Songs in English for the School Concert

One of the main differences between using English songs in class and performing them in a concert setting is that of focus. In class, they are one of a number of mediums through which language proficiency is the aim of all the participants. In a concert, this is not necessarily the case. The audience will include a large number of people whose knowledge of English is far lower than that of the performers. So what are the implications for a teacher preparing songs for a school concert?

The main consideration should be to guard against focusing purely on the language element of a song. Accordingly, songs need to be viewed in a wider artistic context where the use of drama, movement and body percussion all play a vital role in conveying meaning and enhancing enjoyment for audience and participants alike.

Using songs to support short sketches or plays emphasises their role in 'drama'. In a dramatisation of Aesop's fable 'The Tortoise and the Hare', for example, the Beatle's song 'I'm Only Sleeping' could be used to portray the over-confident hare falling asleep, then waking to find that the tortoise has overtaken him and won the race. By setting the song in such a clear context the audience will 'get the message' without having to rely unduly on language alone. 'Movement' refers to anything from free bodily expression to formal dance, while 'body percussion' is the term applied to the use of the body as a rhythmic device: hand-clapping, finger-snapping and drumming on the knees are all examples of this.

None of the above is to suggest that language is of secondary importance, only that other artistic devices will be needed to reinforce meaning in a concert setting. The following is a list of important points to bear in mind when considering using a song in a school concert:

1.    The lyrics should be as clear and meaningful as possible.

2.    When choosing a song to learn, pick a singer with a very clear voice.

3.    Students must like the song. As far as possible, suggestions should come from them rather than being imposed on them.

4.    Subject matter must be chosen sensitively. Avoid subjects or themes likely to cause offence in a particular cultural setting.

5.       Make your intentions known to the school principal and any of your colleagues who might be affected by them.

6.    Consider the possibility of your class providing original lyrics for a known song, or writing both words and music for an original composition of their own. With the current popularity of 'rap' and its emphasis on 'rhythm' rather than 'melody' the musical challenges should not be too great.

Once the above points have been dealt with, it will be time to consider how to make the chosen song or songs ready for concert performance. It will be assumed that all the useful pedagogical language work, including pre-, during, and post-listening activities will have been fully covered in class.

With pop songs, it is a good idea, where possible, to look at promotional videos, or performance clips on the Internet. This will give you a number of ideas for ways to incorporate drama, movement and rhythmic elements into your own performance. Songs which tell a story work particularly well. Some good examples are: 'Something Stupid' by Frank Sinatra; 'The Streets of London' by Ralph McTell; and a large number of songs by 'The Beatles' or 'Abba' where the lyrics are clear and the narrative can be easily represented through drama, movement or any of the techniques discussed above.

Once a song has been thoroughly rehearsed, it is a good idea to video the performance, then study it critically to see what improvements could be made. Do not, however, kill students' enjoyment by over-practising. It is vital that the freshness and vitality of a song comes over at a concert.

Providing that all these points are borne in mind, the performance is bound to be a great success.

Author: Rod Smith

Courtesy: US Embassy

Collected by: Mr. P. K. Jayaraj & R. Gangadhar, RIESI, Bengaluru