UNIT 3: Teaching Listening Skill PDF

**UNIT 3: Teaching Listening Skill** Lesson 1: Hearing and Listening (Active Listening) EXPOSE Hearing and Listening What do you know of listening? How is it different from hearing? You heard, but you didn\'t listen. You might have heard someone say this line and have perfectly understood what th...

**UNIT 3: Teaching Listening Skill** Lesson 1: Hearing and Listening (Active Listening) EXPOSE Hearing and Listening What do you know of listening? How is it different from hearing? You heard, but you didn\'t listen. You might have heard someone say this line and have perfectly understood what the person meant. Although hearing and listening are most of the time regarded as synonyms, the two terms are quite distinct. The former is passive and the latter is active. From the dictionary =================== Hearing is \"the process, function or power of perceiving a sound.\" Listening is \"to hear something with thoughtful attention.\" From the book Stand up, Speak out: The Practice and Ethics of Public Speaking, hearing is \"an accidental and automatic brain response to sound that requires no effort.\" Listening is \"purposeful and focused to understand the meanings expressed by a speaker.\" According to Kline (1996), \"hearing is the reception, listening is the attachment of meaning to the sound. According to Rost (2002), \"hearing is a form of perception. Listening is an active and intentional process. Although both hearing and listening involve sound perception, the difference in terms reflects a degree of intention\". Vandergrift (1999) in Yildirim (2016) defines listening as \"a complex, active process in which the listener must discriminate between sounds, understand vocabulary and grammatical structures, interpret stress and intonation, retain what was gathered in all of the above, and interpret it within the immediate as well as the larger sociocultural context of the utterance\" According to Maureen (2017), hearing is the \"act of perceiving sound and receiving sound waves or vibrations through your ear\". Listening is the \"act of hearing a sound and understanding what you hear\". According to Surbhi (2017), \"the natural ability or an inborn trait that allows us to recognize sound through ears by catching vibrations is called the hearing.\" Listening is defined \"as the learned skill, in which we can receive sounds through ears, and transform them into meaningful messages\". As they say, \"hearing is through the ears, but listening is through the mind and the heart.\" Flowerdew and Miller (2005) claimed that most children are born with the ability to hear. Children first listen and then start to speak. They speak before they read, and finally, writing comes after reading. That is, among all the other language skills, listening is the first one to appear (Lundsteen, 1979). To sum up, listening is more than just hearing sounds and words. It is an active process wherein language learners receive, construct meaning from, and respond to both verbal and non-verbal messages. Sadiku, 2015 states that listening is \"a state of receptivity that permits an understanding of what is heard and grants the listener full partnership in the communication process\". Listening is an integral part of communication; thus, we need to develop a keen interest in improving our listening skills. As you listen, you interpret the sounds and get the important words and construct meaning. As you do this you also simultaneously check the new information against your prior knowledge and experiences. A good listener shows readiness and possesses an ability to manipulate the sound into words and their contextual meaning. But how does one listen actively? Active Listening In various interactions (face-to-face or virtual), listeners show their understanding and response to the speakers through verbal utterances like \"ok\", \"uh-huh\", or \"oh\", and non-verbal gestures like nodding and pressing the emoticon buttons in Zoom. They can also make comments, ask questions, and take turns participating in the conversation. This proves that listening is active and not a passive skill. \"If the listener takes part actively in the process of listening linguistically and uses his/her non-linguistic knowledge to follow up the message that the speaker intends in a conversation, if he/she listens, replies, and asks/answers questions, it is active listening\" (Lindslay & Knight, 2006, Littlewood, 1981 in Yildirim (2016). Anderson and Lynch (2003) added that \"understanding is not something that happens because of what speaker says, the listener needs to make connections between what s/he hears and what s/he already knows and at the same time, he/she tries to comprehend the meaning negotiated by the speaker.\" What is active listening? Although the previous paragraphs have established that listening is an active skill, not all listening is the same. This skill may not come naturally for many of us. You have to understand that there is a line that separates passive listening and active listening. Passive listening is a little more than hearing. It is regarded as one-way communication wherein the receiver does not respond nor give feedback to the speaker in any way. Imagine yourself listening to the one hour and a half lecture of your teacher via Google Meet (for example). Your teacher keeps talking, and while you claim that you are \"listening\" you didn\'t show any feedback in the form of clicking the emojis for a response, or using the chat box for questions, or raising our hand to answer questions. You may not be doing anything else, yet, you are also not paying attention to what\'s being said. On the other hand, active listening includes responding and providing feedback at the right time. it is paying attention not only to the speaker, or to the message but even to the verbal and non-verbal messages. It is listening accurately, effectively, and responding appropriately to the various communicative context is gaining information, learning, and understanding things. It is a key to effective communication. The importance of active listening. The importance of active listening in people\'s everyday life cannot be argued Guo and Wills (2006) mentioned that it is the medium through which people gain a large proportion of their education, their information, their understanding of the world and human affairs, their ideals, sense of values\". Highlighting the importance of listening in language learning, Peterson (2001) in Yildirim (2016) states that \"no other type of language input is easy to process as a spoken language received through listening\...through listening. learners can build an awareness or the interworking of language systems at various levels and thus establish a base for more fluent productive skills\". In an English Language Teaching (ELT) classroom, listening is considered a basic skill. Nunan (1998) stated that over 50% of the time that students spend functioning in a foreign language will be devoted to listening (Nunan, 1998). Moreover, the importance of listening (activities) in language classrooms are listed below based on Rost (1994) in Yildirim (2016): - **Listening is vital in the language classroom because it provides input for the learner. Without understanding input at the right level, any learning simply cannot begin.** - **Spoken language provides a means of interaction for the learner. Because learners must interact to achieve understanding. Access to speakers of the language is essential. Moreover, learners\' failure to understand the language they hear is an impetus, not an obstacle, to interaction and learning.** - **Authentic spoken language presents a challenge for the learner to understand language as native speakers use it.** - **Listening exercises provide teachers with a means for drawing learners attention to new forms (vocabulary, grammar, new interaction patterns) in the language.** Barriers to active listening Sometimes even if it is one\'s intention to stay focused while listening, some may have difficulty staying attentive due to several factors like noise, attention span receiver biases, and listening or receiver apprehension. Noise. It is the most common distraction when listening. Noise does not only refer to something physical, but also psychological (internal thoughts). physiological (basic needs), semantic noise, and (word meanings and interpretation). Attention span. As future teachers, you should know that your students can only maintain focused attention for a finite length of time. Thus, classroom lectures should be short, interesting, and engaging. If you are a speaker, on any Occasion-formal or informal, you need to apply certain strategies to prevent this interference. Receiver biases. One\'s preconceived ideas and opinions, whether about the speaker or the message/topic, can be considered as noise and may interfere in the listening process. It may hinder one from receiving new points of view and information. Even with these biases, it is important to withhold judgment all the time and promote open-minded listening. Listening or receiver apprehension. Listening or receiver apprehension is the fear that you might be unable to understand the message or process the information correctly or be able to adapt your thinking to include the new information coherently (Wheeless, 1975 in Stand up, Speak out The Practice and Ethics of Public Speaking, 2011). It is important to address this by identifying your audience\'s (students\') current understanding of the topic. You should not underestimate or overestimate your audience\'s knowledge of a subject. Noise: Distractions that can affect listening include physical noise, psychological distractions (e.g., internal thoughts), physiological needs (e.g., hunger), and semantic noise (e.g., misinterpretation of words). Attention Span: Listeners can only focus for a limited time. Classroom content should be engaging and concise to maintain attention. Speakers should employ strategies to keep their audience focused. Receiver Biases: Preconceived notions about the speaker or topic can interfere with listening. It\'s important to approach information with an open mind and avoid letting biases affect understanding. Listening Apprehension: Fear of misunderstanding or inadequately processing information can impede effective listening. It\'s crucial to assess and match the audience's knowledge level to ensure clear communication. 10 Teaching listening - Reasons for listening - Different kinds of listening - Listening levels - Listening skills - Listening principles - Listening sequences - More listening suggestions - Audio and video Listening levels We will want our students to hear listening material in a number of different genres (that is, styles or types of text - see page 113) and registers. This may include news broadcasts, public announcements, recorded messages, lectures, phone conversations, dramatic dialogue, etc). But we will also have to decide whether what they listen to should be authentic or not. Authentic speech is speech not spoken just for language learners - in other words, it is language spoken for native- or competent speakers of English, with no concessions made for the learner. Much recorded speech on the radio or on the Internet, for example, is of this type. However, it is often far too difficult for lower-level students, and is, therefore, inappropriate for use with them. But we don\'t want to give our lower- level students inauthentic language (which doesn\'t sound at all like the real thing) either. What we aim for instead is realistic language use which, while roughly-tuned to match the students\' level, nevertheless approximates to real-life language. But we will aim to get our students to listen to (and understand) authentic English as soon and as often as they can. Listening skills Students need to be able to listen to a variety of things in a number of different ways. In the first place, they need to be able to recognize **paralinguistic clues** such as intonation in order to understand mood and meaning. They also need to be able to listen for specific information (such as times, platform numbers, etc), and sometimes for more general understanding (when they are listening to a story or interacting in a social conversation). A lot will depend on the particular genres they are working with. Most students are perfectly capable of listening to different things in different ways in their own language(s). Our job is to help them become adept at this kind of multiskilling when listening to English. However, sometimes they find this exceptionally difficult. We will discuss what to do if this happens in Chapter 14 (page 183). Listening principles ==================== **[*Principle* 1: *Encourage* students to *listen* as often and *as* much as] [*possible*.]** The more students listen, the better they get at listening - and the better they get at understanding pronunciation and at using it appropriately themselves. One of our main tasks, therefore, will be to use as much listening in class as possible, and to encourage students to listen to as much English as they can (via the Internet, podcasts, CDs, tapes, etc). **[Principle 2: *Help* students *prepare* to *listen*.]** Students need to be made ready to listen. This means that they will need to look at pictures, discuss the topic, or read the questions first, for example, in order to be in a position to predict what is coming. This is not just so that they are in the right frame of mind (and are thinking about the topic), but also so that they are *engaged* with the topic and the task and really want to listen. **[Principle 3: *Once may not* be *enough.* ]** There are almost no occasions when the teacher will play an audio track only once. Students will want to hear it again to pick up the things they missed the first time - and we may well want them to have a chance to *study* some of the language features on the tape. In the case of live listening, students should be encouraged to ask for repetition and clarification when they need it. The first listening to a text is often used just to give students an idea of what the speakers sound like, and what the general topic is (see *Principle* 5) so that subsequent listenings are easier for them. For subsequent listenings, we may stop the audio track at various points, or only play extracts from it. However, we will have to ensure that we don\'t go on and on working with the same audio track. **[*Principle* 4: Encourage students to respond *to the* content of a] [listening*, not just to the language.* ]** *An important part of a listening sequence is for teachers to draw out the meaning of what is being said, discern what is intended and find out what impression it makes on the students. Questions such as \'Do you agree with what they say?\' and \'Did you find the listening interesting? Why?\' are just as important as questions like \'What language did she use to invite him?\' However, any listening material is also useful for studying language use and a range of pronunciation issues.* ***[Principle 5: Different listening stages demand different listening] [tasks.]*** *Because there are different things we want to do with a listening text, we need to set different tasks for different listening stages. This means that, for a first listening, the task(s) may need to be fairly straightforward and general. That way, the students\' general understanding and response can be successful - and the stress associated with listening can be reduced.* *Later listenings, however, may focus in on detailed information, language use or pronunciation, etc. It will be the teacher\'s job to help students to focus in on what they are listening for.* ***[Principle 6: Good teachers exploit listening texts to the full.]*** *If teachers ask students to invest time and emotional energy in a listening text - and if they themselves have spent time choosing and preparing the listening sequence - then it makes sense to use the audio track or live listening experience for as many different applications as possible. Thus, after an initial listening, the teacher can play a track again for various kinds of study before using the subject matter, situation or audioscript for a new activity. The listening then becomes an important event in a teaching sequence rather than just an exercise by itself.* Listening sequences ------------------- *The following listening sequences are pitched at different levels. As with all other skill- based sequences, they will often lead into work on other skills or present opportunities for language study and further activation of some kind.* ***[Example 1: live interview (beginner onwards)]*** *The following sequence works when teachers can bring visitors to the classroom (or when they themselves play a role as if they were a visitor).* *The teacher primes a visitor to the class by giving them an idea of the students\' level and what they may or may not understand. The visitor should be aware that they may have to modify the way they normally speak - but that speaking slowly and shouting (as people often do when confronted with people whose English is not high level) will not be appropriate!* *The students are told that a visitor is coming to the lesson, and that they should think of a number of questions to ask which will tell them as much as possible about who the person is. Their questions are checked by the teacher to make sure that the students are really asking what they want to ask.* *When the visitor comes to the lesson, students ask their questions and take notes of the answers. A key feature of such an exchange is the follow-up question - a question which follows on from the interviewee\'s first answer. This means that students are forced to listen carefully to the first answer. But it also gives them more opportunity to interact with the visitor, and it means that the visitor will say more.* *For live listening to work well, students need to have phrases to help them such as \'I\'m sorry, I don\'t understand what X means\...\', \'Could you repeat what you just said?\', \'Are you saying that\...? The actual questions they use will depend on their level.* *Sometimes it is a good idea for students to find out who the visitor is through their questioning (we keep their identity a secret), but at other times they will prepare their questions more efficiently if they know who is coming and what their occupation is, or what kind of story they have to tell.* *It is not always easy to find visitors. However, for those schools which are well equipped, it is now possible to replicate such interviews with the help of a webcam. As the technology improves, this will become more and more feasible. But if this is not possible, teachers can pretend to be someone else for the students to interview. With younger children, teachers can use puppets or wear masks to show that they are someone different.* *Students can use their notes to write a profile of the visitor, to write to or about them, or to discuss with the class what they thought about the visitor\'s opinions.* ***[Example 2: buying tickets (pre-intermediate)]*** *The following coursebook sequence is an example of how work on one skill (listening) leads naturally into work on another (speaking). As suggested on page 135, it allows the students to predict what they will hear and involves both general and detailed comprehension work. Students look at the following pictures:* *11 Communication Single or return?* The teacher encourages them to describe what is going on in each picture. Words like \'ticket\', \'check-in\' and \'coach\' are bound to occur naturally here, but more importantly, students have an idea of what the conversations they are going to hear are about. Students now hear the following four conversations which they have to match with the four pictures: 1 PASSENGER: I\'d like a return to Oxford, please. ASSISTANT: Yes, of course. Are you coming back today? PASSENGER: Yes, I am. ASSISTANT: That\'s £18.50, please. PASSENGER: Thank you. 2 CHECK-IN: How many pieces of luggage have you got? PASSENGER: One suitcase and one handbag. CHECK-IN: Did you pack your suitcase yourself? PASSENGER: Yes, I did. CHECK-IN: Does it contain any knives or scissors? PASSENGER: No. CHECK-IN: 3 Fine. Could you put it on here, please? OK\... 15 kilos. PASSENGER: Piccadilly Circus, please. BUS DRIVER: One pound, please. PASSENGER: Thanks. BUS DRIVER: Thank you. ASSISTANT: Victoria Coach Station. Can I help you? PASSENGER: I\'d like to book a single ticket to Edinburgh, please. ASSISTANT: Yes\... when would you like to travel? PASSENGER: Friday 14th March in the afternoon. ASSISTANT: OK\... uh\... there\'s a coach at 5-45 pm. PASSENGER: Yes, that\'s fine. How much is it? ASSISTANT: £45 for a single ticket. How would you like to pay? PASSENGER: By Visa, please. ASSISTANT: OK. After this general listening task, students listen again to slot in various key language items in blanks from the audioscript, e.g. PASSENGER: to Oxford, please. ASSISTANT: Yes, of course. Are you coming back today? PASSENGER: Yes, I am. ASSISTANT: PASSENGER: Thank you. please. This study section encourages students to focus in on the construction of the specific language which the coursebook writers have selected. Finally, students try to activate the language they know for this kind of interaction. In pairs, students A and B look *at* different information (see page 139) in order to have exchanges which are similar to the ones they have just listened to. Student A You are a passenger buying a ticket at Victoria Station, London. Your partner is an assistant in the ticket office. Before you buy your ticket, prepare what you need to ask using the information below. You want to go to Brighton on Friday after 6.30pm and come back on Sunday around 4.00pm. You want to pay by credit card. b Buy your ticket. a Now change roles. You are an assistant in the ticket office at King\'s Cross Station, London. Your partner is a passenger Before you help the passenger buy his/ her ticket, prepare your answers using the information below. TICKETS TO CAMBRIDGE Prices: Single: £11/Day Return: £18.50 Weekend return: £16 Times of trains: To Cambridge-Thursdays 10:22/10:52 To London-Thursdays 18:15/18:45 Method of payment: Credit card, cheque or cash Student B 1 a You are an assistant in the ticket office at Victoria Station, London. Your partner is a passenger. Before you help the passenger buy his/ her ticket, prepare your answers using the information below. TICKETS TO BRIGHTON Prices: Single: £10/Day Return: £18 Weekend return: £15 Times of trains: To Brighton-Fridays 17:37/17:53 To London-Sundays 15:58 / 16:51 Method of payment Credit card, cheque or cash b Help the passenger buy his/her ticket. 2 a Now change roles. You are a passenger buying a ticket at King\'s Cross Station, London. Your partner is an assistant in the ticket office. Before you buy your ticket, prepare what you need to ask using the information below. You want to go to Cambridge on Thursday between 10.00 and 11.00am. You want to come back the same day after 6.00pm. You want to pay in eash. b Buy your ticket. Although this particular example is culture-specific *(*British English, using English locations and destinations), the technique of matching what students hear to pictures can be used in many different ways at many different levels. Booking and buying tickets take place in all languages and cultures, too. **[Example 3: prerecorded authentic interview-narrative (upper] [intermediate)]** In this example, for upper-intermediate level, students are going to hear two excerpts from a recorded authentic interview. However, in both cases the interviewee often replies to the interviewer by telling stories rather than just giving short answers. These excerpts are considerably longer than lower-level listening texts - and unlike the live listening in Example 1, students will not have the opportunity to interact with the interviewee. It is, therefore, especially important that they are both fully engaged with what is going on and also ready to listen. This interview is notable, too, in that the interviewee is a speaker of Indian English - an important world variety, and therefore one which students of English as an International Language (see page 80) should be comfortable with. Students are first shown the picture on the right and asked to speculate about who the person is, where she\'s from, what she does, etc. They then look at the following questions before they hear her speak: a What happened at the station in Mumbai (then called Bombay), and how much money did Diana have with her? b. How did Diana try to get accommodation in Mumbai? c. What time was it on Diana\'s watch when she knocked on the lady\'s door? d Why do you think the lady said \'Come inside\'? e What lesson does Diana draw from this experience in her life? They discuss the questions, perhaps in pairs, and try to predict the answers. The teacher now plays the following audio track (after they have been told that Diana comes from Hyderabad in southern India and that at the age of 18 she went to Mumbai, then called Bombay, to look for work): DIANA: I had 250 rupees in my pocket. Now 250 rupees is the equivalent of about umm four pounds, and the person who was a family friend who was supposed to meet me at the station wasn\'t there, and then I went knocking from one door to the other looking for accommodation and umm it\'s a very bizarre story but I did get accommodation. Someone sent me to somebody else and they said - like you call them \'bedsits\' here, in India you call them paying guests and they said \'oh so-and-so person keeps paying guests, go there\', and I got sent from one place to the other off this main road and umm I knocked on this lady\'s door and my watch said 7.30 and she opened the door and I said \'Look, someone told me - can\'t remember where down the line - someone said you keep, you know, paying guests,\' and she said \'No, I don\'t, not any more, I\'ve stopped for the last three years,\' and then I heard the English news in the background. Now the English news is from 9.30 to 9.45 and I said \'Is that the English news? She said \'Yes, and what is a young girl like you doing on your own on the streets at this time?\" and I said \'But it can\'t be because the English news is at 9.30\'. She said, \'Yes, a quarter to ten,\' and I showed her my watch and it stopped at 7.30 and she said, \'Come inside.\' She was a Pakistani woman. She was married to an Englishman. She said, \'Come inside.\' She says, \'My hair\'s standing and I just think God has sent you to me,\' and she took me in. She said, \'Bring all your stuff and come tomorrow and umm go and get a job. When you get a job, then you can start paying me.\' So that\'s the\... it\'s it\'s just everything. I believe that everything you try to do, if you put yourself out there and give it your all \... you will \...you will achieve it. I think it\'s very important that you look back and you connect with those experiences and you remember them as clearly as yesterday because if not, the superficial nonsense that goes on in your life like today can very easily take over you and you can lose perspective. Students go through the questions again in pairs to see if they agree with the answers. The teacher may decide to play the audio track again if they have had difficulty catching the main points of her story. The teacher now tells the students that Diana went on to become quite famous because she won something. They are invited to speculate what that was though they are not told if they are right. Instead, the teacher plays the next audio track for them to see if their speculations were correct: DIANA: \... I think it\'s very important that you look back and you connect with those experiences and you remember them as clearly as yesterday because if not, the superficial nonsense that goes on in your life like today can very easily take over you and you can lose perspective. PRESENTER: But Diana didn\'t lose perspective. After a succession of jobs - including managing two of India\'s most famous pop stars - she was entered into the Miss India beauty competition and she won it. Next she found herself representing her country in the Miss World competition, something that must have been quite daunting for the 23-year-old. DIANA: Your biggest fear is \"I shouldn\'t trip\' and because you\'ve got these really high heels and these long, long gowns and you\'ve got all these steps that you\'re walking up and down and it\'s live on television you\'ve got \... INTERVIEWER: Watched by \... DIANA:\... thousands of people watching \... INTERVIEWER: Watched by *\...* DIANA:\... by millions. It is huge. Everybody watches it. You have more people watching them in India than you\'d have them watching the Wimbledon finals or something, you know, or the Olympic Games or something. Yeah. Umm and your biggest fear is \'I should not go blank\' because you\'re asked questions on stage and yeah, you can just freeze. PRESENTER: But Diana didn\'t freeze. In front of a huge worldwide audience she heard a voice announce that Miss India, Diana Hayden, was the new Miss World. DIANA: Oooh you feel numb. The\... you know, it\'s it\'s a saturation point. It\'s too much *for you* to digest that *your* grin is stuck on *your* face. It was stuck on my face for weeks. I would position that crown in such a way that as soon as I opened my eyes I would see my crown. I did that for weeks. Ha ha. It was such a great feeling. You just, *you\'re* just grinning and you are just numb. If that\'s what euphoria is, you know, umm you, you can\'t speak very clearly. You speak but you\'re just so excited you\'re tripping over your own words, and immediately there was a press conference on stage itself and it\'s like ooh ooh ooh because you go from being nobody, a regular person. That\'s not fair. It\'s not a nobody. You go from being a regular person to being in every newspaper around the world and everyone knows. It went from going in a bus with 87 other girls to \'and Miss World is Miss India\' to a stretch limousine, with bodyguards, where the heads of the company moved out of the presidential suite and I took over and chaperones and that\'s what it was like since then. You sit in the cockpits for take-offs and landings. You\'re treated like a queen you, you know, you have private planes, and all these flights and umm the red carpet and it\'s just Lights! Camera! Action! Having established that Diana was Miss World, students then listen to the second audio track again to answer more straightforward information questions such as what Diana was afraid of and why, how many people were watching the second competition, how she felt when she won Miss World, what she did with her crown and what happened immediately after she won. Once again, the students will have the opportunity to listen to the audio track one or two more times. The two audio tracks and the audioscripts provide ample opportunity for various kinds of study. For example, it is worth drawing the students\' attention to some of the vocabulary that Diana uses (\'bedsit, \'hair standing\' - and how Diana says the phrase \--\'give your all\', \'trip over your words\', \'mind goes blank, \'chaperone\', \'cockpit, etc). We might also get the students to listen to the audio track while they read the audioscript and identify moments when Diana repeats words and phrases (and why she does this), find when she uses meaningless sounds (and why she does this) and see where she starts speaking with one grammatical construction and then changes it. Another useful activity is to get students to retell Diana\'s story, trying to use as many of her expressions as they can. Retelling is a good way of fixing some of the language in their minds. We could also move on to a discussion about the ethos of the Miss World competition. This last example of listening is highly elaborate and takes some time. But the advantages of hearing real English spoken normally - and an English that is somewhat different from the usual British and American varieties which have been the staple of listening texts for many years (though that is changing) -- outweigh the potential pitfalls of length. More listening suggestions ========================== **[Jigsaw listening]**: in three groups, students listen to three different tapes, all of which are about the same thing (witness reports after an accident or a crime, phone conversations arranging a meeting, different news stories which explain a strange event, etc). Students have to assemble all the facts by comparing notes. In this way, they may find out what actually happened, solve a mystery or get a rounded account of a situation or topic. Jigsaw listening works because it gives students a purpose for listening, and a goal to aim for (solving the \'mystery\', or understanding all the facts). However, it obviously depends on whether students have access to three different tape or CD players, or computer-delivered listening material. **[Message-taking:]** students listen to a phone message being given. They have to write down the message on a message pad. There are many other kinds of message that students can listen to. For example, they may hear a recorded message about what films are on at a cinema, when they\'re on, what rating they have and whether there are still tickets. They then have to decide which film to go to. They might hear the message on an answerphone, or a gallery guide (where they have to identify which pictures are being talked about), or messages about how to place an order. In each case, they have to respond in some way. It is also appropriate for students to listen to announcements in airports and on railway stations which they can match with pictures or respond to by saying what they are going to do next. **[Music and sound effects:]** although most audio tracks consist of speech, we can also use music and sound effects. Songs are very useful because, if we choose them well, they can be very engaging. Students can fill in blanks in song lyrics, rearrange lines or verses, or listen to songs and say what mood or message they convey. We can use instrumental music to get students in the right mood, or as a stimulus for any number of creative tasks (imagining film scenes, responding to mood and atmosphere, saying what the music is describing, etc). The same is true of sound effects, which students can listen to in order to build up a story. News and other radio genres: students listen to a news broadcast and have to say which topics from a list occur in the bulletin and in which order. They then have to listen for details about individual stories. If the news contains a lot of facts and figures, students may be asked to convert them into chart or graph form. Other genres which students get benefit from are radio commercials (they have to match commercials with pictures or say why one-on safety - is different from the rest - which are trying to sell things), radio phoneins (where they can match speakers to topics) and any number of games and quizzes. In all of the above cases, the degree of authenticity will depend on the level of the radio extract and the level of the students. **[Poetry]**: poetry can be used in a number of ways. Students can listen to poems being read aloud and say what mood they convey (or what colour they suggest to them). They can hear a poem and then try to come up with an appropriate title. They can where listen to a poem which has no punctuation and put in commas and full stops they think they should occur. One way of getting students to predict what they are going to hear is to give them the titles of three poems and then ask them to guess what words the poems will contain. As a result, when they listen, they are eager to see if they are right, and awake to the possibilities of what the poem might be like. **[Stories:]** a major speaking genre is storytelling. When students listen to people telling stories, there are a number of things we can have them do. Perhaps they can put pictures in the order in which the story is told. Sometimes we can let students listen to a story but not tell them the end. They have to guess what it is and then, perhaps, we play them the recorded version. A variation on this technique is to stop the story at various points and say \'What do you think happens next?\' before continuing. These techniques are appropriate for children and adults alike. Some of the best stories for students to listen to are when people are talking more or less informally (like Diana Hayden on pages 140-141). But it is also good to let them hear well-read extracts from books; we can get them to say which book they think the extract comes from, or decide what kind of book it is (horror, romance, thriller, etc). **[Monologues:]** various monologue genres can be used for different listening tasks. For example, we can ask students to listen to lectures and take notes. We can get them to listen to \'vox-pop\' interviews where five different speakers say what they think about a topic and the students have to match the different speakers with different opinions. We can listen to dramatic or comic monologues and ask the students to say how the speaker feels. We can have them listen to speeches (at weddings, farewells, openings, etc) and get them to identify what the subject is and what the speaker thinks about it. **[Audio and video]** Almost everything we have said about listening applies to video, too (or any other film platform, such as DVDs or other digitally delivered film; we will use the term video to include all of these - see Appendix A on page 252 for more on technology for listening and watching). We have to choose video material according to the level and interests of our students. If we make it too difficult or too easy, the students will not be motivated. If the content is irrelevant to the students\' interests, it may fail to engage them. **[Video is richer than audio]:** speakers can be seen; their body movements give clues as to meaning; so do the clothes they wear, their location, etc. Background information can be filled in visually. Some teachers, however, think that video is less useful for teaching listening than audio precisely because, with the visual senses engaged as well as the audio senses, students pay less attention to what they are actually hearing. A danger of video is that students may treat it rather as they treat watching television -e.g. uncritically and lazily. There may well be occasions when *it* is entirely appropriate for them to watch video in a relaxed way, but more often we will want them to engage, not only with the content of what they are seeing, but also the language and other features. **[Four particular techniques]** are especially appropriate for language learners, and are often used with video footage: **[Play the video without sound]:** students and teacher discuss what they see and what clues it gives them, and then they guess what the characters are actually saying. Once they have predicted the conversation, the teacher rewinds the video and plays it with sound. Were they right? A variation on this technique is to fast forward the excerpt. The students say what they think was happening. The teacher can then play the extract with sound, or play it, again, without sound, but this time at normal speed. **[Play the audio without the picture:]** this reverses the previous procedure. While the students listen, they try to judge where the speakers are, what they look like, what\'s going on, etc. When they have predicted this, they listen again, this time with the visual images as well. Were they correct? **[Freeze frame:]** the teacher presses the pause button and asks the students what\'s going to happen next. Can they predict the action - and the language that will be used? Dividing the class in half. half the class face the screen. The other half sit with their backs to it. The \'screen\' half describe the visual images to the \'wall\' half. Teaching listening Conclusions \| *In* this *chapter* we *have:* ☐ discussed the reasons for using listening in the classroom. These include the effect on the students\' acquisition of good pronunciation and other speaking habits. We also need to expose students to different varieties of English, and different kinds of listening. identified the difference between intensive (detailed) listening and extensive listening, saying that in the case of extensive listening students should listen to things they can more or less understand, mostly for pleasure. talked about the difference between live listening and prerecorded extracts, saying that whereas live listening allows students to interact with speakers, they cannot do this with speakers on audio tracks. Nevertheless, the latter provide ample opportunities for hearing speakers of different language varieties. said that students need to hear people speaking in different genres, and that while we want them all to hear authentic English, at lower levels this may not be feasible; nevertheless, the language they hear should be as much like the \'real thing\' as possible. discussed the fact *that* students need to be able to deploy different skills for listening in order to understand general meaning or, alternatively, to get specific details. provided six principles for listening: listen as often and as much as possible, preparation is vital, once may not be enough, students should be encouraged to respond *to* the content of the listening, not just the language, different listening stages demand different listening tasks, good teachers exploit listening texts to the full. ☐ looked at three listening sequences showing how preparation is a major part of the sequence, and showing how listening leads on to follow-up tasks. offered a range of other listening genres and activities. discussed where video (or digitally delivered images) fits in, mentioning some video techniques and stressing that using video is not an excuse for TV watching. Stages of Listening =================== There are indeed several factors that can interfere with listening. Thus, DeVito (2000) has divided the listening process into five mental tasks or stages namely: *receiving, understanding, remembering*, *evaluating, and responding*. **[Stage 1. Receiving]** The first stage of the listening process is receiving which involves two other activities like hearing and attending. As the listener hears the message, he/she tries to isolate it from all the rest of the physical noise heard. The next important activity in this stage is for the listener to attend to the message by identifying and interpreting the sounds heard as words. The sounds heard are merely sounds unless put in context. In this stage, you must pay attention to the speaker and avoid accommodating other thoughts to ensure that you have not missed any information, or messages both verbal and non-verbal **[Stage 2. Understanding]** In understanding or comprehending the messages that you have accommodated in the first stage, the listener in this stage will have to determine the context and assign meaning to the words and utterances heard. "Determining the context and meaning of individual words, as well as assigning meaning in language, is essential to understanding sentences. This, in turn, is essential to understanding a speaker\'s message\" (Lumen Boundless Communications, n.d.). In this stage, you should also be aware of some factors that may affect your understanding like the choice of words, accent, language fluency, physical noise, perceptions, experiences, and the like. You may want to use the \'clarify\' strategy you\'ve learned in active listening to help you with your mental reconstruction of the speaker\'s message. **[Stage 3. Remembering]** According to Harvard Business Review, people usually forget up to half of what they\'ve heard within the first eight hours of listening to it. Edgar Dale\'s Cone of Experience says the same thing - students only retain at least 20% of what they hear. In this stage, remembering all details is vital to be able to move forward in the conversation. Sometimes listening attentively is not enough since there might be a message that is too complex and thus needs highly developed listening skills. You also have to consider that \"you can improve your memory of a message by processing it meaningfully-that is, by applying it in ways that are meaningful to you\" (Gluck, et al., 2008). One way to do this is to \"make associations to past remembered information. This can help a listener understand what she is currently hearing in a wider context\" (Lumen Boundless Communication, n.d.). --------------------------------------------- **[Stage 4. Evaluating Stage]** --------------------------------------------- In this stage, the listener assesses the information after making a reasonable objective interpretation of the message. One strategy for active listening that you\'ve learned in the previous section is to \"withhold judgment\" while the speaker is still talking. However, this stage sometimes often starts too early in the listening process especially when topics are sensitive, emotional, debatable, and conflicting. If this happens, the listener will just basically listen only to what he/she wants to hear. It is also in this stage wherein the listener tries to review mentally and determine the veracity of the information (with considerations of the speaker\'s context) against his/her knowledge and experiences. Moreover, since each one has his/her perspectives, experiences, and even biases, evaluation of the same message CHAPTER 1 - LESSON 1: The Concept and Importance of Listening 11 may vary depending on the listener. To expect a positive acceptance of the message and to ensure that both speaker and listener disagree agreeably, the speaker has to speak clearly, present ideas logically, and provide evidence to his/her claims. **[Stage 5. Responding]** The last stage which is giving feedback is an important aspect of the communication process. It is at this stage where you will signify your participation. Feedback can either be verbal and non-verbal reactions. For example, during virtual classes students give their feedback through the emoticon buttons or the chat box. For verbal feedback, this may be in the form of questions, clarifying, requesting additional information, repeating, or summarizing what the speaker has said. Take note as well that not all feedback occurs at the end. The listener may offer non-verbal signals like nodding while the speaker is talking to show involvement. This is referred to as formative feedback. Summative feedback on the other hand is given at the end of the communication. **TEACHING LISTENING** The previous discussions have laid down the importance of listening, not as a secondary skill, but as an important foundation for the language acquisition process. Teaching this skill provides an avenue for students to be exposed to rich input and an authentic sample of oral texts. This allows them to be familiar with what constitutes oral texts like pronunciation, stress, pitch, and intonation; and, to be exposed to rich vocabulary and language structure that is used in varied communicative settings. Likewise, you have also been introduced to the process of listening. Vandegrift (2004) mentioned that students may use either top-down or bottom-up processes. As one listens, he she may consciously or unconsciously use one or both processes. Cahyono and Widiati (2009) mentioned that \"successful listeners are those who can use both bottomup and top-down processes by combining the new information and the knowledge that they already know.\" Brown (2006) in Yildirim (2016) elaborated on this: \...students must hear some sounds *(*bottom-up processing), hold them in their working memory *long* enough (a *few* seconds) to connect them, *and* then interpret what they\'ve *just* heard before something new comes along*.* At the same time, listeners are using their background *knowledge* (top- down processing) to determine meaning *with* respect to prior *knowledge* and schemata*\"* This claim is supported by several authors and thus leads to what **Lopez, et.al (2020)** mentions as an \'integrative approach\' in teaching listening which involves three key stages: before-*listening*, *whilelistening*, and after*-listening*. As (future) language teachers, you should ensure to provide activities that would involve students processing and decoding the text *(bottom-up*), and then comprehending it using one\'s schema *(top*-*down*). According to **Vandergrift (2011),** \"the greater use of one process over the other will depend on the listening purpose, the listeners\' characteristics, and the context where the listening act takes place\". Richards (2008) in Lopez et.al. (2020) states that: In *real-world listening,* both *bottom*-up and top*-down* processes generally *occur together*. *The extent to which* one or the other dominates *depends on the listener\'s familiarity* with *the topic* and *content* of a text, *the* density *of information* in a text, *the text type*, and *the listener\'s purpose* in *listening* The following are some of the exercises you can use which would develop students\' top-down and bottom-up processing: Bottom-up --------- Teachers may ask students to: point out familiar words from the oral texts identify the meaning of unfamiliar words from texts listened to locate the syllable stress from words, and word stress from sentences - identify rhyming words - listen for pitch levels and intonation patterns - determine synonyms and antonyms from texts listened to - identify key words that occurred in a spoken text - find which modal verbs occurred in a spoken text - identify thought groups - find collocations and idioms - point out key transitions in a discourse - identify grammatical relationships between key elements in sentences - determine the order in which words occurred in an utterance ***Top-down*** - write down as many words and phrases related to the topic they are about to listen to - get the idea from the texts listened to - discriminate between emotional reactions make predictions and inferences from stories heard - listen for specific information - sequence information after listening to a literature piece - follow directions - share one\'s ideas based on the topic heard - give synthesis from texts heard summarize important points - generate questions from topics heard - identify conversation themes - rewrite the listening texts using their own words - share what the speaker\'s purpose is and identify his/her speaking attitude - students to ask about and/or to describe other expressions they may have heard - write a journal of their listening activities You have also been introduced to the interactive process of combining both top-down and bottom-up as teachers design teaching-learning listening activities. Thus, the activities above may be integrated and divided into three key stages in teaching listening: *[before-listening,] [while-listening, and after-listening]*[.] Richards (2008) in Lopez, et.al. (2020) explains that: *the **before-listening stage** [prepares] students for* both *types* of *processing through activities that require activating their previous knowledge*, *making* it *predictions, and revising key vocabulary;* *the **while-[listening] stage** focuses attention* on *comprehension through activities that require selective listening, listening for main ideas (gist listening)*, *or understanding the sequence of events (sequencing); and* *in the **[post]-[listening phase]**, students should express their opinions on the topic and respond* to *comprehension. This stage may also include a detailed analysis of some sections of the text that could not be understood by the students*. Moreover, since in most actual listening students are exposed to reallife conversations, teachers are encouraged to contextualize materials and anchor activities on real-life situations. The following are some of the exercises using the **principle of interactive approach** in listening. Remember that deciding on what tasks to give and at which fstage they will be given also depends on the learning outcomes students are expected to achieve during the session. Stages **Pre/Before- Listening** Introduce some vocabulary words from the text. - Encourage students to write down questions which they would war to answer after listening. - Have students sort a text from a jumbled version. - Ask them to predict what the oral text will be based on its title. - Ask students questions related to the oral text to activate prior knowledge. - Let students guess the meaning of unknown words from the oral texts. - Ask students to list expressions that occurred while listening. - Ask students to do cloze exercises while listening. - Let them show evidence of understanding or nonunderstanding through gestures (thumbs up or thumbs down) while listening. - As the teacher reads the text, or as the audio recording plays the teacher may stop at some parts to ask students to write down important points or give descriptions, etc. Post/After Listening ==================== - Ask students to think and talk about what they heard. - Let them create and share their dialogues from what they have listened to. Let them write their own opinions and share them with the class. - Ask them to sequence important events from the stories listened to. - Let them complete gaps in the text, tick words, and phrases that are heard, or match and choose pictures. - Ask questions for comprehension. Introduce memory games. - Let students complete tables, charts, diagrams, sentences. - Let them answer multiple-choice and true/false questions. - Let them do character portrayals. The teacher can also build and expand students\' understanding through integrating other language skills. **Format of a Listening Lesson** In the previous discussion, we have established the following points: Teachers have to provide activities that supplement comprehension goals with acquisition goals. - Successful listeners are those that can use both bottom-up and top-down processes thus, teaching-learning activities should provide students the opportunity to practice both. - The three key stages in listening may be used as an outline in designing a listening lesson that ensures an interactive process approach in teaching listening. So how do you craft a listening lesson with all three stages: pre-listening, whilelistening, after-listening? Pre-listening ============= This stage sets the context of the listening activity that will be given to students. In this stage, the following will help you in getting your [students] ready for the listening task: [***Identifying vocabulary/comprehension needs***.] As language teachers, you should have information on your students\' listening skills as well as their vocabulary level. This is very helpful not just when designing pre-listening vocabulary activities but also when choosing specific materials for listening activities. Teachers should pla help students better understand the listening or oral texts by identifying possible co difficult words or presenting specific vocabulary expressions which students would need while listening. Before listening, you can already select some vocabulary for students to study. You can give them word-definition matching or fill the gaps in **[*Activating interest*.]** Teachers would always start with motivational activities to set the classroom mood. The goal is for students to be ready and be motivated to listen. The listening text should be \'familiar\', interesting, and within students\' level of understanding. From this, you should design tasks that will arouse your students\' interest and curiosity. You may use video and audio segments, songs, and/or stories that students find interesting. You may refer to the suggested activities given above. **[*Putting* it in *context*].** Teachers should choose oral and listening texts that are relevant and interesting to the students. During pre-listening, the teacher should be able to design contextualized listening activities that would activate students\' prior knowledge and help them form appropriate inferences which they need to comprehend the message. According to Vandergrift (n.d), teachers need to help students organize their thoughts, activate appropriate background knowledge for understanding and to make predictions [to] prepare for listening. ***[Setting the purpose]***. At the onset, the purpose of the listening activity should be made clear to the students. Are they listening for information? for gist? Or are they going to do intensive listening? Students should be cued in advance on what specific points they need to attend to when listening. This will help them to be more prepared at the same time know the listening strategies they will have to use while listening. What is the purpose of listening - to gain information, or to be entertained, or to evaluate, or to give support or understanding to the speaker? Students will better understand if they know why are they made to listen in the first place. Remember as well that before starting the while-listening activities, you have to ensure that students will have no distractions. While-listening =============== In planning the while-listening activities, you may need to consider the following: **[Listening and re-listening]**. Most students may need to listen to a text several times before they can understand. Listening becomes more challenging if you\'re using adapted audio texts from foreign speakers. In this case, you may want to inform your students ahead that such audio recordings will be played more than once so as not to put too much pressure on them. Likewise, depending on the purpose of the listening task and the listening material, as a teacher, you need to assess how much your students can take and whether listening once is enough for them. If students are listening independently, they can stop the audio and think or listen again as needed. Guided ***listening* and *Scaffold note-taking***. *While-listening* focuses on comprehension through exercises that require selective listening, gist listening, sequencing, etc. If you need your students to complete something while listening, you have to make sure that they have previewed and understood the written task first before listening begins. Remember that these tasks are given to guide your students in the listening task and not to distract them. Thus, you also have to keep writing tasks to a minimum especially if your goal is comprehension. You can provide listening organizers to help students focus on important details which can help them deepen [their] understanding of the listening material/task. You can also direct them to find clues from the listening text which would help them understand better*.* These activities may be done by pairs on in groups. Although listening is an individual activity, sometimes students become more confident if they are working with a partner especially in completing while-listening activities. ***\'*Thinking space\'**. Just like any classroom activity, students need \'breathing\' or \'thinking space\' between and after listening activities. Give them time to process the information by pausing in between paragraphs, and check now and then if they are still following. If there are parts that students have difficulty understanding, they may start to wander off and lose focus in the activity. Thus, you have to be keen and address these difficulties while in the process. You may summarize, use questions, point out significant details so that students will be able to recognize important parts of the message. There\'s a lot of listening texts you can use in your classroom. However, providing students with a \"more real act of communication\" through authentic listening texts provides a better way for students to understand the language when used in the real context. Your listening texts may be from any of the following: - spoken poetry - radio programs (news, advertisements etc.) song lyrics - a lecture - \'recorded\' announcements in airports, bus terminals etc. - video segments like TED Talks, etc - tutorial videos - an anecdote, short stories etc podcasts and vodcasts Post-listening ============== As there are many post-listening activities that you can give, remember that this stage serves as a follow-up to the listening activity done while taking into account the primary purpose of the listening task. Thus, postlistening activities may focus on: **[*Responding* to *the text*.]** It is important that students share their reactions to the content. You can provide discussion questions or evaluative questions that would guide students in processing what they feel and the ideas they got after listening. They can give opposing views, connect their ideas based on their experience, or even answer the questions they have raised during pre- listening. You can better engage them by providing post-listening tasks that would let students categorize, synthesize, and clarify ideas or reflect upon the message. You can engage them in synthesizing. **[*Analyzing linguistic features of the* text]**. Depending on the goal of your listening task, you can also ask students to analyze language forms from the script. You can also use the listening script/task as a springboard in teaching grammatical functions. **[*Integrating speaking and writing*.]** Since listening is a receptive skill, you may also want to design tasks that would require students to use their productive skills. In this case, students are allowed to use the language creatively. They may write dialogues and short compositions, role-play a certain scene, or express their appreciation and reaction through written and oral tasks. **Strategies and Examples in Teaching Listening** Effective and successful listening skill requires practice and you need lots of it. As a language teacher, you need to provide varied and relevant listening opportunities for your students in and outside the classroom. Here are *some* examples that you can use. **Pre-Listening** +-----------------------------------+-----------------------------------+ | *Generic Format of* a *Listening | | | Lesson* | | | | | | Pre-listening | | | | | | - *Identify vocabulary needs* | | | | | | - *Activate interest and | | | motivation* | | | | | | - *Put in context* | | | | | | - *Set the listening purpose* | | | | | | While-listening | | | | | | - *Provide opportunity for | | | students to re-listen* | | | | | | - *Promote guided listening* | | | | | | - *Give students* \'*thinking | | | space\'* | | | | | | Post-listening. Activities may | | | focus on: | | | | | | - *Responding to* the *text*. | | | | | | - *Analysing linguistic | | | features* of the *text*. | | | | | | - *Integrating speaking and | | | writing.* | | +===================================+===================================+ | Listening Strategy | Examples | +-----------------------------------+-----------------------------------+ | **Identifying vocabulary/ | ***-Word webs**:* Inform the | | comprehension needs** | students of the listening topic | | | and using semantic webs; ask them | | | to provide words, topics, or | | | sub-topic with which they are | | | expected to come up during the | | | listening activity. | | | | | | **-Mind *maps*.** Have students | | | generate ideas and create work | | | associations from a given central | | | idea/theme or topic. | | | | | | - **Ask me***.* Give students | | | words or expressions and let | | | them explain these to a | | | partner. Roam around and | | | check for students | | | understanding of these words | | | or expressions. They can use | | | the list in the | | | while-listening stage and | | | tick the words they hear in | | | the listening passage. | | | | | | - ***Words on the board**.* | | | Write different words on the | | | board and as students to | | | choose two-three words. From | | | these two words, they will | | | have to create one sentence. | | | | | | ***Gap-fill***. Write sentences | | | with missing words. Ask students | | | choose one of the sentences and | | | complete it with their ideas. | +-----------------------------------+-----------------------------------+ | **Activating interest** | ***Brain Walking***. Put | | | posters around the classroom. Ask | | | students to move around and go to | | | each poster then talk about what | | | comes to mind after taking a look | | | at the posters. 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