝟗𝟔 − 𝟐. 𝟏𝟑= √𝟐𝟐. 𝟖𝟑

𝑺𝒅 = 4.78

The standard error of the mean difference

SE (�̅�)= 𝑺𝒅

√𝑵

SE (�̅�)=𝟒.𝟕𝟖

𝟒.𝟗

SE (�̅�)= 0.98

81

The t-statistic

𝒕𝑵−𝟏= �̅�

𝑺𝑬(𝒅 ̅)

𝒕𝟐𝟒−𝟏=𝟏.𝟒𝟔

𝟎.𝟗𝟖

𝒕𝟐𝟑=1.49

t calculated is less than the critical t value (1.714>1.49) at the df=23 (n-1); therefore, the

progress achieved by the control group is mainly due to chance.

4.3.3. Summary of the Results

We designed the quasi- experiment of our study to answer the question of whether listening

to songs has an effect on the EFL students’ level of cultural awareness and precisely metaphors

comprehension. We can sum up the results as follows:

When comparing the two groups’ results, the experimental group scored higher than the control

group in the cultural quiz. The experimental group scored 14,0849, while the control group scored

a mean of 12,375. The experimental group achieved a significant progress compared with the pre-

test results where it scored an average of 11.8695, i.e. there is a statistical significant difference

that amounts to 2.2154. On the other hand, the control group made a small progress compared to

the pre-test results where it scored an average of 10.9166. The difference in the means of the control

group is 1.4584; a non-statistically significant difference.

The t test results in the post-test show that the experimental group achieved a significant

progress compared to the control group. This improvement was due to the manipulation of the

independent variable during the treatment period.

82

4.4. Limitations of the Study

During the six sessions of the treatment we were faced with many obstacles. The first was

the difficulty to find a suitable place for the experiment to take place (multimedia Room), the lack

of appropriate equipments to show the episodes like the Data-Show, computers, and Head-

Speakers. Thus, we had to bring our own materials as well as to find the appropriate place. Other

limitations include the lack of interest by some students; however, the majority were fully engaged

in the experiment.

4.5. Pedagogical implications

Depending on our research, we can deduce two pedagogical implications: The significance

of introducing culture in foreign language classes, and the use of modern tools to do so. Culture is

a critical element to introduce in foreign language classes. The fact that language and culture are

two inseparable entities make its integration a must and a logical step in order for students to

achieve a competence that goes beyond the mastery of mere linguistic aspects of the language.

Accordingly, teachers ought to view the target language culture differently and consider its

influence as a positive one in the language teaching process.

Using literary texts can no longer hold the students’ attention nor can help raise their

awareness about the target language culture. Therefore, the adoption of new tools to introduce the

target language culture is no longer a theory.

83

Conclusion

The question of whether or not culture teaching is needed to go along with language courses

is no more a matter of debate. One popular approach to the conceptualization of culture is the onion

metaphor (Hofstede, 2001). Like an onion, culture can be seen as having different layers: visible

and invisible. Various practices can be observed and compared at the surface. At the core of the

onion is the mental software that people are not fully aware of. It takes a considerable scientific

effort to extract the contents of that core and understand how they relate to those of the outer layers.

Integrating songs in the framework of the foreign language class proved to be a useful tool

to introduce the target language culture to the Algerian EFL students. However, the use of songs

entails advantages as well as disadvantages when used in language classes. Advantages can be

summarized in terms of introducing the target language culture using authentic input, real native

speakers providing real contexts and events. Songs have a special power to express what words

cannot; this helps attract students’ attention and thus makes them retain things for a long period of

time. Authentic materials such as songs provide an enjoyable change of routine in classrooms.

However, songs cannot succeed to fit the needs of every student for the fact that students learn in

different ways. Music is universal in human culture that can be used in different domains for several

purposes offering authentic input embedded within the plot, authentic, yet multiple, accents, actions

and events. However, it is up to the teacher who plays a vital role in choosing the appropriate songs,

and preparing the corresponding class activities.

84

GENERAL CONCLUSION

The aim of this dissertation was to investigate the effect of listening to songs on the Algerian

EFL students’ level of cultural awareness, as well as on their ability to comprehend metaphors.

Additionally, we aimed to investigate the students’ attitudes towards the target language culture,

their perceptions about the relationship between language and culture in addition to their

viewpoints and interest in English songs and metaphors. Our research was tackled in four main

chapters. The first two chapters covered the theoretical part of the study. The first chapter included,

shortly, the background of culture including cultural awareness, pop culture, teaching culture, and

the relationship between language and culture. In the second chapter, we dealt with definitions of

songs and music, the role of songs in the foreign language class and multimedia teaching. The last

two chapters represented the practical part of this study. The third chapter tackled the analysis of

the students’ questionnaires. The questionnaire was administered to 47 English students of first

year. The analysis of the questionnaire reveals that students strongly believe in the benefits of

learning about the target language culture. Moreover, the majority believe in the interrelationship

of language and culture. The fourth chapter dealt with the analysis of the experiments’ findings. It

reveals that listening to songs as part of classroom activities significantly improved the students’

awareness about the target language culture (the pop culture) and their understanding of metaphors.

Finally, we suggested a number of implications and pedagogical recommendations for teachers.

58

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58

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Journal , 328-334.

APPENDICES

APPENDIX ONE: The Questionnaire

Appendix 1.1: Answers to Q19: What can you suggest concerning the use of songs in the

classroom?

APPENDIX TWO: THE PRE-TEST

APPENDIX THREE: THE POST TEST

APPENDIX FOUR: THE EXPERIMENTAL GROUP TREATMENT

APPENDIX FIVE: THE CONTROL GROUP TREATMENT

APPENDIX ONE

The Questionnaire

Dear students,

This questionnaire aims to investigate the students’ attitudes towards the target language culture,

in addition to their viewpoints and interest about English songs and metaphors. We would like to

ask you to help us by answering the following questions. Put a tick (✓) and/or making full

statements when necessary. We are interested in your personal opinion so please give your

answers sincerely as only this will guarantee the success of the investigation.

Thank you for your time and effort to respond to this questionnaire.

Mr. Bourkaib Akram

Department of English

Faculty of Letters and Foreign Languages

University of Larbi Ben M’hidi

Part One: Background Information

1. Please specify the following

a/ Male b/ Female

2. Age: ……………………………………………………………………………………

3. Do you have an experience/competence with other foreign language(s)?

a/ French

b/ Others, please specify ……………………………………………………………

Part Two: Students’ Attitudes towards the Target Language Culture

4. How do you perceive/ evaluate learning about the English language culture?

a/ Beneficial b/ Not important

5. Which culture of the following English speaking countries you like most?

a/ Britain

b/ United States of America

c/ Canada

d/ Australia

6. Please justify your choice?

…………………………………………………………………………………………

…………………………………………………………………………………………

…………………………………………………………………………………………

7. How do you consider the culture of the English language when compared with the

culture(s) of the previously studied language(s)?

a/ Superior/dominant

b/ Inferior/submissive

c/ Neither

8. Please specify why?

…………………………………………………………………………………………........

………………………………………………………………………………………………

9. Do you consider the differences between the English language culture and your own (the

Algerian culture)?

a/ Yes b/ No

10. What aspects of culture do you compare?

a/ Life style, habits, traditions c/ Media

b/ Education, literature

d/ Others ………………………………………………………………………………

11. What cultural elements are mostly provided in your classroom?

a/ Life style, habits, traditions

b/ Education, literature

c/ Media

d/ Others ………………………………………………………………………………

Part Three: Students’ Attitudes towards English songs and metaphors

12. Do you listen to English songs

a/ Yes b/ No

13. What type of English songs do you like?

a/ A song that shows rage

b/ A song of hope, joy, or optimism

c/ A song that has an emotional connection

d/ A song for your dream role

14. Are you familiar with the term “metaphor”?

a/ Yes b/ No

15. Do you think students of English should know about metaphors especially to better

understand the messages implied in songs?

a/ Yes b/ No

16. In what way do you think listening to English songs is beneficial for you?

a/ It helps to focus on the task at hand

b/ It can inspire you, motivate you, and build your enthusiasm

c/ It reduces stress levels, relieve frustration, and create peaceful environment

d/ It is a way to learn English ( vocabulary, pronunciation, culture)

17. You are interested in learning about the target language culture through

a/ Books

b/ Movies

c/ Songs

d/others ………………………………………………………………………………....

18. What can you say about the integration of culture in the framework of English language

classrooms?

…………………………………………………………………………………………

…………………………………………………………………………………………

…………………………………………………………………………………………

Part Four: Further Suggestions

19. What can you suggest concerning the use of songs in the classroom?

…………………………………………………………………………………………

…………………………………………………………………………………………

…………………………………………………………………………………………

…………………………………………………………………………………………

Appendix 1.1: Answers to Q19: What can you suggest concerning the use of songs in the

classroom?

- It is a good idea and influential means to learn English.

- An entertaining way to learn about the English language culture.

- You can use songs in a listening test, and also to tell and show students how English-

speaking individuals really think.

- I don’t have an idea.

- Using songs in class is a very entertaining way to avoid boredom.

- The application of songs in our classroom during the experiment showed that using songs

is a beneficial way to learn English.

- I totally agree, it’s the best way to learn.

- It’s helpful, but I rather prefer to choose songs carefully, songs with a point and a message.

- For me, I think that the use of songs in the classroom is not very beneficial because for

me as a listener to songs, I focus on the rhythm more than the words and the content of

the song.

- Songs are very beneficial and necessary in the classroom because it is a good task for

listening to develop the listening abilities.

- A helpful task to develop the auditory abilities.

- As many others, am not an auditory student thus I suggest the use of videos (video clips)

instead of mere listening to the song.

- The use of songs in the classroom is a creative way that motivates students and captivate

them because music is a useful way of making the students spiritually comfortable.

- It is something efficient and so important in enhancing students’ level and make them

familiar with the different cultural aspects of the language.

- Through the use of songs, students learn to understand quickly and helps to develop our

pronunciation.

- Very effective way to break the routine and avoid boredom.

- Songs are a positive choice to be included in the classroom that makes learning the foreign

language much easier.

- I think that the use of songs is very beneficial in the classroom; however, they should be

selected carefully. I suggest the use of calm songs that shows a well and clear spoken

vocabulary in addition to the videos.

- Using songs in the classroom is very effective tool to develop students’ pronunciation.

- I suggest and strongly recommend the use of songs in the classroom for it is a good,

effective, and an entertaining way to learn a foreign language.

- It is a good way that can open discussion through which learners can widen their

knowledge and vision about the target language culture; also, since it is an artistic

language we can see good examples of language uses.

- I have no idea.

- I suggest that songs be more interesting and take it seriously when selecting the

appropriate songs to be included.

- Songs are very helpful and relaxing tool to enjoy the task at hand.

- I think it is a good way because it is very attractive and take the intention of students and

they enjoy it when they do something different from speaking and writing.

- The integration of songs in the classroom is good but not all the time, we need to change

because students will concentrate less with their lessons, they follow just songs.

- It may help to be more familiar with the users or the native speakers of the language we

study to know how they use it.

APPENDIX TWO

THE PRE-TEST

Part One

1- Who was the singer of the famous song “Happy”?

a- Calvin Harris

b- John Newman

c- Pharell Williams

d- Jesse McCartney

2- Eminem is known for singing:

a- Rock n roll

b- Jazz

c- Rap

d- Pop

3- Michael Jackson is best known as:

a- The prince of pop

b- The best of the best

c- The king of pop

d- The leader of singers

4- The “moon walk” is the name of:

a- A singer

b- A band

c- A dance

d- A song

5- The founder of rap music “2Pac Shakur” died by:

a- An overdose

b- A gun shot

c- A car accident

d- A normal death

6- The concept of “Remix” denotes:

a- Separate media elements are joined to form a new, different piece of media

b- Preserving the original lyrics and changing the music

c- Preserving the original music and changing the lyrics

d- Isolating the song’s music from the lyrics

Part Two

Identify the meaning of the underlined metaphors according to the context:

1- It seems to me you lived your life like a candle in the wind.

a- Your life was bright b- Your life was full of fear

b- Your life was too fast

2- It's gonna take a lot to drag me away from you, there's nothing that a hundred men or

more could ever do.

a- I’m stuck on you b- I’m far from you c- I’m too heavy

3- I'm a space bound rocket ship and your heart's in the moon.

a- Your heart is far b- I can reach your heart c- Your heart is close

4- Gazing from my window to the streets below, I am a rock, I am an island.

a- I’m tough and isolated b- I’m sociable c- I don’t like outside

5- Yesterday was very sunny but today it is raining cats and dogs.

a- It is snowing b- It is raining heavily c- It is too cold

6- My brother is a coach potato because he is the useless person ever.

a- A noisy person b- A lazy person c- A dangerous person

7- She tried to help but her legs were rubber.

a- Her legs hurt b- She was shaking c- Her legs felt weak

Part Three

Write a five-line paragraph in which you describe a place, a celebrity, or an event using a

metaphorical language.

APPENDIX THREE

THE POST TEST

Part One

1- Who was the singer of the famous song “Happy”?

a- Calvin Harris

b- John Newman

c- Pharell Williams

d-Jesse McCartney

2- Eminem is known for singing:

a- Rock n roll

b- Jazz

c- Rap

d- Pop

3- Michael Jackson is best known as:

a- The prince of pop

b- The best of the best

c- The king of pop

d- The leader of singers

4- The “moon walk” is the name of:

a- A singer

b- A band

c- A dance

d- A song

5- The founder of rap music “2Pac Shakur” died by:

a- An overdose

b- A gun shot

c- A car accident

d- A normal death

6- The concept of “Remix” denotes:

a- Separate media elements are joined to form a new, different piece of media

b- Preserving the original lyrics and changing the music

c- Preserving the original music and changing the lyrics

d- Isolating the song’s music from the lyrics

Part Two

Identify the meaning of the underlined metaphors according to the context:

1- It seems to me you lived your life like a candle in the wind.

a- Your life was bright b- Your life was full of fear

c- Your life was too fast

2- It's gonna take a lot to drag me away from you, there's nothing that a hundred men or more

could ever do.

a- I’m stuck on you b- I’m far from you c- I’m too heavy

3- I'm a space bound rocket ship and your heart's in the moon.

a- Your heart is far b- I can reach your heart c- Your heart is close

4- Gazing from my window to the streets below, I am a rock, I am an island.

a- I’m tough and isolated b- I’m sociable c- I don’t like outside

5- Yesterday was very sunny but today it is raining cats and dogs.

a- It is snowing b- It is raining heavily c- It is too cold

6- My brother is a coach potato because he is the useless person ever.

a- A noisy person b- A lazy person c- A dangerous person

7- She tried to help but her legs were rubber.

a- Her legs hurt b- She was shaking c- Her legs felt weak

Part Three

Write a five-line paragraph in which you describe a place, a celebrity, or an event using a

metaphorical language.

APPENDIX FOUR

THE EXPERIMENTAL GROUP TREATMENT

SESSION 1

Introduction:

Metaphors: A metaphor is a figure of speech where two items are compared to reveal a deeper

meaning. Metaphors and similes are very common in everyday speech, fiction and non-

fiction, poetry, and music. A simile is a metaphor, but not all metaphors are similes.

Metaphor is the broader term. In a literary sense metaphor is a rhetorical device that transfers

the sense or aspects of one word to another. For example:

“The moon was a ghostly galleon tossed upon cloudy seas”.

Exercise 1:

WE ARE YOUNG by FUN

Give me a second, I need to get my story straight

My friends are in the bathroom.Getting higher than the Empire State.

My lover she is waiting for me.Just across the bar, My seat's been taken by some sunglasses

Asking 'bout a scar. I know I gave it to you months ago.I know you're trying to forget

But between the drinks and subtle things And the holes in my apologies

You know I'm trying hard to take it back. So if by the time the bar closes

And you feel like falling down. I'll carry you home

Tonight, We are young. So let's set the world on fire

We can burn brighter. Than the sun. Tonight,

We are young. Now I know that I'm not. All that you got

I guess that I,I just thought, Maybe we could find new ways to fall apart

But our friends are back. So let's raise the cup

'Cause I found someone to carry me home

- Match the following expressions with the verbs, according to their meaning:

1. to put into a particular state.

2. to fall to the ground.

3. Break

4. to have a desire for or interest in

5. to figure out

•

•

•

•

•

set fall

apart guess

fall down

feel like

Exercise 2:

COUNT ON ME by BRUNO MARS

If you ever find yourself stuck in the middle of the sea

I'll sail the world to find you

If you ever find yourself lost in the dark and you can't see

I'll be the light to guide you

Find out what we're made of

When we are called to help our friends in need

You can count on me like one, two, three, I'll be there

And I know when I need it

I can count on you like four, three, two, and you'll be there 'Cause that's what friends are supposed to do,

oh yeah oooooh oooooh ohh yeah, yeah

If you're tossin' and you're turnin' and you just can't fall asleep

I'll sing a song beside you

And if you ever forget how much you really mean to me Everyday I will remind you

Match the words and the definitions:

1. To be stuck

2. To find out

3. Toss and turn

4. To count on someone

a. To be unable to sleep

b. To discover something

c. To expect that someone will do something for you

d. To be trapped and unable to move.

Exercise 3:

Smile by Charles Chaplin (Sung by Michael Jackson)

Find all the words you can relate to good or bad feelings.

Smile, though your heart is aching

Smile, even though it's breaking

When there are clouds in the sky You'll get by...

If you smile

With your fear and sorrow

Smile and maybe tomorrow

You'll find that life is still worthwhile. If you just...

Light up your face with gladness

Hide every trace of sadness

Although a tear may be ever so near

That's the time you must keep on trying

Smile, what's the use of crying

You'll find that life is still worthwhile.

If you just...

Smile, though your heart is aching

Smile, even though it's breaking When there are clouds in the sky You'll get by... If you smile

Through your fear and sorrow

Smile and maybe tomorrow

You'll find that life is still worthwhile. If you just smile...

That's the time you must keep on trying

Smile, what's the use of crying

You'll find that life is still worthwhile. If you just smile

Exercise 4: Metaphorical descriptions:

1- Carrots

They say carrots are good for your eyes

They swear that they improve your sight

But I’m seein worse than I did last night

You think maybe I ain’t usin’em right

2- Invention

I’ve done it, I’ve done it!

Guess what I’ve done!

Invented a light that plugs into the sun.

The sun is bright enough,

The bulb is strong enough,

But, oh, there’s only one thing wrong…

The cord ain’t long enough.

3- The Planet of Mars

On the planet of Mars they have clothes just like ours,

And they have the same shoes and same laces,

And they have the same heads and same faces,

But not in the same places.

4- The loser

Mama said I’d lose my head if it wasn’t fastened on.

Today I guess it wasn’t, cause while playing

it fell off and rolled away. I can’t look for it

cause my eyes are in it, and I can’t call to it

cause my mouth is on it. Couldn’t hear me anyway

cause my ears on it, can’t even think about it

cause my brain is in it. So I guess I’ll sit on this rock

and rest for just a minute…

5- Blue

She had blue skin, and so did he.

He kept it hid, and so did she.

They searched for blue, their whole life through,

Then passed right by—And never knew.

6- Everything on it

I asked for a hot dog with everything on it,

And that was my big mistake cause it came with a parrot

A bee in a bonnet, a wristwatch, a wrench, and a rake.

It came with a gold fish, a flag, and a fiddle,

And a mouse in a mask. So it was the last time I ask

for a hot dog with everything.

SESSION 2

Introduction:

- Watching a video titled: “Metaphors in Pop Songs”

Exercise 1:

RELAX, TAKE IT EASY By Mika

Took a ride to the end of the line

Where no one ever goes.

Ended up on a broken train with nobody I know.

But the pain and the (longings) the same.

(Where the dying

Now I'm lost and I'm screaming for help.)

Relax, take it easy

For there is nothing that we can do.

Relax, take it easy

Blame it on me or blame it on you.

It's as if I'm scared.

It's as if I'm terrified.

It's as if I scared.

It's as if I'm playing with fire. Scared.

It's as if I'm terrified.

Are you scared?

Are we playing with fire? Relax

There is an answer to the darkest times.

It's clear we don't understand but the last thing on my mind Is to leave you.

I believe that we're in this together.

Don't scream - there are so many roads left.

Read the song lyrics and find a synonym for the following words:

Frightened- Smashed- Misplaced- Desires- Affliction- Yell- Accuse

Exercise 2:

Welcome To My Life By Simple Plan

Do you ever feel like breaking down?

Do you ever feel out of place?

Like somehow you just don't belong And no one understands you Do you ever wanna run away?

Do you lock yourself in your room?

With the radio on turned up so loud That no one hears you screaming

No you don't know what it's like

When nothing feels all right

You don't know what it's like

To be like me

To be hurt

To feel lost

To be left out in the dark

To be kicked when you're down

To feel like you've been pushed around

To be on the edge of breaking down

And no one's there to save you

No you don't know what it's like Welcome to my life

Do you wanna be somebody else?

Are you sick of feeling so left out?

Are you desperate to find something more?

Before your life is over

Are you stuck inside a world you hate?

Are you sick of everyone around?

With their big fake smiles and stupid lies

While deep inside you're bleeding

No you don't know what it's like When nothing feels all right You don't know what it's like

To be like me

No one ever lied straight to your face

And no one ever stabbed you in the back You might think I'm happy but I'm not gonna be okay

1- To be stuck

2- To run away

3- To stab someone in the back

4- To break down

5- To fake a smile

6- To lock yourself in

7- To kick someone when they're down

8- To be on the edge

9- To turn up

10-To be left out

a- To lose control of your feelings and start

crying.

b- To increase the sound.

c- To continue to hurt someone when they

are already defeated.

d- Unable to move or be moved.

e- To be nervous, excited or bad tempered.

f- Not included or mentioned in something.

h- To prevent someone from entering your

room by locking the door.

i- To give a false, not genuine smile.

Exercise 3: 25 minutes to go by Johnny Cash

Well they're building a gallows outside my cell

And I've got 25 minutes to go

And the whole town's waitin' just to hear me yell

I got 24 minutes to go

Well they gave me some beans for my last meal

With 23 minutes to go

But nobody asked me how I feel

I got 22 minutes to go

Well I sent for the governor and the whole dern bunch

With 21 minutes to go

And I sent for the mayor but he's out to lunch

I've got 20 more minutes to go

Then the sheriff said boy I gonna watch you die

With 19 minutes to go

So I laughed in his face and I spit in his eye

With 18 minutes to go

Now hear comes the preacher for to save my soul

With 13 minutes to go

And he's talking bout' burnin' but I'm so cold

12 more minutes to go

Well they're testin' the trap and it chills my spine

11 more minutes to go

And the trap and the rope aw they work just fine

10 more minutes to go

Well I'm waitin' for the pardon that'll set me free

With 9 more minutes to go

But this ain't the movies so forget about me

8 more minutes to go

With my feet on the trap and my head on the noose

5 more minutes to go

Won't somebody come and cut me loose

7 more minutes to go

I can see the mountains I can see the skies

With 3 more minutes to go

And it's to dern pretty for a man that don't want to die

2 more minutes to go

I can see the buzzards I can hear the crows

1 more minute to go

And now I'm swingin' and here I go!

Listen to the song lyrics (before watching the video) then try to predict the plot of the song.

SESSION 3

Introduction

- Watching the first video titled: “Metaphors in Music”

- Watching the second video titled: “Similes and Metaphors in Songs”

- Watching the third video titled: “Metaphors in Music and Other Examples”

The four videos present parts of multiple English famous songs containing different metaphors in

addition to the written form of the metaphor whenever occurs. After watching each video, the

students are given the opportunity for questions and discussion.

Exercise 1:

Blame by Calvin Harris

Can't be sleepin'

Keep on waking

Is that the woman next to me?

Guilt is burning

Inside I'm hurting

This ain't a feeling I can keep

[John Newman - Chorus]

So blame it on the night

Don't blame it on me

Don't blame it on me

Blame it on the night

Don't blame it on me

Don't blame it on me

Blame it on the night

Don't blame it on me

Don't blame it on me

So blame it on the night

Don't blame it on me

Don't blame it on me

[Instrumental]

Can't you see

I was manipulated by it

Who let her through the door

I had no choice in this

I was the friend she missed

She needed me to talk

Give all the metaphors included in the song

SESSION 4

Introduction

- Watching the first video titled: “Similes and Metaphors in Pop Culture”

- Watching the first video titled: “What is a Simile and a Metaphor in Pop Culture”

Both videos present parts derived from several English famous songs including variety of

metaphors and similes to introduce the main aspects and explain the main differences of both

figures. In addition, the videos demonstrate the written form of the metaphor and the simile

whenever occurred. After watching each video, the students are given the opportunity to ask and

discuss.

Exercise 1:

Animals by Maroon 5

Baby I'm preying on you tonight

Hunt you down eat you alive

Just like animals

Animals Like animals-mals

Maybe you think that you can hide

I can smell your scent for miles

Just like animals

Animals Like animals-mals

Baby I'm

So what you trying to do to me

It's like we can't stop, we're enemies

But we get along when I'm inside you, eh

You're like a drug that's killing me

I cut you out entirely

But I get so high when I'm inside you

Yeah you can start over you can run free

You can find other fish in the sea

You can pretend it's meant to be

But you can't stay away from me

I can still hear you making that sound

Taking me down rolling on the ground

You can pretend that it was me

But no, oh

Baby I'm preying on you tonight

Hunt you down eat you alive

Just like animals Animals Like animals

Maybe you think that you can hide

I can smell your scent for miles

Just like animals Animals Like animals-mals

Baby I'm

So if I run it's not enough

You're still in my head forever stuck

So you can do what you wanna do, eh

I love your lies I'll eat 'em up

But don't deny the animal

That comes alive when I'm inside you

Yeah you can start over you can run free

You can find other fish in the sea

You can pretend it's meant to be

But you can't stay away from me

I can still hear you making that sound

Taking me down rolling on the ground

You can pretend that it was me

But no, oh

Baby I'm preying on you tonight

Hunt you down eat you alive

Just like animals Animals Like animals-mals

Maybe you think that you can hide

I can smell your scent for miles

Just like animals Animals Like animals-mals

Baby I'm

Try to extract all the metaphors included

Exercise 2:

Numb by Linkin Park

I'm tired of being what you want me to be

Feeling so faithless, lost under the surface

I don't know what you're expecting of me

Put under the pressure of walking in your shoes

Caught in the undertow, just caught in the undertow

Every step that I take is another mistake to you

Caught in the undertow, just caught in the undertow.

[Chorus]

I've become so numb, I can't feel you there

Become so tired, so much more aware

By becoming this all I want to do

Is be more like me and be less like you

Can't you see that you're smothering me?

Holding too tightly, afraid to lose control

'Cause everything that you thought I would be

Has fallen apart right in front of you

Caught in the undertow, just caught in the undertow

Every step that I take is another mistake to you

Caught in the undertow, just caught in the undertow

And every second I waste is more than I can take!

[Chorus]

And I know I may end up failing too

But I know you were just like me with someone disappointed in you

Determine all the metaphors included

SESSION 5

Introduction

- Watching a video titled: “Similes and Metaphors”

Variety of metaphors and similes are included in the video presenting the main aspects and explain

the main differences between the simile and the metaphor. As usual, the video demonstrate the

written form of the metaphor and the simile whenever occurred. After watching the video, the

students are allowed to discuss.

Exercise 1:

Echo by Jason Walker

Hello, hello anybody out there? 'Cause I don't hear a sound.

Alone, alone I don't really know where the world is, but I miss it now.

I'm out on the edge and I'm screaming my name like a fool at the top of my lungs.

Sometimes when I close my eyes I pretend I'm all right but it's never enough.

'Cause my echo, echo is the only voice coming back.

My shadow, shadow is the only friend that I have.

Listen, listen I will take a whisper if that's all you had to give.

But it isn't, isn't you could come and save me and try to chase the crazy right out of my head.

I'm out on the edge and I'm screaming my name like a fool at the top of my lungs.

Sometimes when I close my eyes I pretend I'm all right but it's never enough.

'Cause my echo, echo is the only voice coming back.

My shadow, shadow is the only friend that I have.

I don't wanna be an island and I just wanna feel alive and get to see your face again.

I don't wanna be an island and I just wanna feel alive and get to see your face again.

Just my echo, Oh, my shadow, you're my only friend.

And I'm out on the edge and I'm screaming my name like a fool at the top of my lungs.

Sometimes when I close my eyes I pretend I'm all right but it's never enough

'Cause my echo, echo.

Oh my shadow, shadow.

Hello, hello anybody out there...

Determine the metaphors used by the singer

Exercise 2:

Folsom Prison Blues by Johnny Cash

I hear the train a comin'

It's rollin' 'round the bend,

And I ain't seen the sunshine

Since, I don't know when

I'm stuck in Folsom Prison

And time keeps draggin' on

But that train keeps a-rollin'

On down to San Antone

When I was just a baby

My Mama told me, "Son

Always be a good boy

Don't ever play with guns,"

But I shot a man in Reno

Just to watch him die

When I hear that whistle blowin'

I hang my head and cry

I bet there's rich folks eatin'

In a fancy dining car

They're probably drinkin' coffee

And smokin' big cigars

Well I know I had it comin'

I know I can't be free

But those people keep a-movin'

And that's what tortures me

Well, if they freed me from this prison

If that railroad train was mine

I bet I'd move it on a little

Farther down the line

Far from Folsom Prison

That's where I want to stay

And I'd let that lonesome whistle

Blow my blues away

Listen to the song lyrics (before watching the video) then try to predict the plot (the

events) of the song.

SESSION 6

Introduction

- Watching a video titled: “The art of the metaphor” by Jane Hirshfield

The video is presented in an animation form dealing with all that is related to metaphors. The

video starts with defining the metaphor, the uses, comparison to similes, and its significance in

our daily life speech. All the examples are depicted through animated paintings in addition to a

speaker introducing the video.

Exercise 1:

Happy by Pharell Williams

It might seem crazy what I'm about to say

Sunshine she's here, you can take away

I'm a hot air balloon, I could go to space

With the air, like I don't care baby by the way

Because I'm happy

Clap along if you feel like a room without a roof

Because I'm happy

Clap along if you feel like happiness is the truth

Because I'm happy

Clap along if you know what happiness is to you

Because I'm happy

Clap along if you feel like that's what you wanna do

Here come bad news talking this and that

Yeah, give me all you got, don't hold back

Yeah, well I should probably warn you I'll be just fine

Yeah, no offense to you don't waste your time

Here's why

Happy, bring me down

Can't nothing, bring me down

Love is too happy to bring me down

Can't nothing, bring me down

I said bring me down

Can't nothing, bring me down

Love is too happy to bring me down

Can't nothing, bring me down

Determine all the metaphors included in the song

Exercise 2:

A Boy Named Sue by Johnny Cash

Well,my daddy left home when I was three

And he didn't leave much to ma and me

Just this old guitar and an empty bottle of booze

Now, I don't blame him cause he run and hid

But the meanest thing that he ever did

Was before he left, he went and named me Sue

Well, he must o' thought that is quite a joke

And it got a lot of laughs from a' lots of folk

It seems I had to fight my whole life through

Some gal would giggle and I'd get red

And some guy'd laugh and I'd bust his head,

I tell ya, life ain't easy for a boy named Sue

Well, I grew up quick and I grew up mean

My fist got hard and my wits got keen

I'd roam from town to town to hide my shame

But I made a vow to the moon and stars

That I'd search the honky-tonks and bars

And kill that man who gave me that awful name

Well, it was Gatlinburg in mid-July

And I just hit town and my throat was dry

I thought I'd stop and have myself a brew

At an old saloon on a street of mud

There at a table, dealing stud

Sat the dirty, mangy dog that named me Sue

Well, I knew that snake was my own sweet dad

From a worn-out picture that my mother'd had

And I knew that scar on his cheek and his evil eye

He was big and bent and gray and old

And I looked at him and my blood ran cold

And I said, "My name is Sue, how do you do

Now you're gonna die"

(yeah, that's what I told him)

Well, I hit him hard right between the eyes

And he went down, but to my surprise

He come up with a knife and cut off a piece of my ear

But I busted a chair right across his teeth

And we crashed through the wall and into the street

Kicking and a' gouging in the mud and the blood and the beer

I tell ya, I've fought tougher men

But I really can't remember when

He kicked like a mule and he bit like a crocodile

I heard him laugh and then I heard him cuss

He went for his gun and I pulled mine first

He stood there lookin' at me and I saw him smile

And he said, "Son, this world is rough

And if a man's gonna make it, he's gotta be tough

And I knew I wouldn't be there to help ya along

So I give ya that name and I said goodbye

I knew you'd have to get tough or die

And it's the name that helped to make you strong"

He said, "Now you just fought one hell of a fight

And I know you hate me, and you got the right

To kill me now, and I wouldn't blame you if you do

But ya ought to thank me, before I die

For the gravel in ya guts and the spit in ya eye

'Cause I'm the son-of-a-bitch that named you Sue"

Well what could I do? What could I do?

I got all choked up and I threw down my gun

And I called him my paw, and he called me his son

And I came away with a different point of view

And I think about him, now and then

Every time I try and every time I win

And if I ever have a son, I think I'm gonna name him..

Bill or George! Any-damn-thing but Sue!

Discussion of the main plot (after listening to the song without the video) including

development on the events, characters, and conclusion. Then displaying the video to

discuss the students’ answers.

APPENDIX FIVE

THE CONTROL GROUP TREATMENT

Metaphors: A metaphor is a figure of speech where two items are compared to reveal a deeper

meaning. Metaphors and similes are very common in everyday speech, fiction and non-

fiction, poetry, and music. A simile is a metaphor, but not all metaphors are similes.

Metaphor is the broader term. In a literary sense metaphor is a rhetorical device that transfers

the sense or aspects of one word to another. For example:

“The moon was a ghostly galleon tossed upon cloudy seas”.

- A simile is a type of metaphor in which the comparison is made with the use of the

word like or its equivalent: Ex: My love is like a red, red rose. — Robert Burns

Exercise 1:

-The child ate up a full bowl of rice in minutes because he was as hungry as a…

Dog- fox-wolf-pig

- She likes spoiling and ruining people's fun. She is really a…..

Couch potato- wet blanket- hard nut- hard bargain

- I find him extremely annoying; he is getting under my….

Brain- arms- back- skin

Exercise 2:

* Decide whether the sentences below contain similes or metaphors:

1- The dog was a jack-in-the-box, trying to jump up on the visitors

2- "Chocolate is my ray of sunshine on a bad day,"

3- The lettuce was as crisp as an early fall morning.

4- "I feel like road kill; it's been a rough week,"

5- The motion sickness hit the sailor as fast as lightning.

6- The clouds are marshmallows in the sky

7- The water is as blue as the sky.

8- The ice-cream was a rock when I took it out of the freezer

9- A feather is as light as air

10- Ted was a nervous cat before his test.

11- The pool was a boiling cauldron on that hot summer day.

Exercise 3

1/ A metaphor does what?

- Compares two things using like or as.

- Compares two things without using like or as.

2/ The metaphor, "The boss' words were crystal clear":

- It's obvious what the boss meant

- The boss wanted someone to buy him/her clear crystal.

- What did the boss want?

3/ The simile, "She was white as a ghost," means that:

-the girl died and became a ghost

-the girl dressed like a ghost for Halloween

-she was happy and smiling

-she was nervous and pale looking

4/ Which of the following is a metaphor? - The trees snapped like matchsticks

- He crept as quietly as a mouse

- He crept quietly like a mouse

- The trees were matchsticks, snapping in the fierce winds

5/ Which of these is NOT a metaphor?

- The sky was a blanket of clouds

- The sea was a roaring tiger

- She stood as still as a statue

- The lake was a mirror, perfectly reflecting the shoreline

6/ Complete this metaphor:

With its locked doors and tiny window, the dark, cold room was a .......

- prison

- library

- classroom

- palace

7/ She showed no sympathy or feelings for others, her heart was a .......

- night star

- golden locket

- stone

- lively spring

Résumé

L’objectif de cette dissertation était d'examiner l'effet d'écouter des chansons sur le degré de

sensibilisation culturelle des étudiants EFL algériens, aussi bien que sur leur capacité de

comprendre des métaphores. En outre, nous avons eu pour but d'examiner les attitudes des

étudiants vers la culture de langue cible, leurs perceptions de la relation entre la langue et la

culture en plus de leurs points de vue et intérêt des chansons anglaises et des métaphores. Notre

recherche a été abordée dans quatre chapitres principaux. Les deux premiers chapitres ont

couvert la partie théorique de l'étude. Le premier chapitre inclus brièvement le contexte de

culture incluant la conscience culturelle, la culture pop, enseignant de la culture et la relation

entre la langue et la culture. Dans le deuxième chapitre, nous avons traité les définitions de

chansons et la musique, le rôle de chansons dans la classe de langue étrangère et le didacticiel

multimédia. Les deux derniers chapitres ont représenté la partie pratique de cette étude. Le

troisième chapitre a abordé l'analyse des questionnaires des étudiants. Le questionnaire a été

administré à 47 étudiants d’anglais de première année. L'analyse du questionnaire révèle que les

étudiants croient fortement en avantages d'apprentissage de la culture de langue cible. De plus,

la majorité croit en la corrélation de langue et la culture. Le quatrième chapitre a traité l'analyse

des découvertes des expériences. Il révèle que l'écoute de chansons dans le cadre des activités

de classe a significativement amélioré la conscience des étudiants de la culture de langue cible

(la culture pop) et leur compréhension de métaphores. Finalement, nous avons suggéré un

certain nombre d'implications et des recommandations pédagogiques pour les professeurs.