Metadane karty pracy ucznia ID (wypełnia redakcja)
Tytuł A day with Sting (Top Musicians 8)
Przedmiot nauczania Język angielski
Autor (imię i nazwisko) Aleksandra Kazimierczyk Adres (ulica, nr domu) ul. Omulewska 14/ 4 Kod pocztowy, miejscowość 04-128 Warszawa Login autora w Scholaris olakazimierczyk
Abstrakt Karta pracy ucznia będąca dodatkiem do scenariusza przygotowanego do realizacji w trakcie 45-minutowej lekcji, ósmej z serii „Top Musicians” – poświęconych słynnym artystom krajów anglojęzycznych. Tym razem lekcja dotyczy słynnego brytyjskiego artysty – Stinga.
Celem lekcji jest ćwiczenie umiejętności czytania oraz słuchania ze zrozumieniem. Temat lekcji – legenda Stinga, historia jego życia i kariery, nie tylko przyciąga uczniów i zachęca ich do pracy, ale jest również ważnym elementem współczesnej historii i kultury Wielkiej Brytanii. Pracując z naturalnym tekstem oraz ze słynną piosenką wokalisty („Fragile”), uczniowie ćwiczą praktyczne zastosowanie języka angielskiego.
Wydawca OSI CompuTrain
Źródło Inside Sacred Love – reportaż DVD; Cambridge Advanced
Learners Dictionary, pod red. R. Murphy'ego, Cambridge University Press, Cambridge 1997.
Odnośniki scenariusz, szablon do pracy z uczniem
Etap edukacyjny gimnazjum, liceum
Informacje o prawach (wypełnia redakcja)
Słowa kluczowe słownictwo, music, rock, pop, jazz, Sting, muzyka, listening, reading
UDC (wypełnia redakcja) Przybliżony czas trwania zajęć (dotyczy scenariuszy, kart pracy, testów, prezentacji)
45 minut
Uwagi Jest to ósmy z serii scenariuszów „Top Musicians”
poświęconych słynnym artystom krajów anglojęzycznych.
KARTA PRACY UCZNIA – A day with Sting (Top Musicians 8)
GROUP 1
Ex. 1 Read a part of a short reportage about a day with Sting, in which he talks about his recent work. Then match the words highlighted in the text with their definitions.
At Sting’s house
Sting:
“That’s something I’ve done for many years that I worked in the houses that I had. It’s my environment and I want to be creative in it. Everybody enjoys the aberrance of the house, the food, the view. Ask everybody. They prefer working in something like this than in some sort of studio. It’s good to have people working in the house in a creative way, whether it’s musician zone, film crews or whatever. It’s good for the house. The house feels used. And it brings some great memories. I spend so much of my life away from home so when I can be at home, I wanna be at home.Now we are making old songs completely naked and sort of reinvent them. So I think we’re ready to do it – to play the songs in this environment, at home. If they’re good songs, they would transmute their meanings into different situations.
We’re in the middle of rehearsal. We don’t have very much time to rehearse. It’s a very good transition stage between recording and the big show with the drummer. We have to rationalise what’s important because we don’t have as many options as in the studio here. We only use our hands and do our best as musicians“.
One morning:
Sting:
“Before we start today I wanna talk about Kim Turner, who was my friend for 25 years. He died last night, he was my friend, my manager, my mentor, my little brother. I want today to be a celebration of his life. I wanna dedicate our work today to him and his memory, his spirit, and gratitude of having spent a quarter of a century with him, in his company, with his humour and great gifts. Every note that we sing today or play is dedicated to Kim. So, this is for you, Kim, wherever you are…”(Adapted from “Inside Sacred Love” DVD reportage) aberrance lacking its usual covering; not covered by clothes
zone he feeling or quality of being grateful
crew an area, especially one which is different from the areas around it because it has different characteristics
wanna a state or condition different from the norm
naked one of four equal or almost equal parts of something reinvent a group of people who work together
transmute a time when all the people involved in a play, dance, etc. practise in order to prepare for a performance
rehearsal short form of 'want to' or 'want a (informal)
drummer the form of a dead person, similar to a ghost, or the presence of a dead person which you can feel but not see
rationalize to produce something new that is based on something that already exists celebration to say publicly that the thing you do is in honour of somebody
dedicate to change something completely, especially into something different and better spirit someone who plays a drum or a set of drums, especially in a music group gratitude to try to find reasons to explain your behaviour, decisions
quarter a special social event, such as a party, when you celebrate something, or
the act of celebrating something
GROUP 2
Ex. 1 Read a part of short reportage about a day with Sting, in which he talks about musicians, he works with, and they talk about Sting. Then match the words
highlighted in the text with their definitions.
At Sting’s house
Kipper, Pianist and Background Vocalist about Sting:
When we’re making these transitions from records to live, the most important thing is that Sting’s comfortable and feel like he can communicate to the message of the song.
When he makes an album, I think, he starts off with the music and then does the lyrics. So we go often into a garden or just go for a walk and come back with a lyric.
Sting about Joy Rose, Background Vocalist and their singing together “Inside” song:
Joy sided back a lot of the albums but, because she’s such a good singer, I’ve wanted to feature her more by giving her some of the lines of the song. I’ve given her half of the lines so it becomes about a man and a woman fighting a battle with words. And it’s changing the meaning of the song. It’s changing the meaning of the words and it’s very interesting theatrical little struggle going on.
Sting about Dominic Miller, guitarist:
Dominic is a genius. He’s been my right-hand for two years. He plays all that tricky staff that my big fat hands can’t manage. I’m not a very good guitar player. He is. And so I can realise my musical dreams through him.
(Adapted from “Inside Sacred Love” DVD reportage)
communicate a row of words that form part of a text
can’t manage suitable for dramatic performance or the theater start off the words of a song, especially a pop song
lyrics fight
line to include someone or something as an important part
fight a battle to happen
theatrical can’t succeed in doing something, especially something difficult struggle to be a part of something and give support to somebody
go on things difficult to deal with and which need careful attention or skill right –hand to share information with others by speaking, writing, moving your
body or using other signals
tricky staff most trusted and important helper and supporter, especially at work transitions from sth to sth to argue
feature to begin by doing something, or to make something begin by doing something
side back a change from one form or type to another, or the process by which this happens
Ex. 3 Listen to the song and fill in the spaces.
FRAGILE – Sting
If blood will ______ when flesh and steel are one Drying in the colour of the evening ______
Tomorrow's ______ will wash the stains ______
But ______ in our minds will always stay Perhaps this ______ act was meant
To clinch a lifetime's ______That nothing comes from violence and nothing ever ______
For all those born beneath an ______ star Lest we forget how ______ we are
On and on the______ will fall Like tears from a ______
Like ______ from a star
On and on the rain will ______
How fragile we are How ______ we are
On and on the rain will ______
Like ______from a star Like tears ______ a star
On and on the ______ will say How ______ we are
How fragile we are How fragile we are How fragile we are
Aleksandra Kazimierczyk Nauczyciel języka angielskiego British School
Warszawa
