MASARYK UNIVERSITY BRNO

FACULTY OF EDUCATION

Department of English Language and Literature

Jazz Chants and Rhythm in an EFL Class

Bachelor thesis

Brno 2016

Supervisor: Author:

Mgr. Gabriela Oaklandová Kateřina Hynková

Prohlášení

Prohlašuji, že jsem závěrečnou bakalářskou práci vypracovala samostatně, s využitím

pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním

řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č.

121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o

změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“

Declaration

I declare that I worked on this bachelor thesis on my own and that I used only the

sources mentioned in the list of references.

……………………

Brno, 30th

March 2016 Kateřina Hynková

Acknowledgement

I would like to express my gratitude to Mgr. Gabriela Oaklandová for her valuable

advice on writing my thesis and to Mgr. Kristýna Cejnarová for her helpful attitude

towards my research conducted in her class.

Abstract

The thesis focuses on possible use of Jazz Chants and rhythm in an English as a foreign

language class. It consists of a theoretical and a practical part. In the theoretical part, the

concept of Jazz Chants is explained and specified. Furthermore, theory of rhythm is

described and the basic methodology of teaching young learners is provided. The

practical part is approached as an action research which investigates possible use of Jazz

Chants with focus on rhythm in a particular fifth grade primary class. The emphasis is

put on the procedure of three sample lessons which are described in detail. Results

consist of analysis of author‟s observation, evaluation of feedback provided by the

learners and suggestions of observing teacher how to implement Jazz Chants into her

lessons.

Key words

action research, Jazz Chants, rhythm, teaching, fifth grade, primary school, young

learners, percussion musical instruments

Anotace

Tato bakalářská práce se zabývá využitím Jazz Chants a rytmu ve výuce anglického

jazyka. Práce je rozdělená na teoretickou a praktickou část. V teoretické části jsou

vysvětleny Jazz Chants a jejich využití ve výuce, dále je zde rozebrán rytmus jako

nedílná součást Jazz Chants a výuka žáků na prvním stupni základní školy. Praktická

část je provedena jako akční výzkum, který zkoumá praktické využití Jazz Chants a

rytmu v hodinách anglického jazyka v páté třídě na prvním stupni základní školy.

Značnou část výzkumu tvoří pozorování, které je detailně popsáno. Výsledky jsou

zpracovány jako analýza autorčina pozorování a reflexe, vyhodnocení zpětné vazby od

žáků a návrhy učitelky, jak Jazz Chants začlenit do své výuky.

Klíčová slova

akční výzkum, Jazz Chants, rytmus, výuka, pátá třída, základní škola, mladí žáci, bicí

hudební nástroje

Table of contents

Introduction ....................................................................................................................... 7

1. Theoretical part .......................................................................................................... 8

1.1 Jazz Chants ......................................................................................................... 8

1.1.1 How to use Jazz Chants .............................................................................. 8

1.1.2 How to create Jazz Chants .......................................................................... 9

1.1.3 Language systems focus ........................................................................... 10

1.1.3.1. Vocabulary ........................................................................................ 10

1.1.3.2. Pronunciation ..................................................................................... 11

1.1.3.3. Grammar ............................................................................................ 13

1.1.4 Possible positive effect on learners with SpLDs ...................................... 13

1.2 Rhythm ............................................................................................................. 15

1.1.1 Rhythm of English .................................................................................... 15

1.1.2 Rhythm and music .................................................................................... 16

1.1.3 Ways to support rhythm ............................................................................ 17

1.3 Methodological background of teaching Jazz Chants ...................................... 18

1.3.1 Young learners .......................................................................................... 18

1.3.2 Jazz Chant as a drill .................................................................................. 20

2. Practical part ............................................................................................................ 22

2.1 Introduction ...................................................................................................... 22

2.2 Analysis of the class ......................................................................................... 22

2.2.1 Learners .................................................................................................... 23

2.2.2 Teacher ...................................................................................................... 23

2.2.3 Classroom ................................................................................................. 23

2.2.4 Usual lesson .............................................................................................. 23

2.2.5 Current level and expected knowledge ..................................................... 24

2.3 Research ........................................................................................................... 24

2.3.1 First lesson ................................................................................................ 25

2.3.1.1. Procedure ........................................................................................... 25

2.3.1.2. Reflection .......................................................................................... 29

2.3.2 Second lesson ............................................................................................ 30

2.3.2.1. Procedure ........................................................................................... 30

2.3.2.2. Reflection .......................................................................................... 33

2.3.3 Third lesson ............................................................................................... 34

2.3.3.1. Procedure ........................................................................................... 34

2.3.3.1. Reflection .......................................................................................... 36

2.3.4 Questionnaire ............................................................................................ 37

2.4 Results .............................................................................................................. 38

2.4.1. Analysis of lessons .................................................................................... 38

2.4.1.1. Warm-up activities vs. Jazz Chants ................................................... 38

2.4.1.2. Language of instructions ................................................................... 38

2.4.1.3. Approach ........................................................................................... 39

2.4.1.4. Feeling of responsibility .................................................................... 39

2.4.1.5. Creativity ........................................................................................... 39

2.4.1.6. Novelty .............................................................................................. 39

2.4.1.7. Seating arrangement .......................................................................... 40

2.4.1.8. Structure ............................................................................................ 40

2.4.1.9. Teacher‟s experience ......................................................................... 40

2.4.1.10. Learners with specific learning differences ....................................... 40

2.4.1.11. Rhythm .............................................................................................. 41

2.4.1.12. Percussion musical instrument .......................................................... 41

2.4.1.13. Summary ............................................................................................ 41

2.4.2. Opinion of the observing teacher .............................................................. 42

2.4.3. Analysis of the questionnaire .................................................................... 43

Conclusion ...................................................................................................................... 45

List of references ............................................................................................................ 47

Appendices ...................................................................................................................... 49

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Introduction

I chose to write a methodology thesis based on use of Jazz Chants and rhythm in

English lessons because my professional aim is to become an English teacher and one

of my biggest hobbies is making music. Jazz Chants seems to be a way how to bring

rhythm of music into lessons.

I divided the thesis in two parts – theoretical and practical. In the theoretical

part, I am exploring Jazz Chants and their possible use in classes. Subsequently, I

discuss the rhythm as an essential feature of Jazz Chants and methodology connected

with teaching young learners.

As my teaching experience is rather non-formal – organizing activities for

children and taking care of them at summer camps, I chose to proceed the practical part

as an action research – I will be teaching a fifth grade class and the official English

teacher of this class will be observing me. This kind of research gives me an

opportunity to explore use of Jazz Chants and rhythm in lessons and also to develop my

teaching skills. Moreover, it gives an opportunity to the official teacher of the class to

observe her learners and to decide if and how she will include Jazz Chants into her

lessons in her future teaching.

The aim of this thesis is to investigate use of Jazz Chants with focus on rhythm

in a particular fifth grade class. It is approached as an action research, outcome of which

will be applied on future lessons of the class.

Moreover, as my professional aim is to become a teacher, I would like to use this

thesis as an opportunity to develop my teaching skills and gain extended knowledge in

area of teaching. I believe that the experience of teaching itself followed by a thorough

reflection is an essential source of learning how to teach.

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1. Theoretical part

The theoretical part is divided into three main chapters. In the first chapter,

concept of Jazz Chants is explained and its possible use in teaching pronunciation,

vocabulary and grammar is suggested; furthermore possible positive effect on learners

with specific learning difficulties is interpreted. In the second chapter, the emphasis is

put on rhythm of both English and music as a crucial condition for effective chanting.

Last chapter deals with teaching Jazz Chants to young learners and, moreover, Jazz

Chants are compared there to drills.

1.1 Jazz Chants

As both a jazz singer and a teacher of English as a Second Language at New

York University Carolyn Graham (1978) noticed that spoken American English has the

same rhythm as traditional jazz music; therefore she tried to use various rhythmic chants

in her English classes. After it proved to be “an innovative and exciting new approach

to language learning” (p.9), she established her own trademark Jazz Chants®

and

published considerable number of books promoting them.

Graham (2006) defines Jazz Chants as “a rhythmic expression of natural

language which links the rhythm of spoken American English to the rhythms of

traditional American jazz” (p.5). She also emphasizes the fact that Jazz Chants should

be “an exact replica of what the student would hear from an educated native speaker in

natural conversation” (p. 5).

The structure of Jazz Chants can be either a form of a dialogue which enables to

practise communicative language or they can be based specifically on individual words

which are chanted according to particular patterns. (Graham, 2006)

1.1.1 How to use Jazz Chants

Graham (1978) gives instructions to all teachers who would like to use Jazz

Chants in their classes. She summarized them in six steps:

1. Explain situational context and present vocabulary.

2. Give the first line and let learners repeat together. Continue with rest of the

lines. Listen carefully and correct any mistakes in pronunciation or intonation.

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3. Provide a clear beat and repeat second step.

4. Divide class into two equal groups. Provide clear beat and give the first line

which is repeated by the first group. Then, give the second line which is

repeated by the second group. Continue till the last line of the Jazz Chant while

each group is repeating its own lines.

5. Give the first line and let the whole class answer with the second line. Continue

with the dialogue between you and the whole class. There are no more two

groups of learners.

6. Divide learners into two groups. Give a strong clear beat and let the two groups

proceed the Jazz Chant dialogue. You function as a conductor.

Later Graham (2001) adds more ideas extending these six steps. For instance, it

is suitable to “divide the class into various groups to practice different stanzas of the

chant or to practice the many question/response patterns in the chant” (p.7). Another

possibility is to include movement and let learners pantomime or act the Chant.

When learners are familiar with a particular Chant there is an opportunity to

proceed to rather challenging activities which include active use of language. Firstly,

learners can substitute various words in the Chant by their ideas keeping the given

structure of a specific Chant. They can personalize the language by providing their own

names or various words which have some significance to them. (Graham, 2001)

Graham (2001) suggests role playing as a next step during which learners “move

from the formal structure of chants to an informal classroom improvisation” (p.7). It is a

possibility for the learners to speak independently. However, Graham reminds teachers

of the importance to monitor learners carefully because it is crucial for the learning

process to keep the “rhythm and intonation patterns established earlier” (p.7).

1.1.2 How to create Jazz Chants

Graham (2006) not only produced several books full of ready to use Jazz Chants but

she also gives advice how to create one‟s own original Jazz Chants. She provides basic

guidelines for creating a simple Jazz Chant:

1. Choose a topic.

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2. Write down about ten useful words associated with the topic.

3. Divide the words according the number of syllables – one, two or three.

4. Make up words which rhyme with your list of words. They do not need to be

connected to the topic.

5. Come up with descriptive words, usually adjectives, linked with the topic and

divide them according to the number of syllables. These words serve as a source

for creating a Chant.

It is possible to recycle an already existing Jazz Chant with use of one‟s intended

vocabulary. According to Graham the most important thing while creating a Chant is

number of syllables in words or sentences because it is necessary to keep the rhythm; if

there are too many words with a lot of syllables, then it is hard to pronounce the Chant.

Rhyme is the bonus which helps to remember the lines.

1.1.3 Language systems focus

Due to characteristics of Jazz Chants, it is possible to consciously focus on three

language systems: vocabulary, grammar and pronunciation. The advantage is that with

Jazz Chants a teacher can teach all these systems at once.

1.1.3.1. Vocabulary

Ur (1996) provides us with three rules how to make remembering vocabulary

easier and more efficient. It is possible to apply these rules on Jazz Chants.

According to the first rule, words are remembered best when they have “clear,

easily comprehensible meaning” (p.67). To achieve this rule one has to decide how to

present new vocabulary. Ur (1996) claims that “definition, synonym and description

tend to be the most popular” (p.64) ways of presenting new vocabulary which is

probably caused by its conventionality and simplicity. However, she indicates that using

techniques which “demand more awareness and originality” (p.64) can be both efficient

and engaging; for instance, using pictures, objects, acting and miming. Graham (2006)

supports this idea by proposing to pre-teach new vocabulary with use of visual aids such

as flashcards and pictures.

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The second rule states that words are remembered better if they are “linked with

each other, or with ones already known, through meaning- or sound-association” (p.67).

This rule is accomplished by the natural structure of Jazz Chants because each Jazz

Chant usually corresponds to a particular topic. Since vocabulary within such a Jazz

Chant relates to its topic, the individual words are linked in meaning. Moreover, if there

are words which rhymes, as Graham (2006) recommends, then such words correspond

to sound-association.

According to the third rule, it is advised to spend only short period of time on

vocabulary practicing activities and repeat these activities frequently. It means not to

spend a whole lesson on practicing vocabulary but include several short activities which

enables learners to review new vocabulary. “This needs careful lesson-planning, but

will repay the effort.“ (Ur, 1996, p.67)

The third rule can be achieved by integrating Jazz Chants into lessons. It is not

necessary to devote the whole lesson to Jazz Chants. As Graham (2006) says, the

amount of time a teacher spends on teaching Jazz Chants is variable and depends

mainly on his/her intentions. It is possible to follow Ur‟s third rule and use Jazz Chants,

for example, at the beginning of a lesson, review them later in the same lesson and

again in the next lesson.

All these three Ur‟s (1996) rules can be applied to teaching Jazz Chants and

therefore Jazz Chants may be used as a tool suitable for practising and remembering

vocabulary.

1.1.3.2. Pronunciation

Kelly (2002) expresses his discontent with current state of lessons where

teaching pronunciation tends to be neglected and mostly reactive. He explains that

adding focus on pronunciation in teaching, besides grammar and vocabulary, is highly

beneficial for learners who will appreciate the right pronunciation mainly when trying

to maintain successful communication. Due to such significance of pronunciation, he

indicates that teachers should include teaching pronunciation in their lessons and

consider a way of teaching pronunciation right at the stage of planning a lesson.

Graham (1979) emphasizes the importance of right pronunciation by stating that

“the rhythm, stress and intonation patterns of the spoken language are essential elements

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for the expression of the feelings and the intent of the speaker” (p.9) and she offers Jazz

Chants as a tool which works well “in reinforcing specific grammar and pronunciation

patterns used in situational context” (p.9).

Roach (2009) supports Graham‟s statement regarding significance of intonation

for expressing the meaning. He claims that one of the functions of the “intonation is

used to convey our feelings and attitudes” (p. 184) and explains that the same utterance

can be said in various ways: angry, enthusiastic, bored, etc. It is possible to express

different meanings and moods by the ability to change the pitch of a voice which is the

common characteristic of various definitions of intonation. (Roach, 2009)

What is important for learners, is the fact that the form of intonation varies in

different languages and, therefore, “foreign learners of English need to learn English

intonation” (Roach, 2009, p.184) because they cannot apply the rules from their native

language on English.

Roach (2009) also highlights the importance of linking by stating that “an

essential part of acquiring fluency in English is learning to produce connected speech

without gaps between words” (p.147). He continues in his explanation by claiming that

there is “a great deal of difference between the way words are pronounced in isolation

and in the context of connected speech” (p. 145). He recommends that “it is clearly

valuable to do exercises related to rhythm and linking" (p. 145) which correlates with

use of Jazz Chants.

It is the responsibility of a teacher to guide learners through Jazz Chants with the

right pronunciation because learners are imitating teacher‟s example. Two possible

activities are described there which can help to illustrate the right pronunciation in a

class.

Berman (2002) suggests that clapping or beating the rhythm will “bring together

word stress, sentence stress, contractions, linking and intonation” (p. 10). He also

recommends an activity to illustrate the importance of linking. It is possible to show the

difference between no linking and smooth linking by singing one part of a song in

staccato (every word separately) and another part in legato (connected speech). This

activity could be applied very easily on Jazz Chants where it is possible to chant

individual words of a sentence separately and in another sentence link the words into

connected speech.

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1.1.3.3. Grammar

Thornbury (1999) presents best principles for grammar teaching as an E-factor

and A-factor. The E-factor stands for Efficiency and covers 3Es: economy, ease and

efficacy; the A-factor stands for Appropriacy.

Economy means that presenting grammar should be short, quick and easily

comprehensible. After presenting grammar a practice should follow. Scrivener (2009)

supports this idea by claiming that it is suitable not to spend much time on presentation

while teaching grammar and rather devote more time to practice.

An easy activity does not take too much time and effort for preparation because

teachers usually teach several classes a day and there is not much time for extensive

preparation (Thornbury, 1999). There is no need to spend much time with preparation

for a Jazz Chant, especially when a teacher uses ready-made Chants. The main effort

comes in the class while proceeding the Chant.

Efficacy depends on how understandable and memorable activity is and,

moreover, what degree of attention it is able to arouse in learners (Thornbury, 1999).

Graham (2006) support efficacy of Jazz Chants by stating that they are motivating as

they are fun and the rhythm supports remembering them easily.

Thornbury (1999) explains that the A-factor stands for Appropriacy of chosen

activities for particular learners because “no class of the learners is the same” (p.26).

One activity can be appropriate for one class but not for another one. A teacher should

consider several factors when deciding what activity to use, e.g. age, level, size of the

group, interest, needs, materials and resources, educational context (state school versus

language school). Graham (2006) recommends Jazz Chants as an appropriate activity

for everyone by claiming that “Jazz Chants can be used successfully with any age

group” (p.6).

1.1.4 Possible positive effect on learners with SpLDs

McCully (2009) claims that there is a need to distinguish between written and

spoken systems of English. He says that “English spelling is unreliable as a guide to

recent and present-day pronunciation” (p.2). It means that the sound system does not

respond to the spelling of the words and one cannot predict with certainty the

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pronunciation of words from their written form. He also adds that people who are

familiar with written form of English tend to make “wrong assumptions about the sound

system” (p.2).

Even though the range of specific learning differences is wide and they are

usually discussed and named separately (dyslexia, dyspraxia, dyscalculia, attention

deficit, hyperactivity disorder and Asperger‟s syndrome), it is important to be aware of

the fact that in reality they cannot be separated one from another. They tend to mingle

among each other so it is possible to find characteristics of more specific learning

differences by one person. Kormos & Smith (2012) claim that 10% of population has

some kind of specific learning difference and therefore there is a probability that one of

ten learners in a class could have a specific learning difference. According to Kormos &

Smith (2012) “dyslexia has the most significant impact on language learning.” (p.20)

International Dyslexia Association defines dyslexia as a specific learning

difference which is “characterized by difficulties with accurate and/or fluent word

recognition and by poor spelling and decoding abilities; these difficulties typically result

from a deficit in the phonological component of language that is often unexpected in

relation to other cognitive abilities” (Kormos & Smith, 2012, p.24). It means that such

learners struggle with reading, writing and listening skills. They have difficulty

recognizing and analysing individual sounds and giving them correct written form –

writing. On the other hand, they have problems transform written text into spoken form

– reading. (Kormos & Smith) It is apparent that the distinction between written and

spoken systems make the learning of English difficult for dyslectic learners.

A Czech therapist Beníčková (2011) uses music therapy to help learners with

specific learning differences to support development of their motor activity,

communicative abilities, cooperation of brain hemispheres and time and space

orientation. Šimanovský (2011) explains that music therapeutic activities are typically

games based on rhythm and songs using musical instruments, movement and relaxation.

Jazz Chants may have possibly positive influence on learners with specific

learning differences. Firstly, they work only with spoken language and with repeating

memorized patterns so learners do not need to switch between written and spoken forms

of language. Moreover, the rhythm of Jazz Chants could have a positive effect on

learners with specific learning differences similarly as in music therapy.

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1.2 Rhythm

From the definition of Jazz Chants given at the beginning of the theory of Jazz

Chants, it is apparent that rhythm plays a significant role and serves as a necessity for

Jazz Chants to work efficiently. (Graham, 2006) In the title of Jazz Chants, there are

two elements connected together – music (Jazz) and spoken language (Chant). These

two features of Jazz Chants cooperate together because they are both rhythmical and

their rhythmicity complements one another. This chapter deals with rhythm of both

English and music and suggests possible ways how to work with the rhythm in a class.

1.1.1 Rhythm of English

Although Graham (2006) based Jazz Chants on American English, as it is her

native language, she emphasizes the fact that “principle of Jazz Chants can be adapted

to other varieties of English and other languages where a strong stress pattern is found”

(p.6).

English as a stress-timed language is rhythmical and its rhythm depends on

relatively regular occurrence of stressed syllables. “The stress-timed rhythm theory

states that the times from each stressed syllable to the next will tend to be the same,

regardless of the number of intervening unstressed syllables.” (Roach, 2009, p.135)

Roach (2009) claims that the rhythm of the same speech can vary according to a

situation a person is speaking in. He explains that “one always speaks with some degree

of rhythmicality, but the degree varies between a minimum (arhythmicality) and a

maximum value (completely stressed-timed rhythm)” (p.137). For example, people tend

to speak very rhythmically in public speaking and, on the contrary, they tend to speak

arhythmically when they are nervous or uncertain.

According to the stress-timed theory, all the feet are supposed to take

approximately the same time. (Jenkins, 2000) Then, it is possible to clap hands on the

stressed syllables to support the rhythm. However, Roach (2009) warns that the

evidence of truly regular stress-timed rhythm is not strong. He claims that people “tend

to hear speech as more rhythmical than it actually is” (p.138). He assumes that for non-

native English speakers, who do not distinguish between strong and weak syllables, it

could be convenient to practise repeating rhythmical utterances because it makes them

realize the difference between strong and weak syllables. This idea indicates the

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convenience of using Jazz Chants in classes. However, he warns about the overuse of

this kind of activity, mainly because of controversy in defining English as a rhythmical

language.

Roach (2009) states that English rhythm is a controversial subject discussed by

experts resulting in contradictory conclusions one defending the rhythmical structure of

English and another one rejecting it. However, in my research English is viewed as a

rhythmical language connected by Jazz Chants to rhythm of music.

1.1.2 Rhythm and music

Šimanovský (2011) defines rhythm simply as regular switching between tension

and relaxation and he claims that it is one of the basic manifestations of music and life

itself. Our bodies are dependent on rhythmical functions of organs, for example,

heartbeat, breathing, walking, etc. Even everyday life, behaviour and actions are

rhythmical. Although it could be assumed that rhythm is natural, it can be challenging

to learn to feel the rhythm. Hennessy (2002) explains that “developing a sense of

rhythm needs time; time to listen, and translate what we hear into movement and sound,

and time to practise quick responses and muscle memory for accuracy and fluency”

(p.27).

According to Thaut (2008) rhythm has a significant impact on people‟s mind.

Firstly, rhythm influence the meaning about a particular sound; people like rhythmical

sounds because they give them feeling of order. Secondly, rhythm creates predictable

environment where people feel safe and it leads to release the tension. Thirdly, rhythm

helps to shape and form memory.

Moreover, rhythm does not apply to melody and harmony (Storr, 1997). It

means that learners need to have neither extended singing skills nor musical talent.

Even learners who are tone-death can feel the rhythm and they do not need to sing. It is

even easier for teachers to work with Jazz Chants as they are based on rhythm and not

on melody.

Thaut (2008) explains that there are some common features of music and

language. “Music and speech both are built on syntactical systems that organize patterns

into rule-based structures.” (p.2) Forms of both speech and music depend on the cultural

background, social context and on a situation in which the communication takes place.

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One of the effects of music used in the classroom is creating a sense of unity.

According to Storr (1997) music has an effect of creating a sense of unity among a

group of people because it “brings about similar responses in different people at the

same time” (p.24). Murphey (2002) supports this idea by saying that “music is a

communal activity in which, for a while, the world becomes one. Everything we see,

everything we do is associated with the sound we are hearing (and which is echoing in

our minds)” (p.6).

Another impact of music which is possible to be used in a class is that music

intensifies emotions by coordinating them and it “causes increased arousal in those who

are interested in it” (Storr, 1997, p.24). By arousal it is meant “a condition of heightened

alertness, awareness, interest and excitement” (p.24).

“Because music affects people physically and also structures time, it is

sometimes used when a group of people are performing repetitive physical actions.”

(Storr, 1997, p.32) He claims that music improves the performance of routine tasks, but

he warns that it tends to interfere with performance of non-repetitive actions which

require concentration, for example, music increases the number of errors in typing.

(Storr, 1997) It means that music and rhythm can be helpful to support repetitive tasks

as Jazz Chants are, but it is suitable to avoid activities where learners would be

disturbed by music.

1.1.3 Ways to support rhythm

There are several possible ways how to support the rhythm within Jazz Chants.

It may be clapping hands, using musical instruments or movement.

Šimanovský (2011) advises to use percussion musical instruments in classes

because they reinforce personal volition and determination. Furthermore, playing simple

percussion musical instruments does not require any advanced skills and it brings the

players joy. It is possible to use sticks, triangles, tambourines or make one‟s own

instruments, e.g. plastic bottles filled with rice. With percussion musical instruments it

is possible to develop sense of rhythm and courage to express one‟s self without fear or

shyness. It helps learners to develop team work through coordination of individual

players. Playing percussion instruments ventilates inner tension and therefore it helps

learners relax.

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Šimanovský (2011) also uses movement to support the rhythm in his activities.

“Making music is an activity which is rooted in the body.” (Storr, 1997, p.24)

Dissanayake (1992) stresses the importance of physical movement as an inseparable

part of musical behaviour. She gives an example of children up to age 4 or 5 who find it

difficult to sing without moving their hands and feet. Rhythm influence organizing

one‟s own movements. (Storr, 1997)

Šimanovský (2011) also warns that the classes where we use musical

instruments tend to be very noisy and it is good to inform teachers from other classes

about our plans in advance.

1.3 Methodological background of teaching Jazz Chants

First part of the chapter deals with learners who are 10 or 11 years old which is

the age of fifth graders at primary schools and it is the age of the researched class in the

practical part of the thesis. Characteristics of such learners are described in this chapter

and possible advantages of using Jazz Chants in their English lessons are provided. The

second part of the chapter describes connections between Jazz Chants and restricted

output activities.

1.3.1 Young learners

Although Graham (2006) recommends Jazz Chants to any age group she

emphasizes their suitability for young learners. However, young learners is a wide

concept on which no common definition exists as the age range is too wide and there is

a distinct progress in children development in a short period of time; even children of

the same age differ in their achieved skills and abilities. (Pinter, 2006) In this thesis it is

referred to young learners as to learners who are around 10 and 11 years old because

this is the age of the researched class.

According to Piaget‟s stages of development, the researched class belongs

somewhere between a Concrete operational stage (7-11 years old) and Formal

operational stage (11 and more). At concrete operational stage learners thinking starts to

be logical: they are able to apply logical reasoning in several areas of knowledge at the

same time but this ability is restricted to the immediate context; they cannot generalize

19

their understanding. At formal operational stage learners are able to think in more

abstract ways and use deductive reasoning in a systematic way. (Pinter, 2006)

Pinter (2006) states that children are unique and each of them “learn at their own

speed” (p.2). Therefore it is impossible to divide them into categories. However, Pinter

(2006) divides children on younger learners and older learners to sketch at least the

basic characteristics and she indicates that it is a teachers‟ responsibility to observe their

own learners and accommodate to their needs. According to Pinter (2006), 10 or 11

years old children are older learners who are used to the school environment, they know

the rules and what is expected from them. They begin to take an interest in language as

an abstract system. They show a growing awareness about themselves as language

learners and their learning. They have growing awareness about themselves, others, the

world and real life issues.

Not only learners differ in their individual characteristics, they also differ in their

intelligence types and learning styles.

According to Gardner (2011) there are 9 intelligences (linguistic, logical-

mathematical, spatial, bodily-kinesthetic, musical, interpersonal, intrapersonal,

naturalist and existential). Berman (2002) emphasizes the existence of an emotional

intelligence besides the nine already mentioned.

It is possible to involve several intelligences when using Jazz Chants in lessons.

Berman (2002) suggests to use Jazz Chants as an activity for musical intelligence. He

also says that whenever teachers use group work in the class they create environment

for interpersonal intelligence to be involved therefore interpersonal intelligence is

involved in Jazz Chants because learners have to cooperate. Linguistic intelligence is

involved by the spoken form of Chants. Bodily-kinesthetic intelligence can be easily

involved by adding movement, clapping or playing musical instruments to Jazz Chants

activities. Berman (2002) himself says that Jazz Chants where learners clap or beat the

rhythm can be used to involve kinesthetic intelligence.

Berman (2002) states that forms of intelligences are closely connected with

learning styles. There are “three primary learning styles: visual, auditory and

kinesthetic” (p.9). Pinter (2006) extends these styles by describing careful and reflective

learners in comparison to impulsive and more energetic ones, then analytic learners who

concentrate on details, and global learners who prefer holistic approach.

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What is important to be said about suitability of teaching Jazz Chants to young

learners is Thornbury‟s (1999) suggestion that “children are more disposed to language

learning activities that incline towards acquisition rather than towards learning. That is,

they are better at picking up language implicitly, rather than learning it as a system of

explicit rules.” (p.27) Jazz Chants do not require active applying of any rules as they are

based on repetition and memorization.

1.3.2 Jazz Chant as a drill

Scrivener (2011) emphasizes the importance of practice by claiming that “the

real learning experience is when learners try to use the language themselves” (p.169).

This practice can be divided on restricted output, and authentic output which is known

as production. He advises to use restricted output first and subsequently proceed to the

authentic output.

Scrivener (2011) claims that restricted output activities are useful for intensive

oral or written practice of a particular language item as they are characterized by narrow

choice of both use of language and communication; in addition they concentrate on

accuracy. The restricted language activities force learners to use intended language

structures by their strictly established rules.

One of the typical restricted output activities are oral drills which provide

intensive oral practice of selected sentences by simple repetition where a learner does

not need to spend too much time thinking about the language being produced.

(Scrivener, 2011) According to Graham‟s (2001) statement that “Jazz Chants are based

on model of repetition and learned response” (p.7), it is possible to draw an analogy

between Jazz Chants and drills and apply methodology of drills on teaching Jazz

Chants.

Harmer (2007) uses a term accurate reproduction and he is distinguishing

between repetition and drills. He advises firstly to start with repetition and subsequently

proceed to drills; preferably to 'cue-response drills' (p.207). Repetition can be individual

or choral. In both cases it is good to give learners some privacy with the first attempts to

pronounce new language. Choral repetition gives learners a chance to hide in the crowd.

“It is important to start the chorus clearly and to help the students with the rhythm by

conducting the chorus, using arms and hands to show where the stress occurs” (p. 206).

21

With individual practice it is convenient to provide learners time to murmur new

language quietly for themselves.

According to Harmer (2007) the purpose of drills is to establish language habits

due to repetition of correct sentences supported by positive feedback and

encouragement. He recommends to combine drills with use of pictures as hints in cue-

response drills. It is especially suitable with learners who have lower level of English.

In this kind of activity, a teacher shows a picture and elicits a sentence or phrase

connected to this picture, then shows another picture and continues this way. A cue can

be not only a picture but also both verbal and non-verbal expressions. Due to the cue the

intended answer is elicited and the repetition is avoided.

Harmer (2007) explains origin of drills claiming that drill is a tool of an

audiolingual method which uses a stimulus-response-reinforcement model with an aim

to establish the good habits in language learners but he points out the lack of real-life

context.

Scrivener (2011) expresses doubts saying that one can never be sure if learners

are aware of the language or if they only produce some noises without thinking about

the meaning. However, he emphasizes the fact that drills provide space for working on

accuracy because a teacher can correct potential mistakes immediately. In such a case

honest feedback and high standards of expected outcome are essential for improvement.

Scrivener also considers drilling to be a good tool for practising pronunciation.

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2. Practical part

2.1 Introduction

This part of the thesis focuses on practical use of Jazz Chants and rhythm in

English lessons. It is approached as an action research which investigates use of Jazz

Chants and rhythm in lessons and their impact on lessons and learners in a fifth grade

primary class. These lessons are observed by the official English teacher of the class

who will apply findings of the action research on her further teaching in this class.

Method of action research enables me to develop my teaching skills and to the

official teacher to observe the suitability of Jazz Chants and rhythm in the class and

their possible integration into lessons.

I am not teaching yet on regular basis but I preferred to undergo this research in

a class I am familiar with. Therefore I chose to proceed this research in a class where I

had already had my both observation and teaching practice. It is a fifth grade class

named 5.A at primary and lower secondary school in Dobruška – ZŠ Františka Kupky.

The important advantage of this choice is the fact that I know learners‟ behaviour in

their usual environment with their official teacher from my observation practice and I

also have experience teaching them myself from the teaching practice.

The aim of the action research is to explore possible use of Jazz Chants with

focus on rhythm in a particular fifth grade class and to apply the findings on further

lessons of this class. Moreover, my personal aim is to develop my teaching skills by

thorough reflection on processing the action research.

The action research begins with analysis of the class in its usual environment.

Then, a detailed description of the action research in the class is provided and as the

final step the results are discussed.

2.2 Analysis of the class

Analysis of the class serves as a basis of my research. Learners‟ characteristics

and habits, official teacher‟s teaching style, equipment of the classroom, usual lessons

and expected level and knowledge are described in this analysis. I derive from

observing the class during their usual lessons (3 lessons) and from my own experience

teaching the class during my teaching practice (3 lessons).

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2.2.1 Learners

The researched class consists of 12 learners: 6 girls and 6 boys. All learners are

10 or 11 years old. They all have Czech nationality and their native language is Czech.

The classroom climate seems to be positive and friendly. Learners are active and they

follow teacher‟s instructions. They do not fear to answer or to express their opinion.

They are used to sitting on their seats during the whole lesson. They prefer individual

work or pair work. Group work is usually accompanied by various complaints at the

beginning because of two reasons. Firstly, friends do not want to be separated and

secondly, boys and girls do not like to mingle. However, after a short arguing they

accept the groups and then cooperate well. They like whole class tasks during which

they have to go to the front of the class and write down something on the whiteboard. In

general, they like to write on the whiteboard. They are used to raising their hand before

they start speaking. There are two learners diagnosed with having a learning disability –

dyslexia. They have troubles mostly with spelling in writing but it does not discourage

them; on the contrary they are active and good at spoken production.

2.2.2 Teacher

The official teacher of this class has a kind attitude towards learners. She uses

predominantly L1 to communicate with learners and to manage the class. The teacher

follows a course book but she also adds her own activities, e.g. games and songs. She

uses various visual aids and technology.

2.2.3 Classroom

The classroom is equipped with a data projector, laptop, whiteboard and

blackboard. There is no interactive board but the notebook screen is projected on the

whiteboard. Seating arrangement is rather a traditional one - three rows of separated

desks where learners are sitting in pairs. There is some space in the back of the

classroom for learners to play games or rest.

2.2.4 Usual lesson

The class keeps a greeting ritual to start and finish every lesson. Class work is

based on a course book Start with Click New 3. All activities are connected to the topic,

24

vocabulary, grammar and exercises in the course book. Lessons are dynamic as the

teacher combines various tasks: warm-up activities, course book exercises, games and

songs. Usually, learners work as the whole class, individually or in pairs. Sometimes the

teacher includes group work.

2.2.5 Current level and expected knowledge

Learners started learning English in the third grade at primary school. At the

time of the research learners were in a half of a fifth grade. It means that they had two

years and a half long experience with learning English. They follow Start with Click

New course book edition since the third grade and they used Start with Click New 3

course book at the time of the research.

In terms of grammar, learners should be familiar with a present simple tense and

present continuous tense and the difference between these two. They should know how

to form questions and related answers. They are slowly starting to explore a past simple

tense where they begin with past form of verbs „to be‟ and „to have‟.

As the course book is topic-based, learners know vocabulary connected to

several themes such as hobbies, food and drink, school, clothes etc.

At the time of the research, the class was working on a topic Animals. In terms

of vocabulary, this theme is focused on farm animals, zoo animals, places where

animals live, food they eat and their appearance. In terms of grammar, the theme

concentrates on forming questions and related answers.

2.3 Research

The research was done in three English lessons in one fifth grade class during

one week. I was teaching according to three lesson plans which are attached to the

appendices of this thesis. I prepared the lesson plans by myself and I always reflected

on the proceeded lesson and tried to accommodate the lesson plan for the following

lesson according to my findings. The teacher who is officially teaching this class was

observing my lessons.

Although there are sourcebooks full of activities based on Jazz Chants I could

not find a suitable Chant for the class because my intention was to accommodate the

Jazz Chant to the level and knowledge of learners. Therefore, I decided to create my

25

own Jazz Chants which were used as a tool to practise what was already presented and

explained to the learners in previous lessons.

All lessons are described individually. Each lesson is divided into several stages

and each stage is described in detail in three paragraphs. Firstly, I focus on description

of what I did in the lesson as a teacher. Secondly, I explain what the purpose of the

stage was or I add short justification of my acting, thirdly, my observation of learners is

presented. Every lesson is followed by my reflection.

2.3.1 First lesson

First lesson was devoted to presentation of Jazz Chants to the learners who had

no experience with this kind of activity. The lesson consisted of two main activities:

warm-up activity and a Jazz Chant activity.

2.3.1.1. Procedure

At the very beginning of the lesson, the observing teacher introduced me to

learners. It was very brief speech since the learners knew me already from the teaching

practice which I had in this class 3 months before. After the teacher‟s introduction I

kept the class ritual, greeted learners and let them sit down.

Warm – up activity

For the first activity, I invited learners to come to the front of the classroom

where there was space to make a small circle. I provided instructions using simple

sentences and vocabulary. Then I demonstrated the activity myself and encouraged

learners to continue. After we finished a pilot round together and I was sure that

everyone understood I encouraged learners to start again. I was part of the circle and

played the game with the learners.

The warm-up activity‟s purpose was not only to engage learners and introduce

both the lesson and the topic we were going to deal with, but also to get to know how

wide is the range of learners‟ vocabulary.

Although I was giving instructions strictly in English, learners understood well.

They were motivated to make up as many words as they could. In terms of rhythm, the

activity was rather discontinuous as we had to stop the flow of the rhythm due to

26

learners who were searching for words but there were several cases when we managed

to keep the smooth rhythm, especially at the beginning when everybody had enough

ideas. The game revealed that learners have a wide range of animal vocabulary. We

managed to complete 4 rounds which means learners know around 50 animal names.

Jazz Chant: Introduction

After the warm-up activity, I proceeded to the Jazz Chant activity. Learners

remained standing in the circle. First of all, I showed a picture of a dolphin to the

learners. I asked my prepared questions about the dolphin observing if the learners

understood and eliciting their answers. I guided them through all questions and answers.

Then, I asked them to repeat after me and I guided the learners through all the questions

and answers again; this time in form of Jazz Chant with keeping the rhythm.

The purpose of the introduction part was to present the content of the following

Jazz Chant, check learners‟ understanding and explain any possible misunderstanding.

The Jazz Chant contained questions and related answers – only structures with which

learners should have already been familiar with.

This stage was successful as the learners seemed to understand without any

troubles. They were creating their own answers to my questions. The repetition worked

well as the learners were imitating speed and rhythm of the model sentences I provided.

They were chanting enthusiastically.

Jazz Chant: Second stage

In the next step, I divided learners into two groups. We remained standing in the

circle. One group was repeating questions after me and the other group was repeating

the answers after me. Every time I indicated which group and when should speak by

turning to them and pointing at them by my finger. I was very careful to my

pronunciation and articulation. Moreover, I kept steady rhythm of my speech supporting

it by clapping my hands. After the first round I switched the sides so that learners had to

repeat different lines.

The purpose of dividing learners into two groups was to clearly demonstrate the

communicative structure of the Jazz Chant when one group was asking questions and

the other group was providing answers to these questions. It should have helped to

27

learners to remember the lines and to reinforce the acquisition of the structures of given

questions and answers.

At this stage learners seemed to be enjoying chanting. They were able to keep

the rhythm and to imitate the model chants.

Jazz Chant: Third stage

I tried to omit the repetition and I encouraged learners to chant without

providing the sentences in advance. It did not go with ease so I provided the sample

sentences again but with a modification. I was changing volume and mood of model

lines and learners had to imitate me.

The basic purpose of the Jazz Chant was to chant without providing lines in

advance. I assumed that the learners could have already remembered the lines so I tried

to omit the repetition. However, they did not remember the lines, therefore, I returned to

repetition but this time I used voice modification in order to make it new and

entertaining.

When learners were supposed to chant by heart without me providing the

sentences in advance, the Chant was broken into pieces and the flow of rhythm was

disrupted. Learners were confused and they started complaining that they did not

remember the lines and that, in fact, they did not like the activity. Some of them said

they were bored. I was trying to save the situation by providing model sentences again

with the voice modification which attracted learners‟ attention but I could feel persisting

dissatisfaction among them.

Jazz Chant: Fourth stage

In the following step, I showed the learners a picture of a giraffe and repeated

the whole process again similarly as with a dolphin. I provided the learners with

questions and elicited answers. Then they were repeating the sample sentences after me.

I kept the rhythm and clapped my hands.

The main reason for making the same Chant with another animal was not only to

acquire the question and answer structures but to make them notice the changes in the

structures. The fact that I chose intentionally animals with which we associate different

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features should have increased the variety in sentences within the given structure of the

Jazz Chant. It should have helped learners to remember the outline of the Jazz Chant.

Learners were firstly attracted by a new challenge. They were willingly

providing answers to the questions, however, when we started chanting some learners

seemed to feel restless.

Jazz Chant: Fifth stage

After chanting about giraffe I quickly proceeded to another animal. I showed the

learners a picture of a bear and repeated the whole process of questions and answers and

then provided model sentences to chant.

I tried to accelerate the whole process of chanting in order to make it dynamic

and more entertaining.

Learners were interested in providing answers but they did not really appreciated

the chanting. The mood among the learners dropped down. One of the learners even

asked me with bored expression when we would finish.

Jazz Chant: Final stage

I replied with recapitulation of animals and encouraged learners to repeat the

whole Chant with all three animals for the last time and promised them a pantomime

game which I knew they like a lot.

The purpose of this stage was to finalize the whole activity by recapitulation of

all three parts of the Chant. As learners seemed disinterested, I tried to motivate them by

their favourite game.

Learners were willing to repeat the Chant for the last time. They were chanting

without any troubles, however, it was not enjoyable for them.

Pantomime

I thanked learners for their effort with the Chant and allowed them to play

pantomime.

Pantomime served as a both relaxing and closing activity.

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The atmosphere in the class changed rapidly as learners were enthusiastic and

everybody wanted to be the one who would mime an animal.

2.3.1.2. Reflection

The Jazz Chant activity was not as effective as I expected. At the beginning,

learners were curious and engaged. After some time when we repeated the Chant

several times learners got bored. There are several possible reasons why the Jazz Chant

was not so successful in this lesson. Firstly, the whole activity was probably too long

and learners did not remember the lines. The chant should have been either shorter or I

should have used visual aids to support remembering the lines. Secondly, learners did

not understand why they should repeat the same sentences again and again. They were

always attracted when a modification came in form of a new animal but they did not see

any sense in repeating the Chant. Thirdly, as the learners were standing all the time they

got exhausted. My intention was to let them in the shape of circle because it provides

space for interaction where learners see into each other‟s face. It felt natural to me to

stand during chanting because standing enables moving to the rhythm whereas sitting

on chairs is too passive. However, learners are used to sitting during their classes with

occasional movement in the form of going to the whiteboard and back so they got

exhausted quickly.

A positive finding is that learners did not have troubles with imitating the sound

pattern I was providing including the rhythm. They managed to keep steady rhythm and

joined me clapping their hands. I noticed that learners reacted positively on my body

language. Every time I started clapping my hands to highlight the rhythm learners

immediately reacted and started doing the same.

Another possible reason why the Jazz Chant did not work perfectly could be the

fact that I used English for giving instructions and managing the class. I was using

simple easily comprehensible sentences supporting them with demonstrative acting and

indicating. I was repeating the instructions several times when I saw that there was a

danger of misunderstanding. In general, learners understood English instructions but

sometimes it happened that some of the learners were confused and they started asking

in Czech and the rest of the learners were replying to them in Czech.

30

2.3.2 Second lesson

Unfortunately, the teacher of the other half of the class got sick therefore I had to

teach the whole class of 24 learners. Since I was disappointed by the first lesson which

did not work as I had imagined I resolved to change the layout of the following lesson

completely.

In my opinion, the Jazz Chant in the first lesson did not work well because it was

too repetitive and learners got bored. I assume it was due to lack of learners‟ own

responsibility and creativity. Therefore I gave them more responsibility in the second

lesson and there was also place for their own creativity because they were creating their

own Chants in groups.

As giving instructions strictly in English did not prove to be efficient because it

made learners speak Czech I decided to allow myself to use Czech when necessary. It

means I repeated instructions in Czech in situations when I observed that learners had

difficulties to understand.

I decided for the group work due to the fact that I was going to teach a whole

class. I prepared a lesson where learners had to cooperate in mixed groups from both

classes so that the learners from my class could share their Jazz Chant knowledge. The

second lesson consisted of a warm-up activity and a Jazz Chant activity as the first

lesson.

2.3.2.1. Procedure

Warm – up activity: Introduction

The second lesson started with a warm-up activity. Firstly, I explained rules of

the game and elicited possible questions learners could ask. After learners gave me

some examples I showed them model questions I had written on whiteboard. Learners

were one by one reading questions written on whiteboard and I challenged them to fill

in missing words in order to complete the questions and provide other possible words to

modify the questions.

The introduction to the first activity served as a quick revision of forming

questions and a source of examples for smooth progress of the game. The questions

31

were also following the Jazz Chant from the previous lesson so there was a connection

between this and the last lesson.

When I elicited possible questions learners suggested some but they were rather

confused searching for ideas. After I showed them the model structures on the

whiteboard, they were eagerly filling missing words and suggesting various

modifications of sentences.

Warm – up activity

After we practised creating questions we could proceed to the activity itself. I

put colourful sticky papers with animal names on learners‟ forehead and explained the

rules again. Learners‟ task was to find out what animal they have on their forehead

using questions we had revised together. The only possible answers were yes or no.

While learners were asking each other I was monitoring carefully if they all were

speaking English and if they were creating correct questions. After majority of learners

finished, there were still two girls trying to guess what animal they had on their

forehead. I wanted to engage the rest of the learners waiting for these two girls so I

encouraged learners to make up some clues for the girls. Both girls quickly found the

answer after they were provided with clues by their classmates.

The warm-up activity purpose was to let learners speak, actively use the

language and practise forming the questions. Searching for their animal identity should

have motivated them.

Learners found the game itself entertaining and laughed a lot, especially at the

beginning when they saw each other with the papers on their foreheads. They were

walking across the classroom and asking the questions. Sometimes they created a group

and were helping to each other with creating questions, providing ideas and giving

clues. As learners were often checking the whiteboard with sample questions, I assume

that they were trying to speak English. However, I still could hear some learners

speaking Czech.

Jazz Chant: Video

As an introduction to the Jazz Chant activity, I played a short video for the

learners which was a food Jazz Chant based on a simple pattern, for example, broccoli,

broccoli, broccoli is green. I played video for the learners and they were chanting

32

according to the orders in the video. Then I explained their task to them; to create

similar chants not on food, but on animals they had on their foreheads from the warm-

up activity and prepare a performance with these chants for the rest of the class. I gave

them an example to illustrate the chant: „Kangaroo, kangaroo, kangaroo can jump!‟

Then I provided them with pictures, paper cards with animal names and percussion

musical instruments all of which they could use for their performance.

The video served as a model and a starting point for the following Jazz Chant

activity.

I could see that learners were curious and impatient to see the video. They were

chanting according to the video and they looked engaged. After I gave them an example

which illustrated what they were supposed to do, they were affirmatively nodding and

looked interested in the task.

Jazz Chant: Group work

I divided learners into four groups according to the colour of their sticky paper

from the warm-up activity. After I gave the learners percussion instruments, it was so

noisy that I could not hear even myself so checking learners in their groups was

extremely hard. I tried to calm them down at least a little but it did not work. I was

monitoring the groups individually and I was checking if learners knew what to do. I

advised them to start with creating the sentences and I helped them in case they were

hesitating, then I explained them possible ways how to include the percussion musical

instruments into their performance. I also encouraged them to create more difficult

sentences when I considered them to be too easy. For instance, in one group learners

came up with an idea that they would use the same pattern in all lines: Rabbit, rabbit, I

like a rabbit; sheep, sheep, I like a sheep, etc. So I proposed them to create different

more elaborate sentences.

This stage purpose was to give learners space to use fully their creativity.

Although learners were expressing complaints after they were divided into

random groups, they cooperated in their groups well. After they got percussion

instruments they were extremely enthusiastic and expressed their enthusiasm by playing

the instruments. Each group worked differently. In two groups all learner made up their

33

own sentences. On the contrary, only one or two learners were creating sentences for

the rest of learners in other two groups.

Jazz Chant: Performance

The last step was the performance itself. Since one of the groups was eager to

start I invited learners from this group to come to the front of the classroom. There was

always one learner chanting a sentence alone and others repeated the line. The first

round was not very smooth so I helped the group by providing their own sentences in

advance and then they were chanting after me. Then next group started performing.

After they finished I encouraged them to repeat their performance and to involve the

whole class so that we could chant together. The performing group was giving sample

sentences and the rest of the class was chanting according to them. It proved to be

efficient so I decided to continue this way with the third and the forth group.

My intention was to give learners space for their own creativity and let them feel

the responsibility for the outcome of their work.

Learners form the first group were eager to present their performance but they

were rather tentative during the performance itself. As they were the first ones they did

not know what to expect and they did not have any example before them. Other groups

were more confident as they saw how the performance could look like. However, all the

following performances were the same as learners probably did not want to take risks.

They created meaningful sentences. In terms of chanting they were able to keep the

rhythm individually but the flow of the whole performance was discontinuous as the

learners did not manage to follow each other in the same pace.

2.3.2.2. Reflection

The warm-up activity went very well. I think that the fact that learners saw other

animals but did not know what was theirs made them curious and motivated them to ask

questions actively.

The video worked perfectly as an introduction to Jazz Chants and as a basis for

the following activity. It was short, clear and easily comprehensible. As Jazz Chants in

the video had clear structure they were easy to follow and learners understood how to

create their own Chants.

34

Group work and preparing a performance should have given learners space for

creativity and responsibility for the outcome of their performance. Two groups worked

efficiently, however, other two groups seemed to be just enjoying „free‟ time. It was

probably caused by the fact that I divided learners into groups randomly as I did not

know the other half of the class at all.

Percussion instruments raised excitement and keen interest. However, learners

were so enthusiastic about percussion instruments that it distracted them from the task

which was to create a performance and the noise in the class made it hard to

communicate with learners. The problem was not in the instruments but probably in

organization of the activity. I gave learners instruments too early. Next time, I would

consider when to add percussion instruments – probably at the final stage of an activity

after I would have already checked that all groups have their Chants ready.

2.3.3 Third lesson

I was preparing the last lesson very carefully according to what I experienced

during the previous two lessons, as my intention was to prepare a lesson which learners

would find entertaining and which would be beneficial to their language acquisition. I

was going to teach only half of the class as in the first lesson.

2.3.3.1. Procedure

Jazz Chant: Introduction

I started the lesson with a question if learners remembered their pieces of Chants

from the last lesson. They replied that they did remember. I demonstrated following

instructions by chanting my sentence „Kangaroo, kangaroo, kangaroo can jump!‟, then I

wrote my name on the whiteboard and attached a picture of a kangaroo nearby. I invited

learners to do the same as me one by one. Each of the learners chanted their sentence. I

corrected the sentence or suggested a change if it was wrong grammatically or if the

sentence would be hard to fit into the rhythm. When the sentence was approved I

encouraged the learner to chant it for everybody again and the whole class repeated the

Chant. After everyone said their own line, wrote their name on the whiteboard and

attached a picture next to it, we could see the structure of the whole Chant.

35

Purpose of this activity was to create a Chant which would be a collective work

of everyone in the class. Everyone had their responsibility for their own piece of Chant.

Due to the names and pictures on the whiteboard, learners also had a visual support and

they could see the whole structure of the Chant.

Learners were sitting on their seats and coming one by one to the whiteboard.

They were eager to write their name on it and attach a picture of animal next to their

name. Learners chanted enthusiastically lines of their classmates.

Jazz Chant: First stage

I told the learners that we were to go through the whole Chant. I started with my

sentence clapping my hands to stress the rhythm. Learners repeated the chant after me,

then I pointed at the next name on the whiteboard and the learner chanted his/her

sentence for everyone. We repeated this Chant together and continued to another learner

till the last name on the whiteboard. I was clapping my hands to support the rhythm.

Purpose of this stage was to chant the Jazz Chant as a whole for the first time

and to try to keep smooth rhythm.

Learners seemed to be very enthusiastic. They were silent when one of them was

chanting and then repeated the Chant eagerly.

Jazz Chant: Second stage

After we successfully finished the first attempt, I gave the learners new

instructions. Learners could change their voice and the rest of the class had to imitate

them. I was showing the names in the same order to avoid interrupting of the rhythmical

flow of the Chant and I was clapping my hands to highlight the rhythm.

Purpose of this stage was to add a new feature to chanting so that the Jazz Chant

activity had some kind of progress and repeating of the Chant would not get boring.

Learners were keen on repeating the Jazz Chant with voice modification.

However, as they were focused mostly on the right pronouncing of their line, they were

not changing their voice much but they managed to keep continuous flow of the rhythm.

They were also clapping their hands with me.

36

Jazz Chants: Final stage

The next upgrade contained percussion musical instruments. I distributed

various kinds of percussion instruments to each learner individually and established a

beat pattern for each kind of percussion. Then I invited three learners who did not have

any instrument to come to the front of the class to mime the meaning of individual lines.

We went successfully through the whole Chant without interruption.

The purpose of adding percussion instruments to chanting was to highlight the

rhythm and to make the chanting both challenging and entertaining.

Although learners were enthusiastic about the percussion instruments, they were

not distracted from focusing on chanting. They were relaxed and eager to chant. Above

all, they seemed to be enjoying the whole process.

I devoted the rest of the lesson to completing a questionnaire which is described

later on.

2.3.3.1. Reflection

From my point of view, this lesson was the most successful out of all three.

Everything worked well regarding learners‟ concentration and process of the whole Jazz

Chant activity. Learners were engaged and motivated; they cooperated with me and they

were listening to me carefully. There are several reasons which contributed to the

success of this lesson according to my observation. Firstly, the Jazz Chant activity was

introduced by learners‟ favourite kind of task: coming to the whiteboard writing their

name and attaching a picture next to it. It also gave them responsibility for their piece of

the whole Chant. Secondly, due to the fact that they could see the structure of the whole

Chant, they knew when their turn was. Thirdly, they probably felt comfortable as they

were sitting on their seats. Moreover, the activity was progressing from easy tasks to

more difficult and everyone knew what their role was.

Learners were very skillful regarding the rhythm. Most of them remembered the

rhythmical pattern of their line and did not have any troubles to pronounce it except for

one learner who invented his sentence and wanted to keep it although it was hard to

pronounce: „Fox, fox, fox is hunting a chicken.‟ Even though he was trying hard it

37

always interrupted the flow of the Chant, however, we were able to catch the rhythm

easily.

Percussion musical instruments increased learners‟ interest considerably. Since

learners were sitting on their seats and I distributed percussions one by one, there was

no space for chaos to be created.

2.3.4 Questionnaire

At the end of the third lesson, I gave the learners a questionnaire which served as

a feedback from the learners. In order to make the questionnaire appealing to the

learners, I introduced the questionnaire as a school report for me. It had a form of an

assessment sheet where learners wrote marks and short justification of given mark.

Subject Mark Why?

Teacher

Instructions

1-2-3 Game

Jazz Chant 1 (dolphin, giraffe, bear)

Animal Game

Jazz Chant 2 (in groups)

Jazz Chant 3 (together)

Table 1. Assessment sheet

After I distributed the questionnaires, I explained to the learners what individual

columns represented and we went through all lines together. I described in detail each

line to ensure myself that learners understood what they were going to evaluate.

In the first line, they were evaluating me as a teacher – if they liked the lessons

and my teaching method. In the second line, they were evaluating the general

comprehensibility of instructions I had been providing. In the rest of the lines, learners

were evaluating individual activities; both warm-up activities and Jazz Chant activities.

I provided learners with a number grade scale from 1 to 5; the same scale

according to which they are used to being evaluated at school. I also added a short oral

characterization of grades to help learners imagine the differences between them; from

38

grade 1 representing an ideal activity; activity which learners would like to repeat in the

future to grade 5 which represents an activity which learners would rather never do

again.

2.4 Results

Results of the action research are evaluated from three points of view. Firstly, I

am analyzing differences of individual lessons and their impact on the success of each

lesson. Secondly, observing teacher is suggesting ways how she will include Jazz

Chants into her lessons. The third point of view is the learners‟ assessment of individual

activities.

2.4.1. Analysis of lessons

From procedures and reflections of each lesson, it is apparent that there was a

progress throughout the lessons from less successful first Jazz Chant activity to the

fruitful third Jazz Chant activity. When all three lessons are compared, then it is evident

that each lesson differs in several aspects and all these aspects could influence the

success of individual Jazz Chants.

2.4.1.1. Warm-up activities vs. Jazz Chants

Warm-up activities worked better in first two lessons in comparison with Jazz

Chants. Both warm-up activities were game-like, short and motivating with a clear aim.

On the contrary, Jazz Chants in the first two lessons were not engaging enough and

learners probably did not see any specific goal in them. The third Jazz Chant was

similar to warm-up activities in sense of a clear goal. It had a clear structure where all

learners had their important role with a goal to assemble the whole Chant.

2.4.1.2. Language of instructions

The first lesson was influenced by my effort to use English as much as possible

which could confuse or discourage learners. In the following two lessons, I was using

English for giving instructions but I usually repeated the instructions in Czech to avoid

learners speaking Czech.

39

2.4.1.3. Approach

The first lesson was teacher-centered where learners had to repeat the Chant

after the teacher. Learners were bored and did not see any sense in repeating the lines.

The second lesson was learner-centered where the teacher worked as a coach. Some

learners behaved like they had free time and probably missed structure of the tasks. In

the third lesson, everyone worked together. Both the teacher and learners were

cooperating on the same level. Everyone was engaged in the activity as the whole Jazz

Chant was a collective Chant composed of everyone‟s little piece.

2.4.1.4. Feeling of responsibility

Even though learners firstly suggested their answers for the Jazz Chant in the

first lesson, then they were mostly repeating the sample lines after the teacher. The

responsibility was collective and it did not force learners to make much effort. In the

second lesson, the responsibility was limited on individual groups. In the third lesson,

everyone had their own responsibility for a part of the Chant. I think, that feeling of

responsibility in the third Chant motivated learners to be active.

2.4.1.5. Creativity

In the first lesson, there was not much creativity because learners were only

repeating sample Chants after me. In the second lesson, learners had space for creativity

as they were preparing a performance but some of them maybe missed guidance

through the activity. In the third lesson, learners could create their own piece of Chant,

modify their voice and use percussion instruments. However, at the same time they got

clear instructions at every stage of the activity. It means that even space for creativity

needs to be structured.

2.4.1.6. Novelty

Jazz Chants were a completely new kind of activity for learners. In the first

lesson, they did not understand the activity and they did not see any sense in doing it. In

the third lesson, the Jazz Chant was smooth right from the beginning, because learners

40

knew what to expect and what is required from them. As a result, they enjoyed the

activity. I think that learners need time to get used to Jazz Chants.

2.4.1.7. Seating arrangement

In the first lesson, learners were standing in a circle which seemed to be

exhausting for them. However, in the second lesson, they could choose how and where

to work and still most of them were standing during the whole process of creating the

performance. In the third lesson, learners were mostly sitting on their seats but they

stood up every time, when it was their turn, without me telling them to do so. It means

that movement is important during chanting but learners should have an opportunity to

sit down if they feel tired.

2.4.1.8. Structure

The first Jazz Chant had a difficult structure including several different questions

which were probably too complicated to remember and the Chant was too long. The

second and third Chants had simple structure of a declarative sentence. They were based

on a simple easily memorable line invented by learners themselves and learners needed

to remember only one sentence as they were repeating the rest of the Chant after others.

2.4.1.9. Teacher’s experience

There could be an influence of lack of my experience with teaching Jazz Chants

in the first lesson. I was trying to reflect on each lesson in order to improve aspects

which did not work before. After each lesson I included the changes into the lesson

planning. Finally, I managed to create a successful Jazz Chant activity in the last lesson

which was entertaining for me and the learners, as well. It proves that thorough

reflection leads to quick improvement.

2.4.1.10. Learners with specific learning differences

There were two dyslectic learners in the class but if I had not known who they

were I would not recognize them. They were active and enthusiastic and did not have

any problem with Jazz Chants which is probably caused by the fact that Jazz Chants are

41

based on spoken language and there is no switching between the written and spoken

form of language.

2.4.1.11. Rhythm

Learners coped very well with the rhythm from the beginning but there was a

significant improvement throughout the classes. In the first class, learners were only

imitating me. On the contrary, in the third class, learners were responsible for the

rhythm of their pieces of Chant individually; they were focused because they did not

want to make any mistake and interrupt the flow of the rhythm of the whole Chant. The

rhythm makes a challenge out of a simple sentence.

2.4.1.12. Percussion musical instrument

Involvement of percussion instruments had two kinds of impact on learners. The

musical instruments which appealed to learners very much can be used as a tool for

boosting the learner‟s interest as in the third lesson. However, it is extremely important

to think through how we want to use the instruments in the lesson because they can also

distract learners from their task as in the second lesson. It is good to involve instruments

as a last step of an activity and give learners clear instructions when and how to use

them. Learners were able to use instruments in the right rhythm, most of them were

beating on each beat. It is also important to tell learners not to play loud so that they can

hear each other or a person who is chanting solo.

2.4.1.13. Summary

It is clear that the last Jazz Chant activity was the most successful one. It was

accommodated to learners by my reflections and related changes. The features of a

suitable Jazz Chant activity in this class are following:

1. Everyone can create their own piece of a Chant and they are responsible for

performing this piece.

3. Everyone has the same role equal with others.

4. The Chant has a simple and clear structure.

42

5. Learners feel comfortable, they can sit on their seats.

6. Learners are familiar with such kind of an activity, they know what to expect and

what is required from them.

7. Jazz Chant activity is progressing slowly from simple tasks to more difficult ones.

8. Rhythm makes the Chant challenging.

9. Musical instruments boost learners‟ interest and mood.

2.4.2. Opinion of the observing teacher

The official English teacher of the class was observing my lessons. She had

already heard about Jazz Chants but she had never used them in her classes before. Her

experience from the observation encouraged her to use Jazz Chants in lessons but only

with particular specifications that emerged from her observation:

1. Teacher‟s personality is vital. The teacher has to be enthusiastic, supportive

and encouraging. There is no sense in doing Jazz Chants if the teacher does not express

the interest in it.

2. Jazz Chants are suitable as short and quick warm-up activities. They are

energizing and they can be used to connect the beginning of one lesson with the

previous lesson. They should not be long because then they get too repetitive and

boring.

3. The structure of Jazz Chants should be simple and easy to remember. It is not

useful to spend a lot of time memorizing a Chant, otherwise, it gets boring.

4. It is important to practise Jazz Chants in lessons regularly so that learners can

get familiar with them. Then it is easy to use them efficiently without long explanations

and idle time.

5. The advantage of Jazz Chants is their universality because teachers can invent

their own Jazz Chants and practise with learners any grammar or phrases which they

need to.

6. It is convenient to use modern technology with Jazz Chants because it raises

learners‟ interest. Videos on a Youtube channel are an excellent idea. Technology is

43

close to the learners as they are used to working with it in their free time, they are

enthusiastic when they can use it at school. It is also comfortable for the teacher.

7. Percussion musical instruments enliven the atmosphere but it requires precise

lesson planning in order to include them successfully. It is important to give clear

instructions and guide learners through the activity, not to let them play on their own. It

is suitable to use percussions at the end of a lesson.

Overall, the teacher was enthused by Jazz Chants and by the fact that learners

dealt with the rhythm very well. She appreciated procedure of the third Jazz Chant with

several stages which went from the easy tasks to more difficult ones. She intends to use

Jazz Chants as short and quick energizing activities throughout the lessons preferably

without percussion instruments because they would prolong the activity.

2.4.3. Analysis of the questionnaire

Ten filled-in assessment sheets where learners were filling in grades and their

short justification are attached to appendices. Although I emphasized the possibility to

use grades from 1 to 5, learners were using only grades 1 and 2. However, they were

using stars, pluses and underlining for emphasizing the positive result and minuses for

expressing some kind of dissatisfaction. The worst grade used was 2 minus. Marks,

which learners used for evaluation, reflect the usual assessment they are used to being

given in their usual classes.

Instead of using the whole grade scale from 1 to 5 learners were using additional

signs (a star, plus, minus and underlining) which helps to observe clear differences in

the assessment of individual activities and establish several obvious patterns.

It arises from the mark justifications that a good activity equals activity which is

entertaining because learners were evaluating an activity with their best marks only

when the activity appeared amusing to them. Similarly, they graded an activity with the

worst mark when they were lacking entertainment.

Learners were assessing me as a teacher with their best marks. It is important to

take into consideration that I was giving them neither homework nor tests and the

structure of the lessons was different from what they are used to. One learner states not

using a course book as a positive thing.

44

Three learners expressed some difficulties with understanding the instructions. It

could be caused by my effort to use as much English as possible, especially in the first

lesson.

Learners appreciated both warm-up activities very much. Mostly, they stated

that the activities were entertaining. In my opinion they liked the game like character of

these activities and they were motivated by competition in the first lesson and by

curiosity in the second lesson.

There is an apparent progress in evaluation of Jazz Chant activities which

corresponds with my observation. The first Jazz Chant was evaluated by the worst

grades by majority of the learners; learners were criticizing lack of entertainment and

discomfort. The second Jazz Chant was evaluated better in comparison with the first

one; learners appreciated entertaining nature of the activity and a lot of laughter. The

third Jazz Chant appealed to the learners the most out of the three Jazz Chant activities.

It proves that learners share similar opinion as me about the progress of Jazz Chants.

The third Jazz Chant was the most successful one.

45

Conclusion

The aim of the thesis was to investigate use of Jazz Chants with focus on rhythm

in a particular fifth grade class.

In the theoretical part, I firstly explained the concept of Jazz Chants and their

possible use for teaching grammar, vocabulary and pronunciation and their potential

positive effect on learners with specific learning differences. In the second chapter, I

focused on both rhythm of English and rhythm of music as crucial aspects of Jazz

Chants and use of percussion musical instruments as a way how to support rhythm

during chanting. In the last chapter, I defined young learners and their needs and

compared Jazz Chants to drills.

I proceeded the practical part as an action research during which I was teaching

three lessons in the fifth grade class according to lesson plans based on Jazz Chants and

rhythm which I created myself. I started the research with analysis of the class in its

usual environment and subsequently I proceeded to lessons which I described from my

point of view in detail. I reflected on each lesson and adjusted the lesson plans

according to my findings from reflections. I used three kinds of research tools (my

observation and reflection, an official teacher‟s opinion and questionnaire for learners)

to get three different points of view.

There is an apparent progress visible throughout the lessons from the first less

successful one to the third very fruitful lesson. I could see this progress from my

observations and also from questionnaires filled in by learners. The most important

finding for me as a beginning teacher is that the thorough reflection and subsequent

incorporation of such findings into lesson planning leads to a considerable improvement

in lessons.

The questionnaire revealed the importance of amusement of activities as the

most important aspect for the learners. I can confirm this finding by my observation

when I noticed that if learners are entertained enough they cooperate willingly with

sincere enthusiasm.

46

The action research shows that successful use of Jazz Chants depends on several

aspects which can probably differ among different classes. Main aspects influencing

success of Jazz Chants in this class are distribution of responsibility which raises

learners‟ motivation, type of cooperation between learners and the teacher, then amount

of creativity given to learners, clarity of instructions and structure of Jazz Chants.

I assume that these aspects can be applied on using other various kinds of

activities in lessons and it is good to know what the learners prefer and take these

aspects into consideration when planning lessons.

The rhythm proved to be an effective way how to raise learners‟ focus because

rhythm makes chanting appropriately challenging without making it too difficult. It

makes learners alert as they do not want to interrupt the flow of the rhythm. Moreover,

it makes chanting brisk without any idle time. Use of percussion musical instruments

raise learners‟ interest, it can be used to boost atmosphere in the class.

The success of Jazz Chants is also confirmed by the fact that the official teacher

of the class decided to include Jazz Chants into her lesson in a form of short quick

Chants which will work mainly as warm-up activities. She will use them regularly to

practise vocabulary or phrases.

47

List of references

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Crown House.

Beníčková, M. (2011). Muzikoterapie a specifické poruchy učení. Praha: Grada.

Cameron, L. (2001). Teaching Languages to Young Learners. Cambridge: Cambridge

University Press.

Dissanayake, E. (1992). Homo Aestheticus: Where Art Comes from and Why. New

York: The Free Press.

Gardner, H. (2011). Frames of Mind: The Theory of Multiple Intelligences. New York:

Basic Books.

Graham, C. (1978). Jazz Chants: Rhythms of American English for Students of English

as a Second Language. Oxford: Oxford University Press.

Graham, C. (1979). Jazz Chants for Children. Oxford: Oxford University Press.

Graham, C. (2001). Jazz Chants: Old and New. Oxford: Oxford University Press.

Graham, C. (2006). Creating Chants and Songs. Oxford: Oxford University Press.

Harmer, J. (2007). The Practice of English Language Teaching. Harlow: Longman.

Hennessy, S. (2002). Music 7-11: Developing Primary Teaching Skills. New York:

Routledge Publishing.

Jenkins, J. (2000). The Phonology of English as an International Language: New

Models, New Norms, New Goals. Oxford: Oxford University Press.

Kelly, G. (2002). How to Teach Pronunciation. London: Longman.

48

Kormos, J., & Smith, A. M. (2012) Teaching Languages to Students with Specific

Learning Differences. Bristol: Multilingual Matters.

McCully, C. B. (2009). The Sound Structure of English: An Introduction. New York:

Cambridge University Press.

Murphey, T. (2002). Music and Song. Oxford: Oxford University Press.

Pinter, A. (2006). Teaching Young Language Learners. Oxford: Oxford University

Press.

Roach, P. (2009). English Phonetics and Phonology: a Practical Course. Cambridge:

Cambridge University Press.

Scrivener, J. (2011). Learning Teaching: The Essential Guide to English Language

Teaching. Oxford: Macmillan.

Storr, A. (1997). Music and the Mind. London: Harper Collins.

Šimanovský, Z. (2011). Hry s hudbou a techniky muzikoterapie ve výchově, sociální

práci a klinické praxi. Praha: Portál.

Thaut, M. H. (2008). Rhythm, Music, and the Brain: Scientific Foundations and

Clinical Applications. New York: Routledge.

Thornbury, S. (1999). How to Teach Grammar. Harlow: Longman.

Ur, P. (1996). A Course in Language Teaching. Cambridge: Cambridge University

Press.

49

Appendices

Appendix 1: Lesson plans

LESSON PLAN 1

22nd February 2016, 10:40, 45 min, 12 learners

Lesson aims:

- to introduce concept of Jazz Chants to learners

- learners will practise questions (Is it…?, Can it…?, Does it live…? Does it eat…?) and

related answers

Personal aims:

- to create a positive atmosphere in the class

- to be confident in my teaching

Teaching aids and materials:

- pictures of 3 animals (dolphin, giraffe, bear)

Anticipated problems:

- Ls are used to being given instructions in Czech but I want to use English supported

by demonstration of the tasks

Description of activities:

1-2-3 Game

Learners create a circle and one by one say a name of any animal. All learners are

clapping hands three times and the fourth time is the time for one learner to say an

animal name. A learner who thinks too long when it is his/her turn or say an animal

which has been already said, sit down and is out of the game. Learners continue till the

last one is in the game who is the winner.

Jazz Chant 1

What is this? This is a dolphin.

Where does it live? It lives in the ocean.

What does it eat? It eats fish.

Can it fly? No, it can‟t.

Can it run? No, it can‟t.

Can it swim? Yes, it can.

I like dolphins. Me, too.

What is this? This is a giraffe.

Where does it live? It lives in Africa.

What does it eat? It eats leaves.

Can it fly? No, it can‟t.

50

Can it run? Yes, it can.

Can it swim? No, it can‟t.

I like giraffes. Me, too.

What is this? This is a bear.

Where does it live? It lives in the forest.

What does it eat? It eats fish.

Can it fly? No, it can‟t.

Can it run? Yes, it can.

Can it swim? No, it can‟t.

I like bears. Me, too.

Stages of the lesson:

Stage

(duration) Interaction Teacher Learners

Language

focus Language used

Introduction

(3)

Ls on their

seats

T

introduces

herself

Ls listen - -

Warm-up

activity (7)

All Ls in a

circle, Ls

speak

individually

T explain

rules and

play the

game with

Ls

Ls say

words one

by one

Practising

animal

vocabulary

“tiger, mouse,

duck, elephant,

…”

Jazz Chant 1:

intro

(8)

Ls in a

circle, work

as a group

1. T shows

a picture

of dolphin

to Ls and

asks

questions,

2. T

provides

model

sentences

1. Ls

provide

answers,

2. Ls repeat

model

sentences

after the T

Creating

answers

related to

given

questions

“Where does it

live?” “It lives

in the ocean.”

“Can it fly?”

“No, it can‟t.”

“Can it run?”

“Yes, it can.”

Jazz Chant 1:

Second stage

(6)

Ls in a

circle,

divided into

two groups

1. T

provides

model

sentences

to each

group 2. T

changes

intonation

and mood

of the

sentences

Ls chanting

by imitating

T‟s model Practising

questions and

related

answers by

chanting

Jazz Chant 1:

Third Stage

(5)

Ls in a

circle, in two

groups

T conducts

Ls

Ls chanting

according to

T‟s

indication

Jazz Chant 1: Ls in a 1. T shows Ls provide

51

Fourth stage

(5)

circle, new

composition

of groups

a picture

of a

giraffe and

elicit

answers to

her

questions

2. T

encourage

s Ls to

chant

according

to her

answers and

chant

Jazz Chant 1:

Fifth stage

(3)

Ls in a

circle, in two

groups

T shows a

picture of

a bear and

elicits the

whole

structure

of Chant

from Ls

Ls apply the

previous

structure of

the Chant

on this new

one

Jazz Chant 1:

Final stage

(8)

Ls in a

circle, in

new groups

T conducts

Ls to

chant all

three parts

together

Ls chanting

according to

T‟s orders

Backup

activity:

Pantomime

Ls in their

seats,

performing

individually

One L

mimes an

animal and

the rest is

guessing

Practising

questions,

short answers

and animal

vocabulary

“Is it a dog?”

“No, it isn‟t.”

“Yes, it is.”

Homework: no

Assessment, monitoring: careful observation of learners

LESSON PLAN 2

24th February 2016, 10:40, 45 min, 24 learners

Lesson aims:

- Ls will create their own Jazz Chants and prepare a performance

- Ls will use their active language

Personal aims:

- to keep enthusiasm and encourage Ls to work efficiently

Teaching aids and materials:

52

- colourful sticky papers with animal names

- laptop, data projector and whiteboard

- pictures of animals, percussion musical instruments

Anticipated problems:

1. The first Jazz Chant did not work as I expected. I assume that learners missed

responsibility and creativity so I based the second Jazz Chant on their work.

2. As there will be the whole class of 24 learners I will include group work.

Description of activities:

Animal game

Each learner is put a little sticky paper on their forehead. There is a name of an animal

on the paper so all learners can see the name except for the one who has the paper on

the forehead. Learners have to find out what is their animal. They can ask only yes/no

questions to find out.

Jazz Chant 2

This chant starts with a video. The video is a food chant based on simple structure: e.g.

Broccoli, broccoli, broccoli is green. Learners will chant according to a video and then

they will create their own Chants and they will prepare a performance of their Chants in

groups. They can include pictures and percussion musical instruments into their

performance.

Stages of the lesson:

Stage

(duration) Interaction Teacher Learners

Language

focus

Language

used

Warm-up

activity:

Introduction

(5)

Ls sitting in

their seats,

answering

individually

1. T

explains

rules of the

game and

elicits

possible

questions

2. T shows

to Ls model

questions

on the

whiteboard.

1. Ls

provide

possible

questions

they can ask

in the game.

2. Ls read

model

sentences

and provide

other ideas.

Creating

yes/no

questions

“Can it

fly?” “Does

it live in the

ocean?”

“Does it eat

grass?”

“Is it

brown?”

“Has it got

a tail?” Warm-up

activity

(5)

Whole class

mingle

T put sticky

papers on

Ls‟

foreheads

and monitor

Ls

Ls walk

across the

classroom

and ask

questions

Practising

yes/no

questions

Jazz Chant:

Video

Ls sit on

their seats

T plays a

video and

Ls chant

according

Practising

chanting

53

(5) and work

together

encourage

Ls to chant

to the video

Jazz Chant:

Group work

(20)

Ls work

groups

T gives

instructions

and then

monitor the

groups and

assist to

them

Ls create

their Chants

and work

on the way

they will

perform it

Active use

of Ls‟

language

“Kangaroo,

kangaroo,

kangaroo

can jump!”

Jazz Chant:

Performance

(10)

One group

performs,

the rest sit

on their

seats

T

encourages

Ls

Ls perform

their Chants

Homework: no

Assessment, monitoring: careful observation of learners

LESSON PLAN 3

25th February 2016, 10:40, 45 min, 12 learners

Lesson aims:

- learners will practise vocabulary and structures they know in form of Jazz Chant

Personal aims:

- to give clear instructions

- to guide Ls through the stages successfully

Teaching aids and materials:

- pictures of animals, percussion musical instruments

Anticipated problems:

Learners do not like just to repeat Chants as they do not see any sense in it. But they do

not really appreciate when they have too much freedom for creativity neither so I will

try to balance these two features. Learners will have responsibility for a piece of their

own Chant but the activity will be clearly structured.

Description of activities:

Jazz Chant 3

This Jazz Chant activity is based on the previous lesson because learners use their

pieces of Chants from the performance. All Chants are reviewed at the beginning,

learners write their names on the whiteboard and attach a picture of their animal next to

it. This creates a visual tool which demonstrate the structure of the Chant. Learners

54

chant individually one by one according to the structure and the rest of the class is

repeating the chant after them so learners need to remember only their own line.

Stages of the lesson:

Stage

(duration) Interaction Teacher Learners

Language

focus

Language

used

Jazz Chant 3:

Introduction

(10)

Whole

class, Ls

come

individually

to the

whiteboard

T invites

learners to

repeat their

Chant from

previous

lesson and to

write their

name on the

whiteboard

and put a

picture of an

animal next to

it.

Ls come to

the

whiteboard

one by one,

say their Jazz

Chants, write

their name

and put an

animal from

their Jazz

Chant

Ls‟ own

active

language

according

to a

model

“Whale,

whale,

whale

lives in

the

ocean.”

Jazz Chant 3:

Second stage

(7)

One learner

by one

provides

his/her own

piece of

Chant and

the rest

repeats

T encourages

learners to

Chant their

own piece of

Chant and

conduct the

order of Ls

Ls chant one

by one and

the rest of

the class

always

repeat the

Chant

Jazz Chant 3:

Third stage

(5)

T gives new

instructions

Ls can

change their

voice and the

rest has to

imitate them

Jazz Chant 3:

Final stage

(8)

T distributes

percussion

musical

instruments

and explain

possible use of

them in this

Chant

Ls chant as

before but

with use of

percussions,

Ls who did

not want the

percussions

can mime the

meaning of

the sentences

Questionnaire

(15)

Ls sit on

their seats

T distributes

questionnaires,

explains

everything and

goes through

them together

with learners

Ls fill

questionnaire

according to

T‟s

instructions

Learners

are

allowed

to write

in Czech

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55

Appendix 2: Filled-in assessment sheets

56

57

58

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