Beatles

Drawing by Fergal Kavanagh
An Integrated Technical-Cultural-Linguistic Experience in Modern Music History

By Prof. Giulio Cestari
This worksheet is to be used for educational purposes only Activity Tune into English 2013 www.tuneintoenglish.com
Worksheet written by Prof. Giulio Cestari, Dalmine (BG)
The Beatles - An integrated technical-culturallinguistic experience in Modern Music History

Note: This project, with six lessons, is based on a CLIL project written by Prof. Giulio Cestari for a course at C Foscari University in Venice. You can download the original paper on www.tuneintoenglish.com. Map:
1. 2. 3. 4. 5. 6. Pre-Reading Reading Lyric analysis Music Analysis 1 Music Analysis 2 Foreign School Partnership Brainstorming, video showing, questions, scrambled notices, translation Questions, final exam type questions Reading, discussion Listening, discussion Listening, discussion Music-technical research, research/production on music and society
An introduction to the context, premises and the general reasons of this work.
The idea, as a teacher, of creating a usable product, linking many subjects with English language learning experience has, for some time, been possible to achieve in a classroom environment. The L2 teacher sometimes uses musical production (singing) to involve and motivate students. Often, however, the musical production (as a group, generally speaking) is followed by a mere translation or a short song/author contextualization. Nothing else! In our present society, where even one musical hit or the recalling of it is so quick, it is not easy to recognise the value of a new musical melody or how it may have conditioned or reflected social development. Quite simply these songs become part of a fashion, or a personal or group history. But, above all, it is often unrecognised that beyond every great marketing success there may be taking note! a poetic, human existential, technical-musical value. Apart from the greats of music history and world literature, there are some authors who, with their simplicity, have produced and left a trace of their own life experience, giving examples of writing and compositions which we as teachers can use to involve students. The experience presented here calls for this initial element of sharing between active teachers together with the new important idea of acculturating and learning: all learning experiences are in the English language, as stipulated by the guidelines of the Italian school reform. It is easy to spontaneously fall into the trap that this work contains the same old activities from a fan of the English band. Not true! I have never loved The Beatles, although I have appreciated some of their songs which amused me. The rest is a product of curiosity for language and culture. This work does not therefore set out to be a celebration of the The Beatles but the fulfilment of a request fed by a spirit of sharing, integrating and experimentation which still enlightens my teaching. As it is my strong belief that my duties as a foreign language teacher (not working at a musical high school!) are to provide and support the knowledge of language as an expression and tool for the foreign culture, I guess that The Beatles as a subject matter is an appropriate opportunity to ensure that integrated learning is a strong educational experience. Above all I hope that any project work, like the one suggested here could be, from a teachers and students point of view, the concrete example of a small effort aimed to make the scholastic experience in its objectives more realistic and interesting, more functional and even .. beautiful. Teachers guide This teaching activity in integrated learning is targeted at the 5th year students of a Liceo Musicale (musical high school) with an English language level of B2.2. This means students have no difficulties in any abilities in L2, so that they can be work exclusively in the foreign language. The students also have concrete knowledge and abilities in specialized subjects as their school references. In fact this module is designed for the second term when an effective target has already been reached by the students in, for example, the history of music, musical techniques and genres. Reading and writing activities are suggested at the opening of the CLIL experience; speaking and listening at the end in order to be more effective due to the integration in the international partnership which closes the module proposal. All activities require the speaking of only English by operators and students.
This worksheet is to be used for educational purposes only Activity Tune into English 2013 www.tuneintoenglish.com Worksheet written by Prof. Giulio Cestari, Dalmine (BG)
The choice of songs. All songs have been selected based on the techni-musical needs, while maintaining a subject matter (topic) which helps the L2 teacher in literary paths. In fact all the songs contain social-existential topics and are a true representation of mans sociality in a modern setting. Operators. The operators (teachers) are divided into active and passive ones. The former are those who work with students in all direct and blended teaching live experiences. They are the students direct interlocutors, providing them with literature and instructions and sharing processes and results with them. Moreover these teachers may have shared/share such project topics modules in their own school year project plan, or in more integrated learning experiences. For example, the L2 teacher could share some of the lyrics contained here with his/her L1 literature colleague, suggesting an existentialism activity: comparing some of The Beatles songs to some L1 and foreign poets (e.g. in Italian: Foscolo, Leopardi) Regarding the direct teaching activity, the presence of two teachers is often expected with the whole class group, although the present school managing rules do not allow such an active suggestion. This is however expected because of the will to give students a precise idea of an effective L2 communicative work, also between teachers, as a true example of an international context operating system; and, furthermore, because of the correct targeting for this work towards the concrete idea that there are not any one single sectored learning experience but complete aims and truly shared learning operating suggestions. Moreover the involvement of a supervisor teacher is expected (not a foreign language teacher but with L2 abilities at B2/C1) to observe and evaluate. He/she will be always be present with teachers. The passive operators are those teachers who contribute, behind the scenes, to the activities of planning, observation, testing, and evaluation. They are teachers of technical subjects who work as experts with specific knowledge and abilities in music. Moreover they might/may have provided/provide modules on some of the subject topics of this work in the annual planning of their own subject. The passive teachers provide, by their own contribution, a completion of the whole-learning value for the experience from a technical point of view not only in the traditional direct learning activity, but also in the blended one. It is also expected that they will participate in activities as observers/auditors. PLANNING The planning activity takes place in the presence of all teachers (active and passive ones). It is based on the sharing of aims and targets (general and individual ones), contents (The Beatles songs, lyrical themes and styles, elements and techniques of musical writing, playing, and recording); propositions (listening, reading, written and oral production, musical production, music playing, performing); procedures (direct, online, group, or individual operating proposals); tools (methodical and ongoing observation, teaching activities video-shots, recording studio, instructions for acoustic and electronic musical instruments); evaluation. OBSERVATION The observation is suggested as an instrument for testing and evaluation and is operated by a third teacher as opposed to those involved in the direct activities. The observer-teacher may even be present for some activities e,g. writing down students individual actions and reactions or can plan and prepare tools for video shooting. This recording technique is expected for each activity and allows the collection of materials for the evaluation of experience in both linguistic and psycho-social levels. EVALUATION An L2 entry/exit test is not expected as the students abilities are established on high result levels, and because this project plan is expected to focus on cultural and technological subjects. It must not however be forgotten that this plan is meant as a new way to give students new motivation and to confirm their abilities in L2. Abilities and expertise displayed by each student and interactive group will be considered during each single activity, with corresponding evaluation tools. Tests about developed contents, a questionnaire for psycho-social analysis (language studying motivation, individual perception of the own expertise, self-esteem) will be submitted. The evaluation test will maintain features as a unicum referring to the different school subjects involved and will allow the measuring/evaluation of learning/involvement with regards to the whole project plan and not just to the single school subject. Prof. Giulio Cestari, cestarigiulio@yahoo.it
The Beatles - An integrated technical-culturallinguistic experience in Modern Music History Module Technical Layout
ORIGINAL PROJECT TITLE AIMS GENERAL OBJECTIVES Picture yourself in a boat on a river To foster the use of L2 as a cultural expression and tool. - To developing the acquisition of specific L2 expertise in specializing school subjects. - To open the school to multi-linguistic competences to train European citizens. - To give a vehicle to cultural and musical contents in the English language. - To improve L2 fluency in the technical-musical area. - To develop students willingness and abilities in L2 research-action. - To decode original materials in the technical-musical area. - To heighten the knowledge of The Beatles cultural dimension. The student will be able to recognize and use, in L2, techniques and instruments referring to a precise musical genre, demonstrating they have the necessary historical and stylistic knowledge, as well as understanding the meaning of the poetics of the band in question. The student will be able to create and elaborate a project with a strong sharable multidiscipline vocation. When approaching The Beatles songs he/she will develop his/her knowledge of European pop arts and music as a historical-aesthetic evolution of a cultural phenomenon. Musical High School (Liceo Musicale) History of Music and English Language teachers Educational Course Didactics English Music Technologies, English Language, Musical Theory Analysis and Composition 5th Students Active didactics: English Language teacher, Musical Technologies teacher, Musical Theory Analysis and Composition teacher. Passive didactics: History of Music teacher, Musical Performance and Interpretation teacher. Observers: project plan teachers in charge. Technicians: media and music technicians. Direct, interactive laboratories, in presence and online, documents research and reading. 6 hours plus extra time for cooperation activities. 2nd term Classroom, music and media labs PC workstation, video projector, musical home studio equipment, internet, musical instruments. Students English language: European Framework B2. Music subjects: acknowledgement of music critical tools (analytical, historical-social, aesthetical). Teachers English language European frame work B2/C1. Musical range (for the English Language teacher): acceptable musical knowledge and competence (history and instruments), and a personal interest in pop music as a cultural expression. With reference to: In itinere (single lab experience) and global. Monitoring test for language knowledge and abilities, for suggested and developed contents learning, psycho-pedagogical elements analysis.
SPECIFIC/CROSS OBJECTIVES
SCHOOL COURSE TYPE TEACHERS IN CHARGE DIDACTIC AREA FOREIGN LANGUAGE SCHOOL SUBJECTS SCHOOL YEAR ADDRESSEE OPERATORS
TEACHING ACTIVITIES TYPOLOGY PRODUCTION TIME PLACES/ROOMS EQUIPMENT PREREQUISITES
EVALUATION
The Beatles - An integrated technical-culturallinguistic experience in Modern Music History

Before beginning the activities give each student a copy of the Students Guide. Give them time to read it, then discuss their reactions.
Bibliography Turner, S. A Hard Day's Write: The Stories Behind Every Beatles Song, HarperCollins Publishers, 2005 Lewisohn, M. The Complete Beatles Chronicle, Hamlyn, 2000 Mehisto, Marsh, Frigols Uncovering CLIL, Macmillan, 2008 Coonan, C. La lingua straniera veicolare, Utet, 2002
Students Guide
Dear student, You are being involved in a CLIL (Content and Language Integrated Learning) activity. It consists of a learning activity which with six lessons on musical subject, in the English language only. English Language, Theoretical Language, Analysis Theory and Composition, Music Technologies will be the school subjects and teachers will take turns to share activities with you and your classmates. You will be ask to complete activities for listening, reading, lyrics and music analysis, music research, and international cooperation with a foreign school in order to set up a musical production. For each class you will be requested to fill in charts which will be useful for your teachers to evaluate the experience, and for you in order to recognise that learning has taken place. You will probably be filmed on video because that will be how one of your teachers evaluates your work. The general purpose is to improve your level of English in a real international and operational context, not dissimilar to possible future situations at university or work. The music of The Beatles is the subject to be shared by your, and foreign, teachers. At the end of the final activity you will be given an evaluation form to be given to your teacher. Thanks - have a positive experience!
Your teachers
Lesson 1. The Beatles ordering Teachers Notes

Time: 1 hour Active Teachers Present: L2, music analysis theory and composition. Passive Observer Teacher: history of music. (The Passive Teacher also writes down students verbal and non-verbal reactions displayed while watching the video, or the reactions which he himself has with his colleagues during the recorded video analysis). Brainstorming 1. Music analysis theory and composition teacher. Example: Do you know The Beatles?, Have you ever heard any of their songs?, Did anything strike you, technically speaking? Listening (intro). The Beatles History video showing (7 minutes) http://www.youtube.com/watch?v=hAmKN7H1L4g (American English) Note: this video is also on www.tuneintoenglish.com Brainstorming2. L2 teacher: What do you think of The Beatles music/songs?, Do the songs seem old or do they still sound current? The Beatles songs can be classified and analysed as literary works, a ballad or a sonnet for example. But lets start with some reading activities. Pre-reading activity Give each student a copy of the four pages in lesson 1. Ask them to complete the charts. You can help them if they have any difficulty reading any of the dates. Time: 30 mins The two teachers involve students in a warm up activity in order to prepare the students for L2 speaking and raise interest in one of the most relevant international pop bands. Key: Event Three Top Groups concert The Beatles live in the Church Hall Royal Performance Capitols wish to record a live show That Means A Lot recording session Recording details for songs (incl.Yesterday) The Sixth Annual Back-To-School Show Official track list for Rubber soul LP Yellow submarine recording sheet Songwriters Extraordinary BBC track list Sgt. Peppers production budget Trident Studios session receipt George Martin producer confirmation Stormy Weather recording Let It Be orchestration Paul McCartney leaves the Fan Club Date (number on sheets) 25 January 1961 (8) 10 March 1962 (4) 4 November 1963 (6) 3 February 1964 (2) 20 February 1965 (5) 23 June 1965 (14) 19 August 1965 (11) 16 November 1965 (13) 3 June 1966 (16) No date (6 August 1966) (15) 26 September (1966) (7) 8 August 1968 (9) 11 September 1969 (12) 6 November 1969 (3) 1 April 1970 (authorised 10 June) (1) August 1971 (10)
1. The Beatles - ordering

Look at the Beatles notices on the following pages. Put them in the correct time sequence using the chart below. Event Date (number on sheets) Three Top Groups concert The Beatles live in the Church Hall Royal Performance Capitols wish to record a live show That Means A Lot recording session Recording details for songs (incl.Yesterday) The Sixth Annual Back-To-School Show Official track list for Rubber soul LP Yellow submarine recording sheet Songwriters Extraordinary BBC track list Sgt. Peppers production budget Trident studios session receipt George Martin producer confirmation Stormy Weather recording Let It Be orchestration Paul McCartney leaves the Fan Club Do you know the meaning of the musical expressions used in these notices? You will find the first seven here, and the others in the notices in the previous activity.
English Echo Off for pizzicato Compressed Middle Riff Tambourine Voices up Slow fade Overdubbing
Your language
English Track Gig Cello Session Tape Conductor Orchestration Treble Track
Your language
1. The Beatles notices, page 1

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Lesson 2. The Beatles History Teachers Notes

Time: 1 hour Present active teachers: music analysis theory and composition. Passive observer teacher: L2. Reading activity: The history of the Beatles. Time: 20 mins. Students work in pairs or small groups. Key: 1. In the 1950s. 2. New chords, old guitars, a half-decent drum kit and a gig! 3. The Palladium, the Royal Albert Hall and the Royal Variety Show. 4. Figureheads of a movement beyond pop. 5. Songs which would be forever fresh and would set the standards for newcomers. 6. New songs were written to suit themselves; sometimes written alone. This new work could virtually be recorded solo, spontaneously, simply. 7. A legacy that will never be matched. The direct active teacher will introduce (ad libitum) The Beatles and will reveal in advance some information/facts about simple writing techniques and about their inspiration models. Then the reading activity will follow, as in the previous grid, and at the end the teacher will share some of the answers with students. The direct teacher will then give students 15 minutes to answer the exam type question (quesito modello terza prova) which will be evaluated by the same teacher based on language abilities and revision ability. Evaluation on contents is not expected as the question type requires individual development by the student on personal thoughts. See Appendix 1 > Evaluation Grid and Survey Grid
2. The Beatles History

Read the history of the Beatles (from www.thebeatles.com/history) and answer the questions
1957-1962 The story began in Harold Macmillans never had it so good 50s Britain. It should be fiction: four teenagers with no more than eight OLevels between them, running and biking and bussing and busking all over Liverpool in search of new chords and old guitars and a half-decent drum kit and any gig at all. 1963 They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream while their conquering Paris the record goes to Number One in America three weeks before the Ed Sullivan Show in New York. 1965 These were the years of dash and daring. Sweeping out of the final (and wonderfully old-fashioned) 1964 family Christmas Shows into the wider world of 1965, The Beatles would soon find themselves figureheads of a movement far beyond pop where a counter-culture / alternative society was made flesh. 1966 In the studio years (1966 onwards), supported by the steady hand of the great George Martin, they would produce songs which would be forever fresh and which still set the standards against the newcomers have to test themselves. 1968 The Beatles started their own company, Apple Corps and went public with an offer that anyone with an artistic need could come to them and get help. The promise was that all sincere supplicants would be given encouragement, succour, a contract and maybe an envelope full of money. At the same time, the Beatles flew to foothills of the Himalayas to learn meditation. There, between sessions with the Maharishi, they wrote songs for what would become The White Album. When recording started, the songs had come in such profusion that, famously, The White Album had thirty of them enough for two high-class musicals. They sped from one track to another, content that the unity of the album would transcend the disparity in the style and content of the tracks. It was always their strength that they wrote bewitching singles. New songs were written to suit themselves; sometimes written alone. This new work could virtually be recorded solo, spontaneously, simply. 1969 Following the White Album(and the magnificent Hey Jude) they made Let It Be and with the final regal glory of Abbey Road they left their grieving fans a legacy that will never be matched. In the inevitable breaking down of old liaisons, there was room for growth. John met and married Yoko; Paul met and married Linda. George matured far beyond his years, settled into his spiritual space and expressed himself writing classic songs; Ringo was now writing his own numbers and was widely acknowledged as a supreme drummer and a very good actor. To everything there is a season. That the rift between The Beatles, evolved with much public angst was a pity but this is not a perfect world is it? And in the end, the equation between the love they took and the love they made was intact into infinity. They still represent the twentieth centurys greatest romance.
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When did The Beatles story begin? What were the four teenagers in search for in the first years? Where did The Beatles play in London? What did The Beatles find themselves in 1965? What kind of songs did The Beatles write, thanks to the producer George Martin? What original characteristic elements did The White Album have? What did The Beatles leave their grieving fans at the end of their career?
2. The Beatles - An integrated technical-culturallinguistic experience in Modern Music History Exam-type Question
The history of the Beatles is a story of great success (fame, money, women, etc.), although many of their songs deal with important and serious themes (eg.: love, friendship, family). For example, what do you think the content of the song HELP (1965) is, and in your opinion, is it a contemporary subject? Write around 70 words.
HELP
Help, I need somebody, Help, not just anybody, Help, you know I need someone, help. When I was younger, so much younger than today, I never needed anybody's help in any way. But now these days are gone, I'm not so self assured, Now I find I've changed my mind and opened up the doors. Help me if you can, I'm feeling down And I do appreciate you being round. Help me, get my feet back on the ground, Won't you please, please help me. And now my life has changed in oh so many ways, My independence seems to vanish in the haze. But every now and then I feel so insecure, I know that I just need you like I've never done before. Help me if you can, I'm feeling down And I do appreciate you being round. Help me, get my feet back on the ground, Won't you please, please help me. When I was younger, so much younger than today, I never needed anybody's help in any way. But now these days are gone, I'm not so self assured, Now I find I've changed my mind and opened up the doors. Help me if you can, I'm feeling down And I do appreciate you being round. Help me, get my feet back on the ground, Won't you please, please help me Help me, help me, oh.
Lesson 3. The Beatles song text analysis Teachers Notes

Time: 1 hour Active Teachers Present: L2, music analysis theory and composition. Passive Observer Teacher: history of music Activity: song text analysis The teachers will read the song lyrics aloud. The L2 teacher will then look more closely at metrics and typical onomatopoeia of some English language words, and their similar weight on the music phrase. The composition teacher will provide some examples of sound/word correspondence and of metrics in the same music genre and in more genres (opera, etc.). Give each student copies of the grid and song lyrics. Ask them to work in pairs to complete the chart. Personal response Picture yourself: can you think of any literature, particularly a poem, in your own language with a similar theme to any of the songs? Play the songs (note all of these are available on www.tuneintoenglish.com). Ask students to discuss in pairs and small groups which is their favourite, and why they liked it, literary speaking? Song information guide (source for teachers class in-depth analysis) Getting Better A very good example about the way Mc Cartney and Lennon bonded when working together: the positive refrain was written by Paul and the image of the rebel student was created by John. Actually the title means that things couldnt be worse. Mother Natures Son A song based upon the Maharishis words during a lesson to Paul and George about the harmony of man with nature. A Day In The Life Two different fragments of songs assembled together. Johns section was inspired by a newspaper with news from Blackburn town and the problem of holes on the streets. Lucy In The Sky With Diamonds Johns son, Julian, came home from school one day with a drawing of one of his schoolmates, Lucy. She was portrayed with many diamonds in a sky. A song that shows Lennons love of surrealism, word games and Lewis Carrols works. Note: There is a worksheet for Lucy In The Sky With Diamonds on www.tuneintoenglish.com which uses William Wordsworths Lucy to compare song lyrics to poetry.
3. The Beatles song text analysis

Read the lyrics of four Beatles songs and complete the chart.
Title Author(s) (Words/Music) Year of release Album Features - Content - Relevant to meaning? - Addresser/ Addressee - Setting In Time and Place - Format - Traditional/ Experimental - Number of stanzas and lines per stanza - Poetic form - Ballad, dramatic poem, free verse, sonnet Lyrics / Language - Rhyme - Regular, irregular, musical, deaf - Rhythm - Slow, fast, smooth, hammering, flowing - Prominence to - Alliteration, assonance, repetition, onomatopoeia, quality of sound (harsh, smooth, soft, gentle, grunge) - Similes - Metaphors - Symbols - Equal importance of words and music - Style - Clear, straightforward, detailed, imaginative, colloquial The message - Your choice: favourite line or word(s) - Key words - Turning point / climax - Tone - Neutral, ironic, tragic, committed, regretful, humorous, bitter, melancholic The context - Subject - Global, existential, social, moral, psychological, utopic - Main theme
3. The Beatles song text analysis

Getting Better, 1967 It's getting better all the time I used to get mad in my school (No, I can't complain) The teachers that taught me weren't cool (No, I can't complain) Holding me down, turning me round, Filling me up with your rules I've got to admit it's getting better, A little better all the time (can't get no worse) To admit it's getting better, It's getting better since you've been mine. Me used to be angry young man Me hiding me head in the sand You gave me the word I finally heard I'm doing the best that I can. To admit it's getting better, A little better all the time To admit it's getting better, It's getting better since you've been mine. Getting so much better all the time It's getting better all the time Better, better, better, It's getting better all the time. Better, better, better I used to be cruel to my woman I beat her and kept her apart from the things that she loved Man I was mean but I'm changing my scene And I'm doing the best that I can. I admit it's getting better, A little better all the time (can't get no worse) Yes, I admit it's getting better, It's getting better since you've been mine. Getting so much better all the time It's getting better all the time Better, better, better, It's getting better all the time. Better, better, better, Getting so much better all the time. A Day In The Life, 1967 I read the news today, oh boy About a lucky man who made the grade And though the news was rather sad Well I just had to laugh I saw the photograph He blew his mind out in a car He didnt notice that the lights had changed A crowd of people stood and stared Theyd seen his face before, Nobody was really sure if he was from the House of Lords I saw a film today, oh, boy The English army had just won the war A crowd of people turned away But I just had a look Having read the book, Id love to turn you on Woke up, fell out of bed, Dragged a comb across my head Found my way downstairs and drank a cup, And looking up I noticed I was late Found my coat and grabbed my hat Made the bus in seconds flat Found my way upstairs and had a smoke, Somebody spoke and I went into a dream I read the news today, oh boy Four thousand holes in Blackburn, Lancashire And though the holes were rather small They had to count them all, Now they know how many holes it takes to fill the Albert Hall Id love to turn you on Lucy In The Sky With Diamonds, 1967 Picture yourself in a boat on a river, With tangerine trees and marmalade skies Somebody calls you, you answer quite slowly, A girl with kaleidoscope eyes Cellophane flowers of yellow and green, Towering over your head Look for the girl with the sun in her eyes, And shes gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds, oh Follow her down to a bridge by a fountain Where rocking horse people eat marshmallow pies, Everyone smiles as you drift past the flowers, That grow so incredibly high Newspaper taxis appear on the shore, Waiting to take you away Climb in the back with your head in the clouds, And youre gone Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds, oh Picture yourself on a train in a station, With plasticine porters with looking glass ties, Suddenly someone is there at the turnstyle, The girl with the kaleidoscope eyes Lucy in the sky with diamonds Lucy in the sky with diamonds Lucy in the sky with diamonds Worksheet written by Prof. Giulio Cestari, Dalmine (BG)
Mother Natures Son, 1968 Born a poor young country boy, Mother Natures son All day long Im sitting singing songs for everyone Sit beside a mountain stream, see her waters rise Listen to the pretty sound of music as she flies Doo doo doo doo doo doo doo doo doo doo doo Doo doo doo doo doo doo doo doo doo Doo doo doo Find me in my field of grass, Mother Natures Son Swaying daises sing a lazy song beneath the sun Ah, Mother Natures son
Lesson 4.
The Beatles song music analysis 1
Teachers Notes
Time: 1 hour Active Teachers Present: music analysis theory and composition. Passive Observer Teacher: history of music technology. The teacher will suggest, as lesson warm-up, the listening of four of The Beatles songs after a short introduction (reprise) about some of the musical popular genres and some of the most important characteristics in composition and playing. Afterwards he will provide a working sheet whose students answers will be shared developing in-depth analysis. Play the songs (note all of these are available on www.tuneintoenglish.com). Ask students to discuss in pairs and small groups which is their favourite, and why they liked it, musically speaking? Give each student copies of the grid. Ask them to work in pairs to complete the chart by ticking the appropriate element or write the word(s) (eg.: instrument = guitar or piano) They can surf the net if they like. Play the songs as they work. Note the lyrics are in the Appendix. Time: 30 mins Song information guide (source for teachers class in-depth analysis) When Im Sixty-Four A tune composed by Paul when he was 15. A cabaret song as a homage to music for the 1920s and 1930s, which his father played when he was young. The song format is similar to a letter which was sent to an unknown lady by a young man with problems about living his own life in the society. The formal lay out depicts a portrait of a perfect gentleman. Theres A Place Searching for shelter and consolation in ones own thoughts, dreams and recollections. John faces his own life pains by setting himself inside the certainty that his remote thoughts give him. Get Back A satirical anti-racist song. Tomorrow Never Knows An attempt made by John to describe the LSD experience. The lyrics were borrowed from The Psychedelic Experience (1964) by Timothy Leary which was already the meaning of the ancient Tibetan The Book of Dead Men: Your ego is dying, not your body! The sound, consisting of 16 tape loops is an example of Johns experiments in recording.
4. The Beatles song music analysis 1

Listen to four Beatles songs and complete the chart. Title Author(s) Year of release Album Form - Ballad - Lullaby - Carol - Song Format - Intro - Chorus - Bridge - Hook - Strain - Coda Genres / Influences Big band swing, dance, country, spiritual, beat, rock, hard rock, psychedelic, pop, folk, oriental, music hall, blues Instruments - Strings - Percussion snare drums, cymbals, ethnics, Indian tabla, etc. - Drums acoustic/ electronic/ vinyl/vintage/ mellow/ loop/analogue drum kit, etc. - Keyboards piano, harmonium, working station, Hammond, etc. - Wind and brass saxophone, tuba, trumpet, flute, etc. - Guitars guitar, bass, mandolin, etc. Techniques riff, shot, rim shot, pizzicato, arpeggio, solo, accompaniment, suite, orchestration etc.
Lesson 5.
The Beatles song music analysis 2
Teachers Notes
Time: 1 hour Active Teachers Present: music technology. Passive Observer Teacher: music analysis theory and composition. The technology teacher will suggest the listening of four The Beatles songs. He/she will then distribute the worksheet, and discuss the answers with the students. He/she will stress the difference between/correspondence with the use of equipment and technology in the recent music past and the present technology. Play the songs (note all of these are available on www.tuneintoenglish.com). Ask students to discuss in pairs and small groups which is their favourite, and why they liked it, musically speaking? Give each student copies of the grid. Ask them to work in pairs to complete the chart by ticking the appropriate element or write the word(s) (eg.: instrument = guitar or piano) They can surf the net if they like. Play the songs as they work. Note the lyrics are in the Appendix. Time: 30 mins
Song information guide (source for teachers class in-depth analysis) The Fool On The Hill The song is about an idiot savant, a wise fool. The idea suddenly came to Paul during a walk on a hill at dawn. Penny Lane A street in Liverpool. The song is the symbol of a bright childlike innocence. It is both a real and nostalgic recollection. Eleanor Rigby Unreal names of people, true life experiences. Revolution Number 9 It is not a song. It is a mixing production which was made by John and his wife Yoko Ono. As there were not yet sophisticated recording units, multi tracks, all three Abbey Road studios had to be involved, and the mixing desks connected all together in an extraordinary way. The tape loops were created using pencils. Note: There is a worksheet for Penny Lane on www.tuneintoenglish.com.
5. The Beatles song music analysis 2

Listen to four Beatles songs and complete the chart. Title Author(s) Year of release Album Length Vocals - Single voice - Chorus - Backing vocals - Effects: reverb, echo, delay, pitch, etc. Instruments - Acoustic - Electric - Traditional /Ethnic - Effects: feedback, booster, overdrive, vibrato, wah, compressor, distortion, echo, delay, reverb, tremolo, sustain, etc. Effects - Environment: studio, church, theatre, auditorium, arena, etc. Recording - Insert / Remove silence - Fade in / out - Echo - Wave inversion - Mute - Channel exchange - Volume up / down - Left-right pan and vice-versa - Etc.
Lesson 6. The Beatles final activity Teachers Notes

Time: 2 classroom hours, more outside activity on social networks. Active Teachers Present: music technology. Passive Observer Teacher: music analysis theory and composition. This activity is part of a partnership project between two schools in different countries and is aimed at developing the international on-line cooperation between two class groups as simulation of a working activity in the music field of research, composition and playing. Meanwhile the aim of letting the students develop their own foreign language abilities is achieved thanks to the live interactive channel which will be necessary in order to make their on-line work effective and concrete. On-line communication equipment and areas will be used/fostered as a guarantee both of live communication experiences simultaneously from school sites (eg.: video-conference for a group activity or facebook for individual and couple activities), and of outside school social communication in order to develop information and materials exchange in the paired relationship (facebook, twitter, skype). Home and foreign teachers will be registered in these social network lists to check, to observe, to evaluate, to cooperate with students live. For this final activity the grid in Appendix 4 will be shared by Italian and foreign teachers for students monitoring/observation.
6. The Beatles final activity

First step: One week - The Beatles audio technology This is an inter-school cooperation laboratory. You are allowed to use social networks (facebook, twitter, msn) - your teachers also will. In 4 groups of students - each group with members from the two schools search for information and news about the following technical audio events. LIVE SHOWS RECORDING GIGS MIXING AND MASTERING GIGS MIXING NOTES LIVE OR RECORDED RADIO BROADCASTS LIVE OR RECORDED TV BROADCASTS OFFICIAL AUDIO/VIDEO CHECK WITH TV TECHNICIANS SHOOTING AND POST-PRODUCTION ACTIVITY FOR A SHORT MOVIE OR A TRAILER
Each group/piece of information will be inserted into a chart created by the group. At the end of the activity give the charts to student representatives who will organise the collection of information to be published online on your schools website. The history of The Beatles, your favourite Beatles songs chart, and the results of the following audio activities.
Second step: Three weeks Production, Arts and Music This is the final step of the whole international project. The two international students classes will be mixed up and three new groups will be formed based on each students interests and abilities. Each group will research and produce a project to be published on the schools websites and performed live on the school-exchange experience. 1. ARTS: The contemporary arts of The Beatles. - What were the art styles at the time of The Beatles? 2. HISTORY OF CUSTOMS: The contemporary customs of society of The Beatles. - What were the public and private habits at the time of The Beatles? 3. SONG COMPOSITION: Write a song (lyrics and music) in a literary style and sound similar to the Beatles. - Musical scores should be given to Musical Theory and Composition teachers before recording.
Students Evaluation Form

Evaluate the project by placing a mark in the allotted space (5) Superior (2) Below Average (4) Above Average (3) Average (1) Unsatisfactory (0) Not Applicable
The activity You appreciated the project generally speaking the presentation of the subject matter by teachers the management of the project by teachers the work planning the international relationship management You have improved your English language You could communicate to your Italian partners in a clear concise manner You could communicate to your foreign partners in a clear concise manner You have learned new words / expressions in general You have learned new technical words / expressions You have chosen words skilfully and have organized ideas effectively You have learned to use new devices Your work Attitude to work: you accepted challenges in a cooperative way Response to cooperation: you accepted suggestions from your partners Response to cooperation: you have benefited from help from your partners Personal qualities: cooperation, confidence and respect, taking responsibilities, taking of appropriate action on your own Success or probable success as a group member Attitude to work in an international context Comments
APPENDIX 1(Lesson 2)
THE BEATLES CLIL LAB
NAME. Reading activity
Ability
FINAL QUESTION
Level
EVALUATION GRID
Score
Abilities in language markers usage
Appropriate and very fluent oral production, precise and varied vocabulary , clear meaning (up to 3 errors) Clear and fluent oral production, appropriate vocabulary, coherent meaning (between 4 and 8 errors) Easy oral production, simple and ripetitive vocabulary, almost proper meaning (between 9 and 12 errors) Disjointed oral production, inaccurate vocabulary, partially proper meaning (13 and 16 errors) Disjointed oral production, wrong vocabulary, unclear meaning in a few places (17 and 20 errors) No revealed language abilities (20 errors and beyond)
1 0
Creative and personal, with quotations/connections Settled and personal Appropriate Ability in criticism and in revising Superficial Incomplete Inappropriate
5 4 3 2 1 0
Total score
L2 SURVEY GRID (OBSERVATION) For lesson 2 and other frameworks where the observer is also the L2 teacher (eg.: video monitoring) Student ..
Speaking. The student can speak L2 in a(n) way Communication. The communication is
Vocabulary. The student
Interaction/cooperation The student can guarantee/manage the interaction in L2 in a(n) way
fluent and autonomous appropriate with difficulty Fully incisive (the interlocutor can clearly understand the message and vice versa) satisfactory poor guaranteed in a short incisive way - uses single phonemes and phraseology in a very appropriate and constructive way - uses single phonemes and statements in a correct way - uses single words not always correct and uses periphrasis autonomous / spontaneous / constructive / proactive / awkward / forced / insufficient to judge
APPENDIX 2 (Lesson 4)
When Im Sixty-Four, 1967 When I get older losing my hair, Many years from now Will you still be sending me a Valentine Birthday greetings bottle of wine If I'd been out till quarter to three Would you lock the door, Will you still need me, will you still feed me, When I'm sixty-four You'll be older too, And it you say the word, I could stay with you I could be handy, mending a fuse When your lights have gone You can knit a sweater by the fireside Sunday mornings go for a ride, Doing the garden, digging the weeds, Who could ask for more Will you still need me, will you still feed me, When I'm sixty-four Every summer we can rent a cottage, In the isle of Wight, if it's not too dear We shall scrimp and save Grandchildren on your knee Vera, Chuck & Dave Send me a postcard, drop me a line, Stating point of view Indicate precisely what you mean to say Yours sincerely, wasting away Give me your answer, fill in a form Mine for evermore Will you still need me, will you still feed me, When I'm sixty-four Theres A Place, 1962 There is place Where I can go When I feel low When I feel blue And it's my mind And there's no time when I'm alone I think of you And things you do Go 'round my head The things you said Like "I love only you" In my mind there's no sorrow Don't you know that it's so There'll be no sad tomorrow Don't you know that it's so There is place Where I can go When I feel low When I feel blue And it's my mind And there's no time when I'm alone There's a place...
Get Back, 1969 Jojo was a man who thought he was a loner But he knew it wouldn't last. Jojo left his home in Tucson, Arizona For some California grass. Get back, get back. Get back to where you once belonged Get back, get back. Get back to where you once belonged. Get back Jojo. Go home Get back, get back. Back to where you once belonged Get back, get back. Back to where you once belonged. Get back Jo. Sweet Loretta Martin thought she was a woman But she was another man All the girls around her say she's got it coming But she gets it while she can Get back, get back. Get back to where you once belonged Get back, get back. Get back to where you once belonged. Get back Loretta. Go home Get back, get back. Get back to where you once belonged Get back, get back. Get back to where you once belonged. Get back Loretta Your mother's waiting for you Wearing her high-heel shoes And her low-neck sweater Get on home Loretta Get back, get back. Get back to where you once belonged Tomorrow Never Knows, 1966 Turn off your mind, relax and float down stream, It is not dying, it is not dying Lay down al thoughts, surrender to the void, It is shining, it is shining Yet you may see the meaning of within It is being, it is being Love is all and love is everyone It is knowing, it is knowing And ignorance and hate mourn the dead It is believing, it is believing But listen to the colour of your dreams It is not leaving, it is not leaving So play the game "existence" to the end Of the beginning, of the beginning
APPENDIX 3 (Lesson 5)
The Fool On The Hill, 1967 Day after day alone on the hill The man with the foolish grin is keeping perfectly still But nobody wants to know him They can see that he's just a fool And he never gives an answer But the fool on the hill sees the sun going down And the eyes in his head See the world spinning round Well on the way, his head in a cloud The man of a thousand voices is talking perfectly loud But nobody ever hears him Or the sound he appears to make And he never seems to notice But the fool on the hill sees the sun going down And the eyes in his head See the world spinning round Oh, round, round, round, round, round And nobody seems to like him they can tell what he wants to do And he never shows his feelings But the fool on the hill sees the sun going down And the eyes in his head See the world spinning round Oh, round, round, round, round, round And he never listen to them He knows that they're the fools But they don't like him The fool on the hill sees the sun going down And the eyes in his head See the world spinning round Oh, round, round, round, round, round oh In Penny Lane there is a fireman with an hourglass And in his pocket is a portrait of the Queen. He likes to keep his fire engine clean, It's a clean machine. Penny Lane is in my ears and in my eyes. A four of fish and finger pies In summer, meanwhile back Behind the shelter in the middle of a roundabout The pretty nurse is selling poppies from a tray And tho' she feels as if she's in a play She is anyway. In Penny Lane the barber shaves another customer, We see the banker sitting waiting for a trim. And then the fireman rushes in From the pouring rain, very strange. Penny lane is in my ears and in my eyes. There beneath the blue suburban skies I sit, and meanwhile back. Penny lane is in my ears and in my eyes. There beneath the blue suburban skies, Penny Lane.
Eleanor Rigby, 1966 Ah! Look at all the lonely people Ah! Look at all the lonely people Eleanor Rigby, picks up the rice in a church where a wedding has been Lives in a dream Waits at the window, wearing the face that she keeps in a jar by the door Who is it for? All the lonely people, where do they all come from? All the lonely people, where do they all belong? Father McKenzie, writing the words of a sermon that no one will hear No one comes near Look at him working, darning his socks in the night when there's nobody there What does he care? All the lonely people, where do they all come from? All the lonely people, where do they all belong? Ah! Look at all the lonely people Ah! Look at all the lonely people Eleanor Rigby, died in the church and was buried along with her name Nobody came Father McKenzie, wiping the dirt from his hands as he walks from the grave No one was saved All the lonely people, where do they all come from? All the lonely people, where do they all belong?
Penny Lane, 1967 In Penny Lane there is a barber showing photographs Of every head he's had the pleasure to know. And all the people that come and go Stop and say hello. On the corner is a banker with a motorcar, The little children laugh at him behind his back. And the banker never wears a mask In the pouring rain, very strange. Penny Lane is in my ears and in my eyes. There beneath the blue suburban skies I sit, and meanwhile back
Revolution No. 9, 1968 No lyrics
APPENDIX 4(Lesson 6) Observation evaluation form Evaluation of qualities

(chart suitable for the present activity and for each non-linguistic experience observation evaluation and/or for the final results recording. The chart may be considered as for one of the two sections separately owing to a single need)
Candidate / group. Date / Lesson / Lab ..
1. (scores) Rate the candidate / groups on the following qualities (5) excellent (4) good (3) average (2) satisfactory
(1) poor
Ability (judgement, clear thinking, reliability ,discretion) Industry (initiative, self-reliance, interest. Perseverance, use of time and opportunity) Personality (disposition, manners, neatness, tact, ability to cooperate) Skills (quality of performance)
2. (yes/no) Language and context The student has developed knowledge in
The student has developed abilities in
socio-cultural context events musical technical devices musical technical procedures music history language semantics language phonetics musical technical devices musical technical procedures speaking and reading general communication strategies specific musical technical strategies (music composition and production)
3. Further notes
Name of Reference (teacher) ..


Beatles

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Drawing by Fergal Kavanagh

An Integrated Technical-Cultural-Linguistic Experience in Modern Music History

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

The Beatles - An integrated technical-culturallinguistic experience in Modern Music History

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

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Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

The Beatles - An integrated technical-culturallinguistic experience in Modern Music History

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

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Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

1. The Beatles - ordering

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

1. The Beatles notices, page 1

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

1. The Beatles notices, page 2

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

1. The Beatles notices, page 3

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Lesson 2. The Beatles History Teachers Notes

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

2. The Beatles History

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Lesson 3. The Beatles song text analysis Teachers Notes

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

3. The Beatles song text analysis

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

3. The Beatles song text analysis

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

4. The Beatles song music analysis 1

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

5. The Beatles song music analysis 2

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Lesson 6. The Beatles final activity Teachers Notes

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

6. The Beatles final activity

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Students Evaluation Form

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Abilities in language markers usage

Vocabulary. The student

Interaction/cooperation The student can guarantee/manage the interaction in L2 in a(n) way

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

Revolution No. 9, 1968 No lyrics

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

APPENDIX 4(Lesson 6) Observation evaluation form Evaluation of qualities

Candidate / group. Date / Lesson / Lab ..

2. (yes/no) Language and context The student has developed knowledge in

The student has developed abilities in

Name of Reference (teacher) ..

Worksheet written by Prof. Giulio Cestari, Dalmine (BG)

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