| "Songs go far beyond words in their
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| | films appealed to people at a deeply
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| ability to insert emotion into
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| | personal level.Pop Songs in Learning
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| communication." Robert Sylwester, A
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| | In Training With A Beat, I discussed at
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| Celebration of NeuronsFilmmakers, if they
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| | length the application of pop songs in
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| knew who brain researcher Robert
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| | the
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| Sylwester was, would agree
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| | learning environment. In part, I
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| with him. They often integrate familiar
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| | said:"Concert halls, ballrooms, parties,
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| songs into their movies. Pop songs are so
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| | and yes, the class room, can be
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|
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| | uncomfortable
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| successful that movie producers will pay
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| | environments. When people hear a song
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| exorbitant sums, in some cases as much as
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| | they've listened to in the privacy of
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|
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| | their
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| $100,000, to acquire the rights for the
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| | home, they relax. Comfortable music
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| song.Sylwester, in his book A Celebration
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| | emotionally warms the training room,
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| of Neurons, went on to explain:"The songs
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| | placing
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| of our adolescent years often become the
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| | learners in a receptive frame of mind
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| beacons of our adult life
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| | for learning. Songs with lyrics,
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| because they can help us to recall the
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| | especially
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| important developments of our
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| | popular hits of the last 50 years, are
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| adolescence.
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| | extremely useful for this reason. They
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| We often listen to this music to relive
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| | are old,
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| the memories in the extended reverie of
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| | well worn, welcome friends."Songs with
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| song.
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| | lyrics also engage learner brains in
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| The song slows the simple message so
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| | multiple ways. The words and rhythm
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| that we can savor all the emotions of the
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| | of a song are largely processed in the
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|
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| | brain's left hemisphere, where the melody
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| experience."In a film composer's hands,
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| | is
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| pop songs are chosen and linked to those
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| | largely processed by the right
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| memories in
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| | hemisphere. By using songs with lyrics,
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| a way that adds emotional texture to the
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| | you help your
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| film. Films with pop music scores
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| | learners engage both hemispheres. In the
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| function
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| | process, they gain a deeper meaning than
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| on two distinct levels. The first level
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| | is possible with one hemisphere
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| is the application of the song in the
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| | alone.Song lyrics can, as was the case in
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| film. Every
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| | The Big Chill, speak directly to the
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| song lyric tells a story and a well
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| | learning topic.
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| placed song's story will dovetail with
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| | The many applications are too numerous
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| the film's
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| | to state in this one article, but a few
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| visual.The second, and deeper, level is
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| | examples should prove the point:Career
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| the emotional meaning the use of specific
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| | planning - "All Star" by Smash Mouth
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| songs
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| | Change management - "Bad Day" by Daniel
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| brings forth within the listener. The
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| | Powter
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| songs become metaphors, placing the
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| | Communication - "Hello, Goodbye" by the
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| subject
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| | Beatles
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| to be taught in the context of the
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| | Conflict management - "Shut Up" by the
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| learners prior experiences. When people
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| | Black Eye Peas
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| hear
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| | Customer service - "Lean On Me" by Bill
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| songs they know, and have personal
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| | Withers
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| memories of, they immediately are drawn
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| | Diversity - "Short People" by Randy
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| back
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| | Newman
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| into those memories, and the experience
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| | Finance - "Takin' Care of Business" by
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| is enhanced. In essence, pop music helps
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| | Bachman-Turner Overdrive
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| us relate to the story being told in a
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| | Project Management - "One Little Slip"
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| deeply personal, highly emotional
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| | by the Bare Naked Ladies
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| way.Three famous films used this
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| | Sexual harassment - "Respect" by Aretha
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| technique to achieve success.American
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| | Franklin
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| Graffiti (1973), telling the story of a
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| | Time management - "Right Place, Wrong
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| group of early 1960s high
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| | Time" by Dr. JohnOnce you've decided on
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| schoolers enjoying a last summer before
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| | an appropriate song, placement is simple
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| adulthood, was intentionally designed as
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| | Considering the
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| a
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| | Randy Newman song "Short People" for
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| series of pop music vignettes. George
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| | example:Introduction - Play the song as
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| Lucas, the film's director, developed the
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| | the learners enter. Once the song is over
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|
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| | call
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| storyline, and selected the songs to
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| | attention to the songs lyrics and ask
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| almost simultaneously.Each scene matched
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| | for comments about the meaning conveyed
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| the length of the song accompanying it.
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| | by
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| For example, Bill
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| | those lyrics. Use those comments as a
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| Haley's "Rock Around The Clock," played
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| | transition to your presentation.Filler -
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| during the opening credits, set up the
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| | Play the song during breaks to add a
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| film's innocence of summer theme. The
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| | subliminal message to your
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| Crests' "Sixteen Candles" accompanied a
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| | content.Activity - Divide your learners
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| young girls sixteenth birthday. "Teen
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| | into groups and instruct them to read and
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| Angel" by Mark Dinning was played when a
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| | discuss the
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| character dies in a drag race. The film
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| | lyrics. Then lead a general discussion
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| ends with the Spaniels' "Goodnight, Well
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| | to share each group's
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| It's
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| | observations.Conclusion - Conclude your
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| Time To Go."The Big Chill tells the
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| | session by stating, "We are all short
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| story of a group of former 1960s radicals
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| | people in
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| turned
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| | someone's eyes." Then ask the rhetorical
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| 1980s yuppies who gather to mourn the
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| | question, "If none of us were welcome
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| passing of an old friend. Like American
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| | around here, who would be left to
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| Graffiti, The Big Chill uses pop songs,
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| | complete our work?" Start the song and
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| although in this case, to add commentary
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| | thank
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| to
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| | everyone for attending. Your learners
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| the on-screen occurrences.Marvin Gaye's
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| | will walk out of the classroom with the
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| "I Heard It Through The Grapevine"
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| | song
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| accompanied the actors as they
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| | and its lyrics firmly implanted in their
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| hear about their friend's passing. "You
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| | brains, and you will have closed with a
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| Can't Always Get What You Want" by the
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| | visually
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| Rolling Stones is played as an ironic
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| | powerful learning point.Given the large
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| commentary on the friend's death. As the
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| | number of pop songs available, the
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| friends discuss relationships, The Young
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| | options are limited only by your
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| Rascals "Good Lovin'" is performed.
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| | imagination and the musical preferences
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| Finally,
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| | of your learners. You too can have your
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| "Bad Moon Rising'" by Credence
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| | learners, in the words of the old song
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| Clearwater Revival is played immediately
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| | by "M", "talkin' 'bout pop music."Please
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| after a
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| | respect song owner rights. Consult your
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| former lover proposes that she and her
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| | organization before you use another
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| old flame reunite for an evening.The best
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| | person's musical composition.Visit Lenn
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| subconscious music placement occurs in a
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| | on line at
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| supermarket between the two
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| | Blog with Lenn at Millbower, BM, MA,
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| former lovers who contemplate rekindling
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| | the Learnertainment(R) Trainer is an
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| their relationship. Although their desire
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| | expert in applying
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|
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| | show biz techniques to learning. He is
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| for each other is palpable, both hold
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| | the author of the ASTD Info-Line, Music
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| back, only conversing about the shopping
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| | as a
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| task
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| | Training Tool, focused on the practical
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| at hand as the store's Muzak system
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| | application of music to learning; Show
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| plays Frank Sinatra's "Strangers In The
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| | Biz
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| Night."Forest Gump tells the story of a
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| | Training, the definitive book on the
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| dimwitted man who experiences a series of
| |
| | application of entertainment industry
|
|
| |
| | techniques to training; Cartoons for
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| life adventures over several decades.
| |
| | Trainers, a popular collection of 75
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| Because the film's extended time frame,
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| | cartoons for
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| the
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| | learning; Game Show Themes for Trainers,
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| music serves to establish the time and
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| | a best-selling CD of original learning
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| place.Credence Clearwater Revival's
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| | game music; and Training with a Beat:
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| "Fortunate Son" sets up Gump's Vietnam
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| | The Teaching Power of Music, the foremost
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| tour. To
| |
| |
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| state that Forest's girlfriend has moved
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| | book on the application of music to
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| to California, California Dreaming" by
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| | learning. Lenn is an in-demand speaker,
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| the
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| | with
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| Mamas and Papas is used. "San Francisco"
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| | successful presentations at ASTD
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| by Scott Mackenzie frames Forest's 1960s
| |
| | 1999-2005 and SHRM 2006; a creative and
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| visit to San Francisco. When Forest
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| | dynamic instructional designer and
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| returns home to Alabama, Lynyrd Skynyrd's
| |
| | facilitator formally with the Disney
|
|
| |
| | University
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| "Sweet Home Alabama" is played. These
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| | and Disney Institute; an accomplished
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| music placements help the films listeners
| |
| | arranger-composer skilled in the
|
|
| |
| | psychological application of music to
|
| comprehend the different locations and
| |
| | learning; a popular comedian, magician
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| eras represented in the film.American
| |
| | and
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| Graffiti, The Big Chill, and Forest Gump
| |
| | musician; and the president of Offbeat
|
| were all highly successful films,
| |
| | Training(R), infusing entertainment-based
|
| and their pop song application played a
| |
| |
|
| huge part in creating that success. All
| |
| | techniques into learning to keep 'em
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| three
| |
| | awake!
|
