PICTURE YOURSELF IN A BOAT ON A RIVER

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PICTURE YOURSELF IN A BOAT ON A RIVER
UNIVERSITÀ CA’ FOSCARI DI VENEZIA
CORSO DI PERFEZIONAMENTO IN DIDATTICA DELLE LINGUE
MODERNE
INDIRIZZO: APPRENDIMENTO IN LS (CLIL)
TESINA
“PICTURE YOURSELF
IN A BOAT ON A RIVER”
An integrated technical-cultural-linguistic
experience in Modern Music History
Tutor:
PROF.SSA
C. M. COONAN
Docente:
Anno
Accademico
2010/2011
prof. Giulio Cestari
Indice
Mappa
Pag. 3
Introduzione
pag. 4
Guida del docente / Lezioni
pag. 5
Guida dello studente
pag. 35
Bibliografia
pag. 37
Testi canzoni
pag. 37
……………………………………………………………………
2
"Picture yourself"
Clil activity map
brainstorming
1st step
pre-reading
movie showing
questions, scrambled notices
translation
reading
2nd step
reading
questions
quesito 3^ prova (final exams type)
songs reading
3rd step
lyrics analysis
lyrics analysis grid
conversation on topics
songs listening
4th step
music analysis
music piece analysis grid
conversation on topics
songs listening
5th step
music analysis 2
music piece analysis grid
conversation on topics
music-techni research
6th step
foreign school
partnership
research and production
about society and music
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1.1 Breve introduzione del contesto, premesse e motivazioni di carattere generale
L’idea di riuscire a coniare un prodotto spendibile, come docente/i, comprendente diverse discipline
dai contenuti e dalle esperienze veicolati in lingua inglese sembra da tempo essere qualcosa che in
ambito scolastico, sin dalla scuola media, sia possibile realizzare.
Il docente di lingua straniera a volte si cimenta in esperienze che vedono la produzione musicale
(vocale) come supporto al coinvolgimento e alla seguente motivazione linguistica. Ma spesso alla
esecuzione vocale (in genere di gruppo classe) segue solo una traduzione del testo o una breve
contestualizzazione canzone/autore, o nulla più.
Nella società attuale ove tutto risulta essere così veloce -anche un singolo successo commerciale di
cantanti o il ricordo di una canzone- spesso non ci si rende conto del valore di un motivo musicale o
quanto lo stesso abbia contribuito a determinare un cambiamento sociale, o ne è stato testimone.
Insomma ha fatto moda, o storia, personale o collettiva. Ma soprattutto spesso non si realizza che al
di là di un grande successo di marketing può capitare di registrare –prendendone nota!- anche un
valore poetico, esistenziale umano, tecnico-musicale.
E allora accanto ai grandi della storia della musica e della letteratura mondiale ci sono alcuni autori
che con la loro semplicità hanno saputo produrre, lasciare traccia della propria esperienza di vita,
esempio di scrittura, di composizione e di esecuzione, di cui possiamo rendere gli alunni partecipi.
L’esperienza che qui si propone richiede quindi questo elemento iniziale di condivisione tra docenti
operatori insieme ad una nuova importante idea di acculturazione e di apprendimento che vede la
conduzione degli insegnanti e la partecipazione degli studenti esclusivamente in lingua inglese,
come prevedono oggi le linee guida della nuova riforma della scuola superiore.
E’ facile, in modo spontaneo, cadere nella considerazione che ciò che si sta per leggere in questa
tesina sia il solito prodotto di un docente fan del gruppo inglese.
Non è vero!
Personalmente non ho mai amato i Beatles ma ho solo apprezzato alcune delle loro canzoni la cui
melodia mi …incantava. Il resto lo ha fatto, invece, la mia curiosità verso la lingua e la cultura.
Pertanto questo mio lavoro non vuole essere una celebrazione del fenomeno Beatles ma
semplicemente l’esecuzione di una consegna alimentata dallo spirito di condivisione, di
integrazione, di sperimentazione che ancora anima la mia docenza.
Nel convincimento personale che il mio mandato in qualità di insegnante di lingua straniera (non di
un liceo musicale!) è quello di favorire la conoscenza e l’uso della lingua straniera come
espressione e strumento di una cultura straniera, trovo il pretesto discorsivo “The Beatles” una
buona opportunità per assicurare un apprendimento integrato come proposta formativa.
Ma soprattutto mi auguro che uno schema come quello proposto a seguire possa risultare per
qualche docente e alunno la rappresentazione concreta di un piccolo impegno che può rendere
l’esperienza scolastica, nelle sue finalità, più reale e interessante, nonché funzionale e perfino bella.
p.s. - Questa tesina è stata concepita e realizzata durante i riots di Londra, Liverpool, Manchester,
Bristol, Birmingham dell’Agosto 2011. …”There beneath the blue suburban sky.” (Penny Lane)
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1.2 Guida del docente
La presente attività di docenza in apprendimento integrato viene proposta ad alunni della classe
Quinta di un liceo musicale la cui competenza nella lingua inglese viene già collocato su un livello
B2.2. Pertanto gli alunni non mostrano difficoltà nelle abilità linguistiche su livelli ben accettabili
tanto da poter essere coinvolti in modo diretto e fluente in una serie di proposte operative secondo
l’uso esclusivo della lingua straniera.
Per quanto riguarda le competenze nelle discipline di indirizzo gli alunni sono in grado di assicurare
un livello consolidato. L’attività viene, infatti, proposta nel secondo quadrimestre a conoscenze ed
abilità già ben acquisite nel campo, ad esempio, della storia della musica, tecnica e generi musicali.
Le attività di reading e writing vengono proposte in apertura dell’esperienza Clil; quelle di speaking
e listening vengono assicurate in modo più efficace nelle esperienze di coinvolgimento
internazionale che chiudono la proposta modulare.
Tutte le attività vengono volte in lingua inglese dagli operatori e dagli studenti.
Scelta dei brani musicali.
Le canzoni sono state selezionate secondo le esigenze tecnico-musicali ma preservano un filo
conduttore tematico che facilitano l’operato del docente di L2 in ambito letterario. Infatti tutti i
brani presentano tematiche socio-esistenziali e costituiscono una testimonianza della socialità
dell’uomo in una collocazione moderna.
Gli operatori (docenti) si distinguono in attivi e passivi. I primi sono gli insegnanti presenti alle
attività con gli studenti per tutte le esperienze di didattica frontale e a distanza, diretti interlocutori
dell’utenza, e a loro propongono materiale e iniziative operative condividendone volta per volta i
processi e i risultati. Inoltre costoro possono aver affrontato/affrontare moduli inerenti alle
tematiche in oggetto per il presente progetto nel corso della propria ordinaria programmazione di
disciplina, o in altre esperienze di apprendimento integrato. Ad esempio il docente di L2 potrebbe
riprendere con il collega di Italiano alcuni dei testi di canzoni contenute nel presente lavoro e
proporre agli studenti un lavoro sull’esistenzialismo provando a confrontare alcuni prodotti dei
Beatles con produzioni poetiche di poeti italiani e stranieri (es.:Foscolo, Leopardi, ..)
Per quanto riguarda l’attività diretta di docenza si prevede per questa proposta la presenza, in alcune
occasioni, di due insegnanti con il gruppo classe, nonostante la normativa gestionale scolastica
attuale non preveda soluzioni del genere. Ciò viene comunque previsto in quanto si vuole dare agli
alunni una precisa idea della efficacia comunicativa operativa, anche tra docenti, in L2 come
esempio di reale ambito lavorativo futuro in un contesto internazionale, e in quanto si vuole
finalizzare la presente proposta anche rispetto alla considerazione visibile che non esistono singole
esperienze formative settoriale ma uniche finalità e proposte formative realmente condivise.
Si prevede, inoltre, l’operato di un docente supervisore (di disciplina con competenze linguistiche
B2/C1) per la osservazione e la valutazione sempre presente a turno tra i docenti
Gli operatori passivi, invece, sono i docenti che contribuiscono, dietro le quinte, all’attività di
programmazione, osservazione, verifica, valutazione. Nel caso specifico sono docenti di discipline
tecniche di indirizzo che fungono da esperti in riferimento alle competenze specifiche in campo
musicale. Inoltre costoro possono aver affrontato/affrontare moduli inerenti alcune delle tematiche
in oggetto per il presente progetto nel corso della propria ordinaria programmazione di disciplina.
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I docenti “passivi” costituiscono con il proprio contributo, in questo caso, un completamento del
valore formativo globale dell’esperienza sul piano tecnico non solo nella fase di formazione
tradizionale in presenza ma anche in quella a distanza.
Si prevede, inoltre, che essi siano presenti comunque alle attività nel ruolo di osservatori/auditori.
PROGRAMMAZIONE
La programmazione viene realizzata alla presenza di tutti i docenti (attivi e passivi).
Essa si basa sulla condivisione di finalità e obiettivi (generali e specifici), contenuti (canzoni dei
Beatles, tematiche e stile poetico, elementi e tecnica di composizione esecuzione registrazione
musicali , proposte (ascolto, comprensione scritta, produzione scritta e orale, produzione musicale,
esecuzione musicale), modalità (proposte di operatività in presenza, on line, in gruppo, individuale),
strumenti (osservazione sistematica e continuativa, video-riprese di attività didattica; recording
studio, uso di strumenti musicali acustici ed elettronici), valutazione.
OSSERVAZIONE
L’osservazione viene proposta come strumento di verifica e di valutazione e viene operata da un
docente terzo rispetto agli insegnanti coinvolti nell’attività in presenza.
Il docente osservatore può essere presente in occasione di alcune attività –in questo caso seguendo
una libera annotazione di manifestazioni ed eventi personali degli alunni- o pianifica e predispone
apparecchiature per la videoripresa. Questa tecnica di registrazione è comunque prevista in
occasione di ciascuna attività e costituisce possibilità di raccolta di materiale per una valutazione
delle esperienze sul piano linguistico e su quello psico-sociale.
VALUTAZIONE
Per quanto riguarda la lingua straniera non è prevista la somministrazione di un test in entrata e in
uscita sulle conoscenze linguistiche considerato il livello di preparazione dei ragazzi nonchè gli
obiettivi di questo progetto che prevede un’attenzione rivolta su tematiche culturali e tecniche. Sarà
nel corso delle singole attività, e relativa modalità di valutazione, che verranno considerate le
competenze e le abilità mostrate da ciascun alunno e dal singolo gruppo interattivo.
Verranno altresì somministrati dei test sui contenuti sviluppati, questionari per l’analisi di fattori
psico-sociali come la motivazione allo studio in lingua, l’autostima, la percezione delle proprie
competenze.
I test di valutazione avranno la caratteristica di un unicum rispetto alle diverse discipline in campo e
permetteranno di misurare/valutare i livelli di apprendimento/coinvolgimento rispetto al progetto e
non alla singola disciplina.
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SCHEDA TECNICA DEL MODULO
DENOMINAZIONE DEL
PROGETTO
FINALITA’
OBIETTIVI GENERALI
“Picture yourself in a boat on a
river”
Favorire l’uso della lingua
straniera come espressione e
strumento culturale
- Sviluppare la disponibilità
all’acquisizione di
competenze specifiche in
lingua straniera in
discipline di indirizzo
- Aprire la scuola ad esperienze
di plurilinguismo per formare
dei cittadini europei.
- Veicolare contenuti musicali
e culturali in lingua Inglese
- Migliorare la fluency in L2 in
ambito tecnico-musicale.
- Sviluppare negli alunni una
disponibilità e una capacità di
ricerca-azione in L2.
Decodificare
materiale
autentico in ambito tecnicomusicale
OBIETTIVI SPECIFICI /
TRASVERSALI
- Approfondire la conoscenza
della dimensione culturale del
gruppo musicale The Beatles.
Lo studente saprà riconoscere e
utilizzare, anche in lingua
straniera, tecniche e
strumentazioni riferite a un
genere musicale specifico,
dando prova di possedere le
necessarie conoscenze storiche
e stilistiche, nonché di aver
compreso le poetiche del
gruppo presentato.
7
Lo studente sarà in grado di
elaborare e realizzare un
progetto con una forte
vocazione multidisciplinare
condivisibile.
Nell’accostarsi alle canzoni dei
Beatles amplierà le proprie
conoscenze rispetto alla musica
e all’arte pop europea come
evoluzione storico-estetica di
un fenomeno culturale.
TIPOLOGIA ISTITUTO
SCOLASTICO
RESPONSABILI DEL
PROGETTO
AMBITO
LINGUA VEICOLARE
DISCIPLINE
ANNO DI CORSO
DESTINATARI
OPERATORI
Liceo Musicale
Docenti di lingua Inglese e di
Storia della Musica
Didattica di indirizzo
formativo
Inglese
Tecnologie Musicali,
Lingua Inglese
Teoria Analisi e Composizione
5°
Alunni
Didattica attiva:docente di
lingua inglese, docente di
tecnologie musicali, docente di
teoria analisi e composizione.
Didattica passiva: docente di
storia della musica, docente di
esecuzione e interpretazione.
Osservatori: docenti
responsabili del progetto.
Tecnici di laboratorio
informatico e musicale.
TIPOLOGIA DI ATTIVITA’
DIDATTICA
Frontale, laboratoriale
interattiva, in presenza e online, ricerca e consultazione di
documenti.
TEMPI
6 ore + extra time per attività
di cooperazione
2° quadrimestre
Aula di classe, laboratori di
musica e di informatica
Pc workstation, proiettore,
LUOGHI
STRUMENTI
8
PREREQUISITI
VALUTAZIONE
musical home studio
equipment, internet, strumenti
musicali
Studenti
Lingua Inglese: liv. B2 del
Quadro Comune Europeo
Discipline musicali: possesso
di strumenti critici (analitici,
storico-sociali ed estetici) della
musica.
Docenti
Lingua Inglese: liv. B2
Ambito musicale (per il
docente L2): competenze e
conoscenze accettabili
nell’ambito della musica
(storia e strumentazioni) e un
personale interesse nei
confronti della musica pop
come fenomeno culturale.
In itinere (singola esperienza
laboratoriale) e sommativa.
In particolare
somministrazione di test per il
monitoraggio di conoscenze e
competenze linguistiche, di
apprendimento sui contenuti
proposti e sviluppati, di analisi
di fattori psico-pedagogici.
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Lezione 1. 1h
Docenti in presenza: L2, teoria analisi e composizione.
Docente osservatore: storia della musica (il docente annota anche reazioni verbali e non che gli alunni
manifestano durante la proiezione del filmato, o che lo stesso evince con i colleghi dall’analisi dalla registrazione video)
Brainstorming 1.
Docente Teoria: (Eg.)”Do you know The Beatles?”, “ Have you ever heard any of their songs?”,
“What were you struck by, technically speaking?”
Listening (intro). Proiezione di un video sulla storia dei Beatles della durata di 7’
http://www.youtube.com/watch?v=hAmKN7H1L4g (American English)
Brainstorming2.
Docente L2: “How do you feel the kind of The Beatles’ music/songs?”, “Do you have the
perception that the songs are old or do they still sound actual?”
……..
“Even The Beatles’ songs may be classified and analysed as a literary work ,ballad or sonnet for
example. But let’s start up with reading activities”
Pre-reading activity
Pre-reading activity - lesson 1
The following original Beatles notices are scrambled.
Put them in the right time sequence using the first chart below.
Then complete the second chart dealing with musical devices.
At the end of your work, share your answers with teachers and mates
Time: 30 mins
10
2
1
4
3
11
5
6
7
12
8
9
10
13
11
12
14
13
15
14
15
16
16
17
Event
Date
First Three Top Groups concert
The Beatles live in the Church Hall
Royal performance
Capitol’s desire to record live
The sixth annual back to school show
“That means a lot” recording
“Yesterday” recording instruction
Official track list for “Rubber soul” LP
“Yellow submarine” recording sheet
“Songwriters extraordinary”BBC radio track list
“Sgt. Pepper’s” production budget
Beatles session payment at Trident studios
George Martin producer confirmation
“Stormy weather” recording instruction
“Across the universe” recording instruction
Paul McCartney fans leaving
English
Echo
Off for pizzicato
Compressed
Middle
Riff
Tambourine
Voices up
Slow fade
Overdubbing
Track
Gig
Cello
Session
Tape
Conductor
Orchestration
Treble
Italian
I due docenti coinvolgono gli alunni nell’attività iniziale ricercando la massima disponibilità nella
produzione orale in L2 e nell’interesse verso uno dei gruppi più significativi nella produzione
musicale leggera internazionale.
………………………………………………………………………………………………………
18
Lezione 2. 1h
Docenti in presenza: teoria analisi e composizione.
Docente osservatore: L2
Reading activity: The history of the Beatles
Reading activity - lesson 2
This activity starts up with the checking of the pre-reading charts as a group work for all students.
Then “The Beatles’ history” will be “discovered” as a full-reading activity.
Time: 20 mins.
Read the whole history and then answer the questions
READING ACTIVITY
“THE BEATLES’ HISTORY”
FEATURING JOHN LENNON, PAUL MC CARTNEY, GEORGE HARRISON, RINGO STARR
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Introduction
“I have never seen anything like it. Nor heard any noise to approximate the
ceaseless, frantic, hysterical scream which met the Beatles when they took the
stage after what seemed a hundred years of earlier acts. All very good, all
marking time, because no one had come for anything other than the Beatles...
Then the theatre went wild. First aid men and police – men in the stalls, women mainly in the balcony – taut and anxious,
patrolled the aisles, one to every three rows.
Many girls fainted. Thirty were gently carried out, protesting in their hysteria, forlorn and wretched in an unrequited love
for four lads who might have lived next door.
The stalls were like a nightmare March Fair. No one could remain seated. Clutching each other, hurling jelly babies at the
stage, beating their brows, the youth of Britain’s second city surrendered themselves totally.”
Derek Taylor (From his book “Fifty Years Adrift)”
1957-1962
“The story began in Harold Macmillan’s “never had it so good” ’50s Britain. It
should be fiction: four teenagers with no more than eight O’Levels between
them, running and biking and busing and busking all over Liverpool in search
of new chords and old guitars and half-decent drum kit and any gig at all.
1963
“They’ve got something! From Liverpool, I hear, of all places.” “From
Liverpool uber alles!”
They leave their Cavern Club and within months they take the ascendancy in the British
pop world, and start to live the life of Riley in London. They play the Palladium, the Royal
Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give
a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden,
invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a
year) and, as if in a dream – while their conquering Paris – the record goes to Number
One in America three weeks before the Ed Sullivan Show in New York.
1965
These were the years of dash and daring. Sweeping out of the final (and
wonderfully old-fashioned) 1964 family Christmas Shows into the wider
world of 1965, The Beatles would soon find themselves figureheads of a
movement far beyond “pop” where a counter-culture / alternative society was
made flesh. National boundaries were presumed to be doomed. Millions of
minds were to become expanded and many trousers would soon be spandex.
20
1966
In the studio years (1966 onwards), supported by the steady hand of the great
George Martin, they would produce songs which would be forever fresh and
which still set the standards against the newcomers have to test themselves.
1968
It was the great glory of The Beatles that they could absorb and transmute so
much, first in those tiny houses in Liverpool, listening to eclectic 1940s
wireless, then to r’n’r and r&b and to Dylan and the poets and soon to music
and messages from India.
Unafraid of growth, dogged individuals with a powerful devotion to the group ethic, the Beatles accepted
each other’s offerings and really “cooked” to make each record a feast that left us breathless with admiration.
They never stood still.
The Beatles started their own company, Apple Corps with five creative divisions – records, films etc – and
then went public with an offer that anyone with an artistic need could come to them and get help. Is there,
even now, a machine to count such numbers?
The promise was that all sincere supplicants would be given encouragement, succour, a contract and maybe
an envelope full of money. At the same time, the Beatles flew to foothills of the Himalayas to learn
meditation. There, between sessions with the Maharishi, they wrote songs for what would become The
‘White’ Album.
When recording started, the songs had come in such profusion that, famously, The White Album had thirty of
them – enough for two high-class musicals. They sped from one track to another, content that the unity of
the album would transcend the disparity in the style and content of the tracks. It was always their strength
that they wrote bewitching singles.
New songs were written to suit themselves; sometimes written alone. This new work could virtually be
recorded solo, spontaneously, simply
21
1969
Following the White Album(and the magnificent Hey Jude) they made Let It
Be and with the final regal glory of Abbey Road they left their grieving fans a
legacy that will never be matched.
In the inevitable breaking down of old liaisons, there was room for growth. John met and married Yoko; Paul
met and married Linda. George matured far beyond his years, settled into his spiritual space and expressed
himself writing classic songs; Ringo was now writing his own numbers and was widely acknowledged as a
supreme drummer and a very good actor. To everything there is a season.
That the rift between The Beatles, evolved with much public angst was a pity but this is not a perfect world is
it?
Relationships anyway, were repaired long ago.
And in the end, the equation between the love they took and the love they made was intact into infinity. They
still represent the twentieth century’s greatest romance.
www.thebeatles.com/history
QUESTIONS
1. Where did The Beatles’ career begin?
2. What were the four teenagers in search for in the first years?
3. Where did The Beatles play when reached London for the first time?
4. What did The Beatles soon find themselves in 1965?
5. What kind of songs did The Beatles write, thanks to the producer George Martin?
6. What original characteristic elements did The White Album have?
7. What did The Beatles leave their grieving fans at the end of their career?
You will share your answers with your teacher and mates.
22
Verifica attività di reading: un quesito modello terza prova (tipo B)
“The history of the Beatles seems to be a story of very great
success(fame, money, women, etc.) though many of their songs deal
with important serious themes(eg.: love, friendship, family).
For example, what is the content of the song HELP (1965)and is it,
in your opinion, a contemporary subject? - 70 words
Help, I need somebody,
Help, not just anybody,
Help, you know I need someone, help.
When I was younger, so much younger than today,
I never needed anybody's help in any way.
But now these days are gone, I'm not so self assured,
Now I find I've changed my mind and opened up the doors.
Help me if you can, I'm feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won't you please, please help me.
And now my life has changed in oh so many ways,
My independence seems to vanish in the haze.
But every now and then I feel so insecure,
I know that I just need you like I've never done before.
Help me if you can, I'm feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won't you please, please help me.
When I was younger, so much younger than today,
I never needed anybody's help in any way.
But now these daya are gone, I'm not so self assured,
Now I find I've changed my mind and opened up the doors.
Help me if you can, I'm feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won't you please, please help me, help me, help me, oh.
Il docente in presenza presenta (ad libitum) i Beatles anticipando brevemente alcuni particolari /
curiosità sulle semplici tecniche compositive e sui modelli di ispirazione delle stesse. Segue la
proposta dell’attività di reading, come da scheda precedente, al termine della quale l’insegnante
socializza con gli alunni le risposte. Il docente in presenza concede infine 15 minuti per la stesura
della risposta al quesito modello terza prova che il docente di L2 provvederà a verificare a mezzo
della seguente griglia definita solo per il rilevamento di competenze linguistiche e capacità di
rielaborazione. Non è previsto un rilevamento delle conoscenze/contenuti in quanto la natura del
quesito richiede un contributo dell’alunno su elementi di considerazione personale.
23
“THE BEATLES”
CLIL LAB
NOME………………………………………………………….
Reading activity
Griglia di valutazione quesito finale
competenze
Competenza nell’uso degli
operatori linguistici
livelli
Punti
Forma espositiva fluida ed efficace, lessico
5
ricercato, discorso efficace (fino a 3 errori)
Forma espositiva chiara e scorrevole, lessico
4
adeguato, discorso coerente (tra 4 e 8 errori)
Forma espositiva semplice, lessico generico,
3
discorso nel complesso coerente (tra 9 e 12 errori)
Forma espositiva confusa, lessico impreciso,
2
discorso parzialmente coerente (13 e 16 errori)
1
Forma espositiva confusa, lessico scorretto,
discorso non coerente (tra 17 e 20 errori)
Non rivela alcuna competenza linguistica (oltre 20
0
errori)
Capacità critica e di
rielaborazione
Originale e personale, con citazioni/collegamenti
5
Sicura e personale
4
Adeguata
3
Superficiale
2
Parziale
1
Inadeguata
0
TOTALE
24
SCHEDA RILEVAMENTO L2 (OSSERVAZIONE)
lezione 2 e altri contesti in cui l’osservatore è anche il docente di L2 (es. monitoraggio video)
Alunno
L’alunno si esprime in L2 in modo
La comunicazione è
Lessico.
L’alunno …
Interazione/cooperazione
L’interazione è assicurata/gestita
dall’alunno in L2 in modo
fluente e autonomo
appropriato
con difficoltà
pienamente efficace (l’interlocutore
comprende appieno il messaggio e viceversa)
soddisfacente
carente
è assicurata in modo poco efficace
usa singoli fonemi e fraseologia in modo più
che idoneo e costruttivo
usa singoli fonemi ed espressioni in modo
corretto
usa singoli termini non sempre corretti e
perifrasi
usa singoli termini con difficoltà nella
elaborazione di una affermazione
autonomo
spontaneo
costruttivo
propositivo
impacciato
forzato
in modo non apprezzabile
………………………………………………………………………………………………………
25
Lezione 3. 1h
Docenti in presenza: Lingua Inglese e teoria analisi e composizione.
Docente osservatore: storia della musica
Attività: “Outline of a song text”
OUTLINE OF A SONG TEXT
Lyrics
Pair work
Names………………………………………….
You will read four Beatles’ songs texts and then complete the chart (one chart for each song) .
Then mind the instructions for use at the bottom side of this sheet!
Getting better
A day in the life
Lucy in the sky with diamonds
Mother nature’s son
Time: 30 mins
Title
Author(s) (Words/Music)
Year of issue
Album
Features
Title
Content
Lay out
Poetic form
Lyrics / Language
Rhyme
Rhythm
Prominence to
Relevant to meaning
Addresser/Addressee
Setting in time and
place
Traditional /
experimental
Number of stanzas
and lines per stanza
Ballad, dramatic
poem, free verse,
sonnet
Yes / No
Yes / No
Regular, irregular,
musical, deaf
Slow, fast, smooth,
hammering, flowing
Alliteration,
assonance, repetition,
onomatopoeia,
quality of sound
(harsh, smooth, soft,
gentle, grunge
similes
metaphors
symbols
Equal footing for
26
Style
The message
The context
“Your choice”:
preferred line or
word(s)
Key-words
Turning points /
climax
Tone
Dealings
music and words
Clear,
straightforward,
detailed, imaginative,
colloquial
Neutral, ironic, tragic,
commetted, regretful,
humorous, bitter,
melanchonic
Global, existential,
social, moral,
psychological, utopic
Main theme
Personal response
“Picture yourself”: guess a well-known Italian literature poem which might be related to one of the
songs.
……………………………………………………………………………………
Now listen to each song! Which is your preferred one? Why did you like it literary speaking? Tell
your mates!
Guida alle canzoni (note per il docente per l’approfondimento in classe)
Getting better A very good example about the way Mc Cartney and Lennon melted when working together: the positive
refrain was made by Paul and the image of the rebel student was made by John. Actually the title means that things
couldn’t be worse.
A day in the life Two different fragments of songs assembled together. Paul’s section was inspired by the news from
Blackburn town and the problem of holes on the streets.
Lucy in the sky with diamonds Lennon’s son, Julian, when an infant child, went home one day with a drawning about
one of his schoolmates, Lucy. She was portrayed with many diamonds in a sky.. A song as a love of Lennon for
surrealism, word games and L. Carrol’s works.
Mother nature’s son A song based upon Maharishi’s words during a lesson to Paul and George about the harmony of
man with nature.
I docenti leggono i testi delle canzoni selezionate a turno. Poi il docente L2 si sofferma sulla
metrica e sulla onomatopeia tipica di alcune parole in lingua inglese e sul “peso” delle stesse nella
frase musicale. Il docente di composizione offre esempi di corrispondenza suono/parola e di metrica
nello stesso genere musicale e in altri (lirica, ecc.). In seguito propongono il lavoro agli alunni come
da scheda precedente.
…………………………………………………………………………………………………………
27
Lezione 4. 1h
Docenti in presenza: teoria analisi e composizione.
Docente osservatore: tecnologie musicali
Attività: “Music outline 1”
MUSIC OUTLINE 1
Song
Pair work
Names………………………………………….
You will listen to four Beatles’ songs. Then mind the instructions for use at the bottom side of this
sheet!
When I’m sixty-four
There’s a place
Get back
Tomorrow never knows
Time: 30 mins
Title
Author(s)
Year of issue
Album
Form
Ballad
Lullaby
Carol
Song
Lay out
Intro
Refrain
Bridge
Hook
Strain
Coda
Genres / influences
Big Band swing
Dance song
Country
Spiritual
Beat
Rock
Heavy rock
psychedelic
pop
28
Folk
Oriental
Music hall
Blues
Instruments
Strings
Percussions (snare drums, cymbals, ethnics, Indian
tabla,etc)
Drums
(acoustic/electronic/vynil/vintage/mellow/loop/analog
drums set kit, etc.)
Keyboards (piano, harmonium, working station,
Hammond, etc.)
Winds and brasses (saxophone, tuba, trumpet, flute,
etc.)
Guitars (guitar, bass, mandolin, etc.)
Techniques
riff, shot, rim shot, pizzicato,arpeggio, solo,
accompaniment, suite, orchestration etc.
(choose more than one or add new ones if recognised)
Surf the net and search for the information about the song (author, …).
Then listen to the song more times and complete the chart.
While / soon after listening the song, tick the appropriate element or write your word(s) (eg.:
instrument = guitar or piano) on the corresponding line in the right column, only!
You will share the right answers with your teachers and mates at the end of the activity
Personal response: which is your preferred song? Why did you like it literary speaking? Tell your
mates!
Guida alle canzoni
When I’m sixty-four A tune composed by Paul when he was 15. a cabaret song as a gift to 20s and 30s music which his
father used to play when he was young. The song layout is similar to a letter which was sent to an unknown lady by a
young man with problems about living his own life in the society. The formal lay out depicts a portrait of a perfect
gentleman.
There’s a place Searching for shelter and consolation in the own thoughts, dreams and recollections. John faces his own
life pains setting himself inside the certainty that his remote thoughts can afford him.
Get back A satirical anti-racist song. The first song live.
Tomorrow never knows An attempt made by John to tell about the LSD experience. The lyrics were borrowed by The
Psychedelic Experience (1964) by Timothy Leary which was already the meaning of the ancient Tibetan “The Book of
Dead Men”: “Your ego is dying, not your body!” The sound, consisting in 16 tape loops is an example of John’s
experiments in recording.
Il docente propone in apertura della lezione l’ascolto di quattro brani dei Beatles dopo una breve
introduzione (ripresa) di alcune generi musicali popolari e delle principali caratteristiche distintive
nella composizione ed esecuzione. In seguito propone la scheda di lavoro al termine del quale
socializza con gli alunni le risposte curandone gli approfondimenti.
……………………………………………………………………………………………………….
29
Lezione 5. 1h
Docenti in presenza: tecnologie musicali.
Docente osservatore: teoria analisi e composizione
Attività: “Music outline 2”
MUSIC
Pair work
OUTLINE 2
Song
Names ………………………
You will listen to four Beatles’ songs. Then mind the instructions for use at the bottom side of this
sheet!
Revolution number nine
The fool on the hill
Penny Lane
Eleanor Rigby
Time: 30 mins
Title
Author/s
Album
Year of issue
Time (minutes)
Audio
Vocals
Instruments
Single voice
Chorus
Background voice
Effects
acoustic
electrical /
electronic
traditional /ethnic
effects
echo
reverber
delay
octaver
flange
pitch
More …
………….
………….
………….
feedback
booster
flanger
overdrive
vibrato
wah
compressor
chorus
metal
30
Effects
environment
Recording
Insert/remove
silence
Fading in/out
Echo
Wave inversion
Mute
Channel exchange
Volume up/down
Left-right pan
Right-left pan
fuzz
phaser
distortion
tremolo
echo
delay
reverber
sustainer
shifter
octaver
church
theater
auditorium
arena
studio
Surf the net and search for the information about the song (author, …).
Then listen to the song more times and complete the chart.
While / soon after listening the song, tick the appropriate element or write your word(s) (eg.:
instrument = guitar or piano) on the corresponding line in the right column, only!
You will share the right answers with your teachers and mates at the end of the activity
Personal response: which is your preferred song? Why did you like it literary speaking? Tell your
mates!
Guida alle canzoni
Revolution number nine It is not a song. It is a mixing production which was made by John and his wife Yoko Ono. As
there were not sophisticated recording units, multi tracks, all the three Abbey Road studios had to be involved in, and
the mixing desks connected all together in an extraordinary way. The tape loops set up by pencils.
The fool on the hill The song tells about an idiot savant, a wise fool. It suddenly appeared to John during a walking on a
hill at dawn.
Penny Lane One of Liverpool streets. The song is the symbol of a bright infant innocence. It is both reality and
nostalgic recollection.
Eleanor Rigby unreal names of people, true life experiences.
Il docente di tecnologia propone l’ascolto di quattro brani dei Beatles. In seguito propone la scheda
di lavoro al termine del quale favorisce la socializzazione delle risposte degli alunni, ed enfatizza la
differenza/corrispondenza nell’uso di strumentazioni e tecnologie tra il vicino passato musicale e le
attuali disponibilità tecniche/tecnologiche.
…………………………………………………………………………………………………………
31
Lezione 6. 1h
Docenti in presenza: tecnologie musicali.
Docente osservatore: teoria analisi e composizione
Attività: Ricerca- Azione con scuola partner
Durata: 2 ore di lezione frontale. Il resto del tempo sarà gestito dagli alunni a mezzo di social
network con una scadenza per la consegna del prodotto finale in 1 mese.
La presente attività rientra in un progetto di cooperazione tra due scuole (italiana e straniera
europea) il cui fine è quello di favorire la collaborazione internazionale a distanza tra due classi di
alunni come simulazione di una futura attività lavorativa in ambito musicale di ricerca,
composizione, esecuzione. Al tempo stesso viene affermata la finalità di ulteriore sviluppo ed
affermazione di competenze linguistiche grazie al canale interattivo live che sarà necessario attivare
da parte dei due gruppi classe per rendere operativo e concreto il proprio lavoro a distanza. Pertanto
saranno adoperati/favoriti nell’uso strumenti ed ambiti per la comunicazione a distanza a garanzia
sia delle esperienze di comunicazione live in simultanea da strutture scolastiche (es: videoconferenza per group activity o face book per attività individuali o di coppia), sia delle attività di
comunicazione sociale extrascolastica per alimentare il flusso di informazioni e materiali nella
relazione anche a due (face book, twitter, skype).
I docenti (italiani e stranieri) saranno inseriti nelle liste dei social network del progetto ai fini di
controllo, osservazione, collaborazione diretta con studenti e docenti, valutazione.
Internet searching (small groups) activity
-partnership cooperation allowed-
First step
The Beatles ’ technical happenings
This is an inter-school cooperation lab.
Your are allowed to use social networks (facebook, twitter, msn), as your teachers will be.
In 4 groups of students -each group composed by mixed-up mates from the two schools- search
information and news about the following technical sound happenings.
-
LIVE SHOWS
RECORDING GIGS
MIXING AND MASTERING GIGS
MIXING NOTES
LIVE OR RECORDED RADIO BROADCASTS
LIVE OR RECORDED TV BROADCASTS
OFFICIAL AUDIO/VIDEO CHECK WITH TV TECHNICIANS
SHOOTING AND POST-PRODUCTION ACTIVITY FOR A SHORT MOVIE OR A
TRAILER
Each group/piece of information will be inserted into a chart whose lay out each staff will set up.
At the end of the activity all the charts will be delivered to the students representatives in chief
(Italian and …) who will manage the collection of information to be published on line on this
project schools site together with a shared history of The Beatles, a preferred Beatles’ top songs
chart, and the results for the following audio activities as in the following steps.
Time: one week
32
Second step
MUSICAL PRODUCTION and CONTEST
This is the last step for the whole international project.
The two international students classes will be mixed up and three new groups will be constituted
owing to each student’s interests and abilities.
Each group will make a research/production which will be published on the schools sites and
performed live on the schools exchange experience on exhibitions and live gigs.
1. ARTS: “The contemporary arts of The Beatles”.
Which were the arts styles at the time of The Beatles?
2. HISTORY OF CUSTOMS: “The contemporary customs of society of The Beatles”.
Which were the public and private habits at the time of The
Beatles?
3. SONG COMPOSITION: Write a song (lyrics and music) in a literary style and sound
similar to the Beatles’ one.
Musical scores will have to be delivered to Musical Theory and
Composition teachers before recordings.
Time: 3 weeks.
33
Per la presente ultima attività viene condivisa tra docenti italiani e stranieri la seguente griglia per il
monitoraggio/osservazione degli studenti:
Observation evaluation form
Evaluation of qualities
(chart suitable for the present activity and for each non-linguistic experience observation evaluation and/or for the final
results recording. The chart may be considered as for one of the two sections separately owing to a single need)
Candidate / group………………………….
Date / Lesson / Lab ……………………………..
1. (scores)
Rate the candidate / groups on the following qualities
(5) excellent (4) good (3) average
(2) satisfactory
(1) poor
Ability (judgement, clear thinking, reliability ,discretion)
Industry (initiative, self-reliance, interest in work. Perseverance, use of time and opportunity)
Personality (disposition, manners, neatness, tact, ability to cooperate)
Skills (quality of performance)
2. (yes/no)
Language and context
The student has developed knowledge into
The student has developed abilities into
socio-cultural context
events
musical technical devices
musical technical procedures
music history
language semantic
language phonetics
musical technical devices
musical technical procedures
speaking and reading (setting up easy
strategies setting)
general communication strategies (success,
cooperation, guessing)
specific musical technical strategies (setting
up music composition and production)
Name of Reference (teacher) ……………………………………………..
34
1.3 GUIDA STUDENTE
STUDENT’S GUIDE
Dear student
You are being involved in a CLIL (Content and Language Integrated Learning) activity. It consists
of a learning activity which will make you as a protagonist of six lessons concerning a musical
subject in English language only.
Lingua Inglese, Teoria Analisi e Composizione, Tecnologie Musicali will be the school subjects
and their teachers will take turn in sharing activities with you and your classmates.
You will be suggested activities for listening, reading, lyrics and music analysis, music research,
and international cooperation with a foreign school in order to set up a musical production.
For each class you will be requested to fill in charts which will be useful for your teachers to
evaluate the experience, and for you in order to make the learning as granted.
You will probably be shot (video) because that will be one of your teachers’ means for the
evaluation of the work.
The general purpose is improving your English language inside a real international and operational
context as you might happen to meet in your next future at the university or at work.
The music of The Beatles is the subject shared by your teachers and by the foreign ones.
At the end of the last activity you will be given an evaluation form to be delivered to your teacher.
Thanks and have a positive experience!
Your teachers
35
Student’s Guide
EVALUATION FORM
Make evaluation by placing a tick in the allotted space
(5) Superior
(4) Above Average
(3) Average
(2) Below Average (1) Unsatisfactory (0) Not Applicable
The activity
You have appreciated the project generally speaking
the presentation of the subject matter by teachers
the managing of the project by teachers
the work planning
the international relationship managing
You have improved your English language
You could communicate to your Italian mates in a clear concise manner
You could communicate to your foreign mates in a clear concise manner
You have learned new words / expressions in general
You have learned new technical words / expressions
You have chosen words skilfully and have organized ideas effectively
You have learned to use new devices
Your working
Attitude to work: you have accepted challenges in a cooperative way
Response to cooperation: you have accepted suggestions from your mates
Response to cooperation: you have gained profits from help by your mates
Personal qualities: cooperation confidence and respect, assumed responsibilities, taken
appropriate action on your own
Success or probable success as a group member
Attitude to work in an international contest
Comments
[email protected]
2011. all rights reserved ©
36
1.4 Bibliografia
-
S. Turner, “La storia dietro ogni canzone dei Beatles”, Tarab ediz
M. Lewison, “La grande storia dei Beatles”, Giunti
Mehisto, Marsh, Frigols, “Uncovering CLIL”, MacMillan
C.Coonan, “La lingua straniera veicolare”, Utet
APPENDICE
I TESTI DELLE CANZONI
Getting better
It's getting better all the time
I used to get mad in my school (No, I can't complain)
The teachers that taught me weren't cool (No, I can't complain)
Holding me down, turning me round,
Filling me up with your rules
I've got to admit it's getting better,
A little better all the time (can't get no worse)
To admit it's getting better,
It's getting better since you've been mine.
Me used to be angry young man
Me hiding me head in the sand
You gave me the word I finally heard
I'm doing the best that I can.
To admit it's getting better,
A little better all the time
To admit it's getting better,
It's getting better since you've been mine.
Getting so much better all the time
It's getting better all the time
Better, better, better,
It's getting better all the time.
Better, better, better
I used to be cruel to my woman
I beat her and kept her apart from the things that she loved
Man I was mean but I'm changing my scene
And I'm doing the best that I can.
I admit it's getting better,
A little better all the time (can't get no worse)
Yes, I admit it's getting better,
It's getting better since you've been mine.
Getting so much better all the time
It's getting better all the time
Better, better, better,
It's getting better all the time.
Better, better, better,
Getting so much better all the time.
37
A day in the life
I read the news today oh, boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh and
I saw the photograph
He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before,
Nobody was really sure if he was from the house of lords
I saw a film today oh, boy
The english army had just won the war
A crowd of people turned away
But I just had a look
Having read the book,
I’d love to turn you on
Woke up, fell out of bed,
Dragged a comb across my head
Found my way downstairs and drank a cup,
And looking up I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke,
Somebody spoke and I went into a dream
I read the news today oh boy
Four thousand holes in blackburn, lancashire
And though the holes were rather small
They had to count them all,
Now they know how many holes it takes to fill the albert hall
I’d love to turn you on
Lucy in the sky with diamonds
Picture yourself in a boat on a river,
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly,
A girl with kaleidoscope eyes
Cellophane flowers of yellow and green,
Towering over your head
Look for the girl with the sun in her eyes,
And she’s gone
Lucy in the sky with diamonds
Follow her down to a bridge by a fountain
Where rocking horse people eat marshmellow pies,
Everyone smiles as you drift past the flowers,
That grow so incredibly high
Newspaper taxis appear on the shore,
Waiting to take you away
Climb in the back with your head in the clouds,
And you’re gone
Lucy in the sky with diamonds,
Picture yourself on a train in a station,
With plasticine porters with looking glass ties,
Suddenly someone is there at the turnstyle,
The girl with the kaleidoscope eyes
38
Mother nature’s son
Born a poor young country boy, mother nature’s son
All day long I’m sitting singing songs for everyone
Sit beside a mountain stream, see her waters rise
Listen to the pretty sound of music as she flies
Doo doo doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo
Find me in my field of grass, mother nature’s son
Swaying daises sing a lazy song beneath the sun
When I’m sixty-four
When i get older losing my hair,
Many years from now
Will you still be sending me a valentine
Birthday greetings bottle of wine
If i'd been out till quarter to three
Would you lock the door,
Will you still need me, will you still feed me,
When i'm sixty-four
You'll be older too,
And it you say the word,
I could stay with you
I could be handy, mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday mornings go for a ride,
Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me,
When i'm sixty-four
Every summer we can rent a cottage,
In the isle of wight, if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera chuck & dave
Send me a postcard, drop me a line,
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away
Give me your answer, fill in a form
Mine for evermore
Will you still need me, will you still feed me,
When i'm sixty-four
There’s a place
There is place
Where I can go
When I feel low
When I feel blue
And it's my mind
And there's no time when I'm alone
I think of you
And things you do
Go 'round my head
The things you said
Like "I love only you"
39
In my mind there's no sorrow
Don't you know that it's so
There'll be no sad tomorrow
Don't you know that it's so
There is place
Where I can go
When I feel low
When I feel blue
And it's my mind
And there's no time when I'm alone
There's a place...
There's a place...
There's a place...
There's a place...
Get back
Jojo was a man who thought he was a loner
But he knew it wouldn't last.
Jojo left his home in Tucson, Arizona
For some California grass.
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Jojo. Go home
Get back, get back.
Back to where you once belonged
Get back, get back.
Back to where you once belonged.
Get back Jo.
Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she's got it coming
But she gets it while she can
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Loretta. Go home
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Loretta
Your mother's waiting for you
Wearing her high-heel shoes
And her low-neck sweater
Get on home Loretta
Get back, get back.
Get back to where you once belonged
Tomorrow never knows
Turn off your mind, relax and float down stream,
It is not dying, it is not dying
Lay down al thoughts, surrender to the void,
It is shining, it is shining
40
Yet you may see the meaning of within
It is being, it is being
Love is all and love is everyone
It is knowing, it is knowing
And ignorance and hate mourn the dead
It is believing, it is believing
But listen to the colour of your dreams
It is not leaving, it is not leaving
So play the game "existence" to the end
Of the beginning, of the beginning
Revolution number nine
No lyrics
The fool on the hill
Day after day alone on the hill
The man with the foolish grin
is keeping perfectly still
But nobody wants to know him
They can see that he's just a fool
And he never gives an answer
But the fool on the hill
sees the sun going down
And the eyes in his head
See the world spinning round
Well on the way, his head in a cloud
The man of a thousand voices
is talking perfectly loud
But nobody ever hears him
Or the sound he appears to make
And he never seems to notice
But the fool on the hill
sees the sun going down
And the eyes in his head
See the world spinning round
Oh, round, round, round, round, round
And nobody seems to like him
they can tell what he wants to do
And he never shows his feelings
But the fool on the hill
sees the sun going down
And the eyes in his head
See the world spinning round
Oh, round, round, round, round, round
And he never listen to them
He knows that they're the fools
But they don't like him
The fool on the hill
sees the sun going down
And the eyes in his head
See the world spinning round
Oh, round, round, round, round, round
oh
41
Penny Lane One of Liverpool streets. The song is the symbol of a bright infant
innocence. It is both reality and nostalgic recollection.
In Penny Lane there is a barber showing photographs
Of every head he's had the pleasure to know.
And all the people that come and go
Stop and say hello.
On the corner is a banker with a motorcar,
The little children laugh at him behind his back.
And the banker never wears a mack
In the pouring rain, very strange.
Penny Lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back
In penny Lane there is a fireman with an hourglass
And in his pocket is a portrait of the Queen.
He likes to keep his fire engine clean,
It's a clean machine.
Penny Lane is in my ears and in my eyes.
A four of fish and finger pies
In summer, meanwhile back
Behind the shelter in the middle of a roundabout
The pretty nurse is selling poppies from a tray
And tho' she feels as if she's in a play
She is anyway.
In Penny Lane the barber shaves another customer,
We see the banker sitting waiting for a trim.
And then the fireman rushes in
From the pouring rain, very strange.
Penny lane is in my ears and in my eyes.
There beneath the blue suburban skies
I sit, and meanwhile back.
Penny lane is in my ears and in my eyes.
There beneath the blue suburban skies,
Penny Lane.
Eleanor Rigby unreal names of people, true life experiences.
Ah! Look at all the lonely people
Ah! Look at all the lonely people
Eleanor Rigby, picks up the rice in a church
where a wedding has been
Lives in a dream
Waits at the window, wearing the face
that she keeps in a jar by the door
Who is it for?
All the lonely people,
where do they all come from?
All the lonely people,
where do they all belong?
Father McKenzie, writing the words
of a sermon that no one will hear
No one comes near
Look at him working, darning his socks
in the night when there's nobody there
What does he care?
All the lonely people,
where do they all come from?
All the lonely people,
where do they all belong?
Ah! Look at all the lonely people
Ah! Look at all the lonely people
Eleanor Rigby, died in the church
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and was buried along with her name
Nobody came
Father McKenzie, wiping the dirt
from his hands as he walks from the grave
No one was saved
All the lonely people,
where do they all come from?
All the lonely people,
where do they all belong?
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