USING POP SONGS IN TEACHING ENGLISH LANGUAGE TO STUDENTS MAJORING IN MUSIC ARTS. PHONOLOGICAL ASPECT

In the process of foreign language acquisition, students can face various obstacles, which can prevent them from achieving the desired goal. English pronunciation is traditionally considered one of the most challenging issues, which require special approach and teaching techniques to tackle. Teaching English language using popular songs appears to be a very effective method as songs provide students with plethora of pronunciation patterns they can master in an effective and at the same time enjoyable way. Moreover, music influences students' feelings thus developing their emotional intelligence, ensure relaxed atmosphere in the classroom, thus motivating them to learn various aspects of English language. Another indisputable argument for using songs and music in the process of EFL/ESL teaching is that these two notions have a lot in common. Both language and music have acoustic parameters like pitch, duration, stress and intonation. Having analyzed the research works of domestic and foreign scholars and practitioners, it was concluded that popular songs can be used to practice all language skills – grammar, vocabulary, reading, listening, writing and most importantly, pronunciation skills. It is clear that inadequate phonetic interpretation of the vocal text can cause deviation from the original (authentic) content and result in total misunderstanding or spoilt aesthetic perception of a song. In the process of mastering pronunciation with vocalists, it is necessary to take into account the peculiarities of vocal speech too. The article focuses on the methodological value of popular songs in the development of phonetic abilities in students majoring in music arts. The article also outlines the difficulties students face in the process of honing phonological skills such as certain consonant sounds and diphthongs as well as connected speech and provides the methodological approach to using songs in the classroom. It is strongly advised that language instructors carefully select the songs, taking into account many factors such as the students' level of English, age, and interests, as well as the complexity of the songs and their rhythm. It is recommended to follow a certain sequence of activities when working on the song material in order to facilitate the process of improving pronunciation of English sounds

Using a developmental-ecological approach to understand the relation between language and music

Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can inform not only developmental theories of language-music learning, but also contemporary neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input.

Feeling the Beat in an African Tone Language: Rhythmic Mapping Between Language and Music

Text-setting patterns in music have served as a key data source in the development of theories of prosody and rhythm in stress-based languages, but have been explored less from a rhythmic perspective in the realm of tone languages. African tone languages have been especially under-studied in terms of rhythmic patterns in text-setting, likely in large part due to the ill-understood status of metrical structure and prosodic prominence asymmetries in many of these languages. Here, we explore how language is mapped to rhythmic structure in traditional folksongs sung in Medʉmba, a Grassfields Bantu language spoken in Cameroon. We show that, despite complex and varying rhythmic structures within and across songs, correspondences emerge between musical rhythm and linguistic structure at the level of stem position, tone, and prosodic structure. Our results reinforce the notion that metrical prominence asymmetries are present in African tone languages, and that they play an important coordinative role in music and movement.

The human language system does not support music processing

Language and music are two human-unique capacities whose relationship remains debated. Some argue for overlap in processing mechanisms, especially for structure processing, but others fail to find overlap. Using fMRI, we examined the responses of language brain regions to diverse music stimuli, and also probed the musical abilities of individuals with severe aphasia. Across four experiments, we obtained a clear answer: music does not recruit nor requires the language system. The language regions′ responses to music are generally low and never exceed responses elicited by non-music auditory conditions, like animal sounds. Further, the language regions are not sensitive to music structure: they show low responses to both intact and scrambled music, and to melodies with vs. without structural violations. Finally, individuals with aphasia who cannot judge sentence grammaticality perform well on melody well-formedness judgments. Thus the mechanisms that process structure in language do not appear to support music processing.

The Effect of Familiarity on Neural Representations of Music and Language

We investigated how familiarity alters music and language processing in the brain. We used fMRI to measure brain responses before and after participants were familiarized with novel music and language stimuli. To manipulate the presence of language and music in the stimuli, there were four conditions: (1) whole music (music and words together), (2) instrumental music (no words), (3) a capella music (sung words, no instruments), and (4) spoken words. To manipulate participants' familiarity with the stimuli, we used novel stimuli and a familiarization paradigm designed to mimic “natural” exposure, while controlling for autobiographical memory confounds. Participants completed two fMRI scans that were separated by a stimulus training period. Behaviorally, participants learned the stimuli over the training period. However, there were no significant neural differences between the familiar and unfamiliar stimuli in either univariate or multivariate analyses. There were differences in neural activity in frontal and temporal regions based on the presence of language in the stimuli, and these differences replicated across the two scanning sessions. These results indicate that the way we engage with music is important for creating a memory of that music, and these aspects, over and above familiarity on its own, may be responsible for the robust nature of musical memory in the presence of neurodegenerative disorders such as Alzheimer's disease.

Hierarchical control as a shared neurocognitive mechanism for language and music

Although comparative research has made substantial progress in clarifying the relationship between language and music as neurocognitive systems from both a theoretical and empirical perspective, there is still no consensus about which mechanisms, if any, are shared and how they bring about different neurocognitive systems. In this paper, we tackle these two questions by focusing on hierarchical control as a neurocognitive mechanism underlying syntax in language and music. We propose the Coordinated Hierarchical Control (CHC) hypothesis: linguistic and musical syntax rely on hierarchical control, but engage this shared mechanism differently depending on the current control demand. While linguistic syntax preferably engages the abstract rule-based control circuit, musical syntax rather employs the coordination of the abstract rule-based and the more concrete motor-based control circuits. We provide evidence for our hypothesis by reviewing neuroimaging as well as neuropsychological studies on linguistic and musical syntax.

The evolution of hierarchical structure building capacity for language and music: a bottom-up perspective

A central property of human language is its hierarchical structure. Humans can flexibly combine elements to build a hierarchical structure expressing rich semantics. A hierarchical structure is also considered as playing a key role in many other human cognitive domains. In music, auditory-motor events are combined into hierarchical pitch and/or rhythm structure expressing affect. How did such a hierarchical structure building capacity evolve? This paper investigates this question from a bottom-up perspective based on a set of action-related components as a shared basis underlying cognitive capacities of nonhuman primates and humans. Especially, I argue that the evolution of hierarchical structure building capacity for language and music is tractable for comparative evolutionary study once we focus on the gradual elaboration of shared brain architecture: the cortico-basal ganglia-thalamocortical circuits for hierarchical control of goal-directed action and the dorsal pathways for hierarchical internal models. I suggest that this gradual elaboration of the action-related brain architecture in the context of vocal control and tool-making went hand in hand with amplification of working memory, and made the brain ready for hierarchical structure building in language and music.

Hvordan kan kunnskap om tekstlesing og lese- og skriveopplæring i grunnskolen brukes i noteopplæring på nybegynnernivå?

How can knowledge about language learning and teaching be used to enhance the study of music reading at the beginner level? This theoretical article aims to discuss the possibility of using teaching methods for reading and writing used in Norwegian primary schools for teaching literacy for music notation to instrumental pupils at the beginner level, focusing on western tonal music. Language and music reading have much in common as cognitive processes. However, comparison of methods for teaching how to read language and music shows several fundamental differences. They relate to the emphasis on various methodological elements, progression in the introduction of new symbols and choice of the activities used in the teaching/learning process. The article describes musical and linguistic syntax, acquisition of reading skill as a cognitive activity, and compares popular method books for teaching reading text and music in Norway. In the discussion section it is argued that the teaching activities that use writing music, experiencing various elements of music as sound before introducing musical notation and introducing basic knowledge about harmony, as well as adjusting of layout in the books for beginners, will have a positive effect on sight-reading at the beginner level.