Teach English in Xiwulanbulang Zhen - Huhehaote Shi — Hohhot

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It is incontrovertible that the ESA methodology is the most effective methodology for teaching English to non-native English speakers. This is because the ESA Methodology, used with elicitation, incorporates facets of other teaching methodologies and applies this mix in such a manner that the time it would take to learn the language would be much shorter than if other “stand alone” methodologies were used.Music is a language. Just like the voice is used to communicate a language, a musical instrument is used to communicate the language of music. Therefore it is axiomatic, that using the ESA methodology is the most effective way to learn how to play a second musical instrument. Observe the following analogies: The spoken language is the equivalent of music. A conversation is the equivalent of an ensemble musical performance. A conversation in English is the equivalent of a performance on a secondary instrument. The human voice is the equivalent of the notes played on an instrument. ESA is an acronym for “Engage, Study, Activate”. In order to grasp the essence of how this methodology could be applied to teaching students how to play the guitar in the most time efficient manner, the following use of ESA to teach English and the art of playing the guitar in a classroom were examined side by side using the lesson plan below. Learning objective: students were to be able to use words associated with the art of baking cakes. students were to be able to use first position fingering to play the diatonic arpeggios associated with the major scale. The methodologies used were: Engage/PPP’s Presentation/warm up (techniques for teaching were mime/elicitation) The students mimed a person baking a cake. The teacher employed elicitation to get students talking about their favorite cakes. The students played“Air Guitar” to a song by the band Van Halen entitled, “Pound Cake”. (Air Guitar is a performance where the student pretends to play an invisible guitar). The teacher employed elicitation to get students talking about their favorite guitar solos. STUDY 1/Grammar translation/ PPP’s Practice The teacher used elicitation to find out how much Language the students knew. Words they did not know went on the board. the meaning was taught by translation from the native tongue into English. Conjugation was taught. The teacher used elicitation to find out how many fingerings the students already knew. Fingerings they did not know went on the board. The notes(fingering) were taught by translation from the piano to the guitar. The “lead-in” / “out”(i.e. conjugation) was taught. STUDY 2/Elicitation/ PPP’s Practice(techniques for teaching were gap-fill exercises) Students had to fill-in appropriate words missing from a text that described how a person bakes a cake. Students had to fill-in appropriate notes missing from a fingering chart that showed the Diatonic Arpeggio fingering in the first position . Study 3/Audio Lingualism/ PPP’s Practice(techniques for teaching were pronunciation exercises/ fingering exercises/drills) The student watched and listened as the teacher showed how to use the mouth to execute proper pronunciation.The student drilled pronunciation. The student watched and listened as the teacher showed how to use correct fingering to play the arpeggios. The student practiced(drilled) playing the arpeggios. ACTIVATE 1/PPP’s Production(the technique for teaching was role play) A student pretended to be a famous master chef conversing with friends who are bakers. The conversation centered around what would be the preferred ingredients to use when baking a cake. A student pretended to be a famous musician performing with some friends. His solo centered around the use of diatonic arpeggios found in the major scale and played only in the first position. Activate 2/PPP’s Production(the technique for teaching was role play) All the students were master chefs. The teacher told small groups or pairs that they could create a super cake using whatever ingredients they desired. Later, the students presented their cakes to the class and the class had a discussion on the pros and cons of the ingredients used. All the students were musical geniuses. The teacher told small groups or pairs that they could create a killer solo out of arpeggios using whatever fingerings they desired. Later, the students presented their solos to the class and the class had a discussion on the pros and cons of the fingerings used. This example only integrates the use of PPP, Grammar Translation, and Audio Lingualism methodologies.If other methodologies were to be incorporated into ESA, the teaching/learning possibilities would be endless. The overlap factor(where one ESA section performs similar functions as at least two other methodologies) would emphasize and reinforce the study of the problem areas over and over without the student ever getting bored of a “one pattern” way of teaching/learning. Thus, students would be communicating out of interest(for entertainment), not out of necessity. One might erroneously think that learning to play an instrument is purely for fun. This is not so. Consider a songwriter that wants a certain guitar part played a certain way but the guitarists he hired cannot give him the feel he wants. If he wants the “feel” he hears in his mind to be tangible, he would have to learn to play the guitar so that he can play the instrument the way he hears it in his mind. Hence, the songwriter is playing the guitar out of necessity, (not for fun). As a result, just as the old adage goes, “time flies when you’re having fun”, the learning process time also, when the element of entertainment is embedded therein, flies by. The student can learn how to communicate music on a second instrument faster using ESA than by using any other methodology.This is why ESA is the most effective methodology to use for learning to play a second musical instrument.