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Maria Isabela Leite de Almeida - entrevistada

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Maria Isabela Leite de Almeida - entrevistada

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Minha experiência com a música no aprendizado de uma segunda língua foi muito importante.

Aos 10 anos iniciei meus estudos em uma escola de idioma, onde enfrentei várias dificuldades no quesito conversação. Então, comecei à procurar outros meios para poder facilitar o meu aprendizado.

Na época assistia programas de clipes musicais (Mtv), onde eu me interessava em saber o significado das músicas e procurava as traduções. Sendo assim, despertou a minha curiosidade em saber as pronúncias "corretas" e me fez sentir mais vontade de aprender a língua.

Durante esse tempo, adquiri mais facilidade em ouvir e compreender o idioma inglês.

Além disso, aprendi varias gírias e dialetos diferentes dos quais aprendia na escola. Me divertia e adquiria conhecimento ao mesmo tempo.

Até hoje utilizo esse recurso ao meu favor, e ainda me ajuda bastante. Ainda mais se as músicas forem lentas, assim consigo prestar atenção em cada frase.

Metade no meu aprendizado em inglês se deve à música, a maneira mais fácil e prazerosa de se aprender.

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Lawence Boorer destaca na plataforma Quora um ponto interesante:

"...we "train" our ears to listen for certain sounds and to ignore others as our native language doesn't use them."

Tal observação foi considerada no desenvolvimento do projeto e resultou em maior pesquisa sobre a contribuição da música no estudo da gramatica normativa. Como forma de fundamentar seu ponto de vista, Boorer (que não é especialista na área) representou seus pareceres com o seguinte vídeo:

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How to learn english with songs - learn englsih with subtitles

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How to learn english with songs - learn englsih with subtitles

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How to Learn English with Songs -  Learn English with Subtitles

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Learning english with music: can you do it?

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Learning english with music: can you do it?

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Learn English With Music: Can you do it? How? Is it a good idea?

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How to learn english by listening to music

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How to learn english by listening to music

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How to Learn English by Listening to Music: EASY AND FUN Way to Study

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Connect with a native-speaker to practice English - https://goo.gl/DvWWeN Which songs do you listen to in order to improve your English language? School where this lesson was filmed: https://goo.gl/04In9j When I was 8 I fell in love with Britney's music and I wanted to understand meaning of her songs.

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Published: Mon, 5 Dec 2016

Music is frequently used by teachers to help second language learners acquire a second language. This is not surprising since the literature abounds with the positive statements regarding the efficacy of music as a vehicle for first and second language acquisition. It has been reported to help second language learners acquire vocabulary and grammar, improve spelling and develop the linguistic skills of reading, writing, speaking and listening (Jalongo and Bromley, 1984, McCarthey, 1985; Martin, 1983, Mitchell, 1983, Jolly, 1975). According to educators of second language learners, music is advantageous for still other reasons. First, for most students, singing songs and listening to music are enjoyable experiences. The experience is so pleasurable that it is not uncommon for students to "pester" their teacher so that they can sing again and again. Also, as students repeatedly sing songs, their confidence level rises. Furthermore, by engaging in a pleasurable experience, learners are relaxed and their inhibitions about acquiring a second language are lessened. Yet, while they are more relaxed, they are also more attentive than usual, and therefore, more receptive to learning. Through songs, students are exposed to "authentic" examples of the second language. Furthermore, target vocabulary, grammar, routines and patterns are modeled in context. These are but a few of the benefits associated with music use in the second language classroom.

THEORETICAL SUPPORT FOR THE USE OF MUSIC IN THE SECOND LANGUAGE CLASSROOM

There is theoretical support for its use in the second language classroom as well. In this section we will discuss two theories which are most directly related to music and second language learning. These come from the fields of linguistics and psychology respectively.

Krashen's Second Language Hypotheses

One linguistic theoretical orientation, "nativism" explains second language in purely biological terms. According to this perspective, human beings biologically pre-wired to process and therefore acquire language, be it first or second language. Noam Chomsky (1965), most widely known nativist, claims that a learner's input from the environment is insufficient to account for the speed with which individuals acquire language. Instead, he posits that humans are born with knowledge which predisposes them to acquire language. This knowledge is what allows the learner to structure any language and acquire it.

Following in the nativist tradition is the work of Stephen Krashen (1982) . Of Krashen's five hypotheses, the best known and frequently referred to are the "Input " and "Affective filter " hypotheses. According to Krashen's Input Hypothesis, new, unfamiliar vocabulary is acquired when its significance is made clear to the learner. Meaning is conveyed by providing extralinguistic support such as illustrations, actions, photos, and realia. This in turn results in what Krashen refers to as "comprehensible input" since the linguistic input is made comprehensible to the second language learner. Krashen further claims that the amount of comprehensible input is proportionate to the amount of vocabulary acquired. Thus, according to Krashen (1989), vocabulary is incidentally acquired through stories because (1) familiar vocabulary and syntax contained in the stories provide meaning to less familiar vocabulary, and (2) picture illustrations clarify the meaning of unfamiliar words. There is evidence that picture illustrations succeed at supporting the reading process by clarifying the meaning of incoming verbal information (Hudson, 1982; Omaggio, 1979; Mueller, 1980; Bradsford and Johnson, 1972). In short, meaning is critical to the acquisition of second language vocabulary.

Music use in the second language classroom is consistent with both of Krashen's hypotheses. When second language learners hear "story songs" that is, stories which have been set to music, it is possible to similarly acquire vocabulary. As in the case of orally-read stories, story songs which are presented with picture illustrations, photos or gestures provide the necessary extralinguistic support which results in language acquisition. Furthermore, because of the positive effects which music has upon second language learners, story songs may motivate and captivates the attention of second language learners in ways that oral stories cannot.

Krashen's second hypothesis, the "Affective Filter hypothesis," is also tied to music use in the second language classroom. According to this hypothesis, the extent to which linguistic input is received from the environment depends largely upon the learner's "affect", that is his inner feelings and attitude. Negative emotions, functioning much like a filter, can prevent the learner from making total use of the linguistic input from his environment. Therefore, if he is anxious, unmotivated, or simply lacks confidence, language acquisition will be limited It is therefore, in the interest of the second language teacher to provide an environment which evokes positive emotions. Music does precisely that. Whether learners simply listen to instrumental music, vocals in the target language, or sing in unison, it is a pleasurable experience. Furthermore, as reported in the literature, singing songs in unison produces a sense of community and increases student confidence in the second language. Thus, music, however it is used in the classroom, evokes positive emotions which can lower the "affective filter" and bring about language acquisition.

Gardner's Theory of Multiple Intelligences

Music use in the second language classroom is supported by the work of still another theorist, Howard Gardner (1993). According to this psychologist, there exist eight distinct intelligences; musical, spatial, logical, linguistic (verbal) logical-mathematical, bodily-kinesthetic (movement), interpersonal (understanding others) and intrapersonal (understanding self) and naturalist (observing and understanding natural and human-made patterns and systems). Brain research supports the notion that these distinct abilities appear to be independent of one another. That is, patients experiencing difficulties in one location in the brain do not generally experience problems in other portions. To him, all humans are born with a propensity to excel in all of these areas, yet their ability to actualize these is largely dependent upon the influences of culture, motivation level and experiences (1998). As a result, most individuals tend to excel in only one or two of these areas.

There are several implications for educators. First, Gardner believes that it is the responsibility of educational institutions to cultivate these intelligences. Also, educators need to be reminded that historically schools have focused on the development of only two of these intelligences: linguistic and logical/mathematical skills. Such a perspective is narrow since humans possess a greater number of intelligences, according to Gardner. Given this, schools need to acknowledge and foster a broader range of intelligences. Therefore, teachers need to instruct in ways that tap a wide variety of intelligences. Although it is impossible to tap all intelligences at all times, teachers need to incorporate a variety of strategies so that they reach and are successful with more students than they have been in the past (Campbell, Campbell & Dickinson, 1996).

Using music as a vehicle for second language learning is consistent with Gardner's theory of multiple intelligences. Music can be used in any number of ways to instruct the second language to second language learners. Students may listen to instrumental background music while writing an essay. To elicit verbal responses, students may be asked to listen to classical or jazz music. In order to acquire new vocabulary, students may listen to a story song while the teacher points to picture illustrations of key vocabulary words. Or students may learn to sing songs with lyrics containing key target language structures. Clearly, there are numerous ways in which music can be used to instruct the second language. In so doing, students will cultivate the musical intelligence which Gardner speaks of. Furthermore, those students who are strongest in this musical intelligence will experience more successful instruction.

RESEARCH SUPPORT FOR USING MUSIC IN THE LANGUAGE CLASSROOM

Using music in the second language classroom is not only consistent with linguistic and psychological theory, but research as well. First, we will turn our attention to the psychological research before delving into the research on music and second language acquisition.

Psychological Research on Music and Rote Memorization

Much of the support for the use of music in the second language classroom comes from the area of psychology. The psychological literature is rich with research on music and rote memorization. Language acquisition and rote memorization represent two distinct types of verbal learning. Yet, although they are not synonymous, they are related: Language acquisition subsumes memorization. The ability to memorize is critical to the language acquisition process, since it would be virtually impossible to acquire language without memory.

Music reportedly enhances rote memorization. In fact, some studies point to the bond which exists between music and verbal learning (Deutch, 1972; Palermo, 1978; Serafina, Crowder, Repp, 1984; Borchgrevink, 1982). Music and its subcomponent, rhythm, have been shown to benefit the rote memorization process. When various types of verbal information (e.g., multiplication tables, spelling lists) was presented simultaneously with music, memorization was enhanced (Gfeller, 1983; Schuster and Mouzon, 1982). Research which focced only on the effectiveness of rhythm, a subcomponent of music, has been equally favorable (Staples, 1968; Ryan, 1969; Weener, 1971; Shepard and Ascher, 1972; Milman, 1974). The psychology literature also indicates that the retentive effects of rhythm can be maximized when the targeted verbal information carries meaning. In several studies, a rhythmic presentation benefited memorization when the items were both meaningful and meaningless (i.e., nonsense syllables). Yet, the impact of rhythm was greatest when the verbal information to be memorized was more meaningful (Weener, 1971; Shepard and Ascher, 1971; Glazner, 1976).

The psychological literature offers evidence of the positive relationship between music and rote memorization, a related yet distinct type of verbal learning. Yet, can music promote second language acquisition as well? Can music, when coupled with the targeted second language, promote language acquisition.

Acquiring Second Language Vocabulary Through Music

The positive effects of music upon rote memorization are well documented, and while there is good reason to believe that music could similarly benefit second language acquisition, there is a dearth of empirical support for music as a vehicle for second language acquisition is lacking. However, there was an investigation which has dealt with this topic.

Medina (1993) studied the effects of music upon the acquisition of English vocabulary in a group of 48 second grade limited-English-proficient children. A Pretest-Posttest Control Group Design with Matching and Repeated measures was selected for this investigation. The main independent variable, medium (Music/No-Music) was crossed with a second variable, extralinguistic support (Illustrations/No-Illustrations), producing four treatment groups. No-Music group subjects listened to an oral story while Music subjects heard a sung version of the same story. Illustration group subjects were shown pictures of target vocabulary words while listening to the story. No-Illustration subjects listened to the story without the benefit of pictures. The findings support past positive claims. The same amount of vocabulary was acquired from listening to a song as listening to a story. More words were acquired when they were sung rather than spoken. Similarly, presenting illustrations which communicated word meaning resulted in greater vocabulary acquisition. Yet the greatest vocabulary was acquired when stories were both sung and illustrated. Therefore, the combination of Music and Illustrations resulted in the largest vocabulary acquisition gains.

CLASSROOM ESL-MUSIC STRATEGY

Medina's (1991) previously-mentioned investigation has definite implications for educators. In this study, the greatest amount of vocabulary was acquired through music when the experimenter also used the pedagogically-sound practice of communicating meaning through pictures. Therefore, when using music with second language learners, educators need to make certain that the meaning of target vocabulary is clearly being conveyed. Second, even when music is being used, teachers still need to be mindful of the important role played by sound pedagogical practices. That is, they need to fuse sound instructional strategies with music use. Many educators mistakenly abandon successful teaching strategies when using music. Unfortunately, when educators fail to combine music and pedagogy in the E.S.L. classroom, second language learners do not fully benefit from the potentially powerful effects which music can have upon language acquisition. Therefore, in order to maximize the effects of music, and bring about the largest amount of second language acquisition, care needs to be taken to infuse successful instructional practices with music. Simply teaching students songs in second language songs, though enjoyable, will not succeed at helping students acquire the second language.

Teachers use music and songs in Foreign Language classes for several reasons. The main reason is the good atmosphere it creates in the classroom. Students relate to songs as part of entertainment rather than work and find learning vocabulary through songs amusing rather than tedious. This is true especially with pop songs which are part of youth culture. Better familiarity with these songs improves students' status within the peer group and therefore stimulates learning. These songs also tend to deal with problems interesting to young people and the students identify with the singers and want to understand the words. Didactically songs are also useful in teaching the rhythm of the language and informing the students about the culture of that language's speakers. The other issue is that even just playing music without words creates a relaxed atmosphere that enhances learning. The best example for this is the Suggestophobia method of Georgii Lozanov in which foreign texts are read dramatically with the background of several carefully chosen works of classical music. Lozanov claims that the atmosphere created by the music enhances the ability of the students to remember vocabulary words and thus shortens the study period of the foreign language.

The major problems that teachers have with using songs in the classroom is the non-standard grammar in many of the songs and the 'non-serious' image of the pop songs. The first problem is that the non-standard grammar will confuse the foreign language students. The answer to this in current research is that not all songs are suitable for foreign language classes. But students usually can deal with the non-standard grammar issue in most of the songs. On the contrary, the students find the exposure to the singers, as authentic foreign language speakers, useful. After all non-standard grammar is fairly common in daily usage of most languages and the students have to learn to deal with it in a language they learn. Indeed, the students prefer authentic foreign language songs to the songs created especially for foreign language classes. The second problem, that of the 'non-serious' image of pop music, was addressed by all the researchers working in the field. The teachers worry that their students will enjoy the music, but will actually learn less than by more traditional methods. This worry has been refuted by all the research done on the issue, dealing with different languages, different student populations and different levels of classes. The common agreement is that students learn the same amount of material by both methods. The main difference is that the students report learning through songs as much more enjoyable. This refutes several theories based on analysis of brain functioning, according to which music should considerably enhance the learning potential of the students. But it still encourages using the more enjoyable method in the classroom in order to enhance the motivation for learning. Since the results are roughly similar, this could help the teacher deal with the problem of creating a good learning atmosphere in the classroom, without compromising the level of learning.

The current research recommends using the students' every day experience of foreign languages to enhance their learning. Pop music is an important component of that experience and makes learning a foreign language more fun. It encourages the students to take an active part in the learning process by contributing from their musical knowledge. Therefore, they become more confident in their learning ability and more motivated to continue learning the language.

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Using Music to Enhance Second Language Learning

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Disclaimer: This work has been submitted by a student. This is not an example of the work written by our professional academic writers. You can view samples of our professional work here.

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Published: Tue, 16 May 2017

There is a belief that first musical instruments appeared as early as speech, which means that the language of words and that of music were formed in parallel, completing and enriching each other. That is why language of words shows so much similarity to music. Both speech and music are characterized by rhythm and melody. Close associations of language and music have rooted in people's mind very deeply. People often use metaphorically the name of one to refer to the other: they call pleasant words "music to their ears", "face the music" when accepting criticism or punishment for something they have done, use the phrase "the language of music" to describe a way of expressing meaning through sounds. Sound and word are combined to give birth to pieces of vocal music, where music brings to light the internal sense of the text, reveals what is hidden between the lines. So it is natural to teach language with the help of music and songs. Moreover, a great number of scholars consider music and songs to be the most productive and effective ways of teaching a foreign language.

The role of music and songs in teaching English is very important. Using songs and music is one of the tools a teacher can use to teach English to the class, regardless of the age of the learner. Songs and music are a tie that binds all cultures and languages and, therefore, the best way to make learning English fun. Jeremy Harmer in his book "How to Teach English" emphasizes the importance of music as a learning tool by stating that music is a strong incentive for student engagement because "it speaks directly to our emotions while still allowing us to use our brains to analyse it and its effects if we so wish" (Harmer 319); and it plays a multifunctional role in the process of learning a foreign language, it has the power of creating a propitious atmosphere, "it can amuse and entertain, and it can make satisfactory connection between the world of leisure and the world of learning in the classroom" (Harmer 319). Tim Murphey, indicates two chief assets in the usage of music and songs in relation to language learning: "music is highly memorable; it is highly motivating, especially for children, adolescents, and young adult learners" (Murphey 4).

Nevertheless, the role of songs and music in teaching English is often underestimated, and activities involving them are often neglected by teachers. The usage of music and songs in the classroom: "has often been met with ridicule and a cautionary statement that although students were enjoying class, they were not learning" (Salcedo, "The Effects of Songs in the Foreign Language Classroom on Text Recall and Iinvoluntary Mental Rehersal"). Teachers usually think that students will not take music and songs seriously at English classes; they will have too much fun and will not pay any attention to the pedagogical aim of the song. It is not rare to hear teachers ask questions like 'What do music and songs have to do with language learning?', 'What do you do with a song besides listen to it and possibly sing with it?', 'What else can be done with the song besides gap-filling?' This testifies to the fact that teachers are often unaware of the opportunities songs and music can present. There are different opinions, but it is for sure that it is a good way to make foreign language learning much more effective to learners of different age and different levels. Teachers who want to keep their students interested and motivated should use songs and music activities, since, according to Larry M. Lynch, it has lots of advantages:

Songs almost always contain authentic, natural language;

A variety of new vocabulary can be introduced to students through songs;

Songs are usually very easily obtainable;

Songs can be selected to suit the needs and interests of the students;

Grammar and cultural aspects can be introduced through songs;

Time length is easily controlled;

Students can experience a wide range of accents;

Song lyrics can be used in relating to situations of the world around us;

Students think songs are natural and fun.

(Lynch, "9 Reasons Why You Should Use Songs to Teach English as a Foreign Language.")

Songs and music are invaluable in teaching English at elementary level. No other materials give the teacher such a broad range of possibilities for teaching various aspects of English. An illustration of language in action, the song can be subjected to linguistic analysis or turned into an exercise. Through the use of songs English pronunciation, vocabulary and grammar can be effectively taught. According to Cameron there are three stages of a song as a task for elementary level students:

preparation stage (it is very important to activate the vocabulary and to form basic sentence structures in this stage);

core stage (the best way to involve students and raise their interest in this stage is to sing the song several times in the core, changing pace or volume and making students perform actions and sing along chorally);

follow-up stage (attempts to be a successful completion of the core stage )

(Millington, "Using Songs Effectively to Teach English to Young Learners").

Songs can be used to develop students' listening skills. They improve listening skills 'because they provide students with practice listening to different forms of intonation and rhythm" (Millington, "Using Songs Effectively to Teach English to Young Learners"). Songs can be really helpful in practicing listening skills "warm-up work can provide a basis for students to make predictions before listening; listening activities can encourage listening for gist or listening for detail" (Hancock 7). Their advantage lies in the fact that they usually go at slower speed than speeches or dialogues; words, phrases, sentences are being sung which usually means that they are uttered more slowly and often more distinctly than in case of speaking. There is a wide range of song-based listening activities for students at elementary level:

picture discussion (the teacher presents some key words and/or the title from the lyrics and asks students to predict what the song is about);

'snippets of information' (the teacher plays the first few seconds of the song and asks students to predict from the mood of the music what the song is about);

picture selection (the teacher shows students two or more alternative pictures, magazine photos perhaps, and asks them to say which one best matches the contents or mood of the lyric and why);

"sequencing" (the teacher gives students a copy of the lyric with the lines in the wrong order or cut into strips, and students listen and put them in the right order).

While listening to songs students hear the language used so that they can both imitate the pronunciation and also subconsciously acquire some of its sounds and patterns. During the process of listening to songs, students subconsciously acquire some of English sounds and patterns. When it comes to singing, they imitate the pronunciation, learning to use rhythm and stress correctly. The task of learning the correct use of stress and rhythm becomes simpler because students are lead by the rhythm of a song. There are a few activities which students at elementary level can do with a song to practice pronunciation. The most effective one is repeating certain parts of the lyric (drilling).

Songs are equally suitable for teaching vocabulary at elementary level. Teachers may use them for two purposes: either to present new vocabulary items or to practise the familiar ones. Often songs represent "a theme or topic that can provide the context for vocabulary learning" (Millington, "Using Songs Effectively to Teach English to Young Learners"). Neil Millington in the article "Using Songs Effectively to Teach English to Young Learners" gives examples of two songs: "Teaching Practice Head, Shoulders, Knees and Toes" serves to review body parts, or "I Can Sing a Rainbow" which is helpful for reviewing color names (Millington, "Using Songs Effectively to Teach English to Young Learners"). The repetition of monosyllabic words in children's songs can help improving vocabulary acquisition (Millington, "Using Songs Effectively to Teach English to Young Learners"). There are songs which can be used as the basis for dramatization. Tim Murphey states that at elementary level the dramatization of the song can be useful to express, through gestures, the meaning of some actions (Murphey 121). The age-old technique of asking students to perform actions with words has become popular because of well-documented research that shows it to be very effective. The idea is that if students can move and do what is said matching words to the actions, language is learnt more deeply.

Songs can be a good source of topics for discussion and different classroom activities at elementary level. The plot of the song is a good basis for story telling while characters in the song can serve as a basis for role play. By interpreting and converting song lyrics into prose and discussing the style of the song students have a chance to develop their productive skills - speaking and writing. The main speaking activities for elementary level are:

role-play (the teacher asks students to imagine that they are characters of the given song);

continue the story (students may be asked to imagine how the characters ended up in the situation they are in.);

Particular attention should be paid to the choice of songs. Mark Hancock (Hancock 3) thinks that just because a student might not choose to listen to a certain song outside the classroom, does not mean that the student would not enjoy it as part of a learning activity. Teachers are not advised to present the song as something students are supposed to like. Thus, any song could be used for teaching purposes. According to Tim Murphey, any song can be useful and motivating, however teachers should use the students' choice of music and song as much as possible (Murphey 14). Another important issue is whether teachers should always use authentic songs or not. According to Jeremy Harmer, listening material as well as the kind of tasks which go with it are determined by the level of students (Harmer 319).

Music and songs in English classroom are important and useful tools. This is a great formula for keeping students always interested in the language they learn. With their help students can not only learn English but also relax and enjoy their class. There are benefits to using songs in the classroom; however, more often than not, songs are used relatively ineffective, often as activities between learning. No matter how enjoyable or memorable singing songs can be, it will not teach learners to use the language and will not give them the ability to communicate in another language. Reframing songs into tasks according to preparation, core, and follow-up stages enhance song's potential as teaching and learning tools. Songs and music can be used for practicing different aspects of English, and all learning skills can be improved.

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A principal bibliografia utilizada foi o estudo da Professora pesquisadora Suzanne L. Medina Ph.D. sobre a aquisição da linguagem através da música.

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Using Music to Enhance Second Language Acquisition From Theory to Practice

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Conforme mencionado na apresentação, há grande riqueza de possibilidades em uma song class. Os tradicionais exercícios de sala de aula que envolvem a música, consistem majoritariamente em escutar e preencher lacunas. A problemática envolvida na tática mencionada é que somente uma competência (listening) é fortemente trabalhada. O que muitos professores não consideram é que, com a contextualização certa, as 5 competências podem ser trabalhadas na mesma atividade.
Abaixo temos um exemplo de atividade onde a professora trabalhou uma música popular (If I were a boy) da cantora Beyoncé a partir de um texto. A atividade visava ensinar Conditionals e todas as competências foram praticadas.

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Postagem acadêmica do Professor do MIT Henry Jenkins Ph.D. sobre Transmedia. Os conceitos por ele abordados vieram a ser utilizados na reflexão, majoritariamente na parte investigativa do porquê de se utilizar o recurso musical no aprendizado.

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I designed this handout on transmedia storytelling to distribute to my students. More recently, I passed it out at a teaching workshop at the Society for Cinema and Media Studies. I thought it might be of value to more of you out there in the community. Much of it builds on the discussion of that concept in Convergence Culture, though I have updated it to reflect some more recent developments in that space. For those who want to dig deeper still into this concept, check out the webcast version of the Transmedia Entertainment panel from the Futures of Entertainment Conference.
Transmedia Storytelling 101
1. Transmedia storytelling represents a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story. So, for example, in The Matrix franchise, key bits of information are conveyed through three live action films, a series of animated shorts, two collections of comic book stories, and several video games. There is no one single source or ur-text where one can turn to gain all of the information needed to comprehend the Matrix universe.

2. Transmedia storytelling reflects the economics of media consolidation or what industry observers call "synergy." Modern media companies are horizontally integrated - that is, they hold interests across a range of what were once distinct media industries. A media conglomerate has an incentive to spread its brand or expand its franchises across as many different media platforms as possible. Consider, for example, the comic books published in advance of the release of such films as Batman Begins and Superman Returns by DC ( owned by Warner Brothers, the studio that released these films). These comics provided back-story which enhanced the viewer's experience of the film even as they also help to publicize the forthcoming release (thus blurring the line between marketing and entertainment). The current configuration of the entertainment industry makes transmedia expansion an economic imperative, yet the most gifted transmedia artists also surf these marketplace pressures to create a more expansive and immersive story than would have been possible otherwise.

3. Most often, transmedia stories are based not on individual characters or specific plots but rather complex fictional worlds which can sustain multiple interrelated characters and their stories. This process of world-building encourages an encyclopedic impulse in both readers and writers. We are drawn to master what can be known about a world which always expands beyond our grasp. This is a very different pleasure than we associate with the closure found in most classically constructed narratives, where we expect to leave the theatre knowing everything that is required to make sense of a particular story.

4. Extensions may serve a variety of different functions. For example, the BBC used radio dramas to maintain audience interest in Doctor Who during almost a decade during which no new television episodes were produced. The extension may provide insight into the characters and their motivations (as in the case of websites surrounding Dawson's Creek and Veronica Mars which reproduced the imaginary correspondence or journals of their feature characters), may flesh out aspects of the fictional world (as in the web version of the Daily Planet published each week by DC comics during the run of its 52 series to "report" on the events occurring across its superhero universe), or may bridge between events depicted in a series of sequels (as in the animated series - The Clone Wars - which was aired on the Cartoon Network to bridge over a lapse in time between Star Wars II and III). The extension may add a greater sense of realism to the fiction as a whole (as occurs when fake documents and time lines were produced for the website associated with The Blair Witch Project or in a different sense, the documentary films and cd-roms produced by James Cameron to provide historical context for Titanic).

5. Transmedia storytelling practices may expand the potential market for a property by creating different points of entry for different audience segments. So, for example, Marvel produces comic books which tell the Spider-man story in ways that they think will be particularly attractive to female (a romance comic, Mary Jane Loves Spiderman) or younger readers (coloring book or picture book versions of the classic comicbook stories ). Similarly, the strategy may work to draw viewers who are comfortable in a particular medium to experiment with alternative media platforms (as in the development of a Desperate Housewives game designed to attract older female consumers into gaming).

6. Ideally, each individual episode must be accessible on its own terms even as it makes a unique contribution to the narrative system as a whole. Game designer Neil Young coined the term, "additive comprehension," to refer to the ways that each new texts adds a new piece of information which forces us to revise our understanding of the fiction as a whole. His example was the addition of an image of an origami unicorn to the director's cut edition of Bladerunner, an element which raised questions about whether the protagonist might be a replicant. Transmedia producers have found it difficult to achieve the delicate balance between creating stories which make sense to first time viewers and building in elements which enhance the experience of people reading across multiple media.

7. Because transmedia storytelling requires a high degree of coordination across the different media sectors, it has so far worked best either in independent projects where the same artist shapes the story across all of the media involved or in projects where strong collaboration (or co-creation) is encouraged across the different divisions of the same company. Most media franchises, however, are governed not by co-creation (which involves conceiving the property in transmedia terms from the outset) but rather licensing (where the story originates in one media and subsequent media remain subordinate to the original master text.)

8. Transmedia storytelling is the ideal aesthetic form for an era of collective intelligence. Pierre Levy coined the term, collective intelligence, to refer to new social structures that enable the production and circulation of knowledge within a networked society. Participants pool information and tap each others expertise as they work together to solve problems. Levy argues that art in an age of collective intelligence functions as a cultural attractor, drawing together like-minded individuals to form new knowledge communities. Transmedia narratives also function as textual activators - setting into motion the production, assessment, and archiving information. The ABC television drama, Lost, for example, flashed a dense map in the midst of one second season episode: fans digitized a freeze-frame of the image and put it on the web where together they extrapolated about what it might reveal regarding the Hanso Corporation and its activities on the island. Transmedia storytelling expands what can be known about a particular fictional world while dispersing that information, insuring that no one consumer knows everything and insure that they must talk about the series with others (see, for example, the hundreds of different species featured in Pokemon or Yu-Gi-O). Consumers become hunters and gatherers moving back across the various narratives trying to stitch together a coherent picture from the dispersed information.

9. A transmedia text does not simply disperse information: it provides a set of roles and goals which readers can assume as they enact aspects of the story through their everyday life. We might see this performative dimension at play with the release of action figures which encourage children to construct their own stories about the fictional characters or costumes and role playing games which invite us to immerse ourselves in the world of the fiction. In the case of Star Wars, the Boba Fett action figure generated consumer interest in a character who had otherwise played a small role in the series, creating pressure for giving that character a larger plot function in future stories.

10. The encyclopedic ambitions of transmedia texts often results in what might be seen as gaps or excesses in the unfolding of the story: that is, they introduce potential plots which can not be fully told or extra details which hint at more than can be revealed. Readers, thus, have a strong incentive to continue to elaborate on these story elements, working them over through their speculations, until they take on a life of their own. Fan fiction can be seen as an unauthorized expansion of these media franchises into new directions which reflect the reader's desire to "fill in the gaps" they have discovered in the commercially produced material.

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Transmedia Storytelling 101 - Pop Junctions

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I designed this handout on transmedia storytelling to distribute to my students. More recently, I passed it out at a teaching workshop at the Society for Cinema and Media Studies. I thought it might be of value to more of you out there in the community.

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O artigo da professora Kelli R. Paquette foi utilizado de forma que fosse possível compreender melhor a importância e a contribuição do estímulo musical em práticas de letramento.  Apesar de o estudo ser focado em young learners, o grupo decidiu que alguns dos conceitos também poderiam ser aplicados a alunos de todas as idades.

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Integrating experiences with music in the early childhood classroom supports English language learners' literacy development (Peregoy and Boyle, Reading, writing, and learning in ESL. Pearson, Boston, 2008; Saricoban and Metin, Songs, verse and games for teaching grammar. Internet TESL J, 2000). This article describes the benefits of incorporating musical experiences into daily instruction and provides practical activities for classroom implementation, e.g., reading, writing, and singing songs for language skill development, reading fluency, and writing progress. Despite a teacher's level of aesthetic appreciation and musical training, the value of fostering creativity and enhancing literacy instruction through music is vital in today's diverse early childhood classrooms. Music can transform classrooms into positive learning environments where children thrive academically, socially, and emotionally. Providing children with structured and open-ended musical activities, creating an atmosphere of mutual trust and respect, and sharing the joy of creativity with each other all are foundational to bases for the growth and development of the early childhood learner.

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Using Music to Support the Literacy Development of Young English Language Learners - Early Childhood Education Journal

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Integrating experiences with music in the early childhood classroom supports English language learners' literacy development (Peregoy and Boyle, Reading, writing, and learning in ESL. Pearson, Boston, 2008; Saricoban and Metin, Songs, verse and games for teaching grammar. Internet TESL J, 2000).

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O grupo realizou uma pesquisa de campo através da ferramenta "Google Forms". Os resultados foram brevemente mencionados na apresentação feita em sala de aula

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A estudante de 17 anos, Katarina F. Gomes concordou em ceder uma entrevista ao grupo relatando suas experiências pessoais acerca do aprendizado de língua inglesa através da música.

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Apesar de não ser considerado um

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Is it really effective if we learn English by English songs?

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Answer (1 of 4): The key to learning English well is to make it enjoyable through the right tools and habits. And one of the best tools is song. Practising songs is a fascinating way to improve your English in these areas: 1. Listening You can improve your English listening skills by listening...