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Giáo án Tiếng Anh 10
Tiếng AnhLớp 10Phần 3. Unit 3: Music

Giáo án Communication and Culture / CLIL

Kế hoạch bài dạy theo mẫu Công văn 5512/BGDĐT-GDTrH, viết bằng tiếng Anh như giáo án Tiếng Anh thông dụng · 2 tiết (90 phút)

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I. Objectives

1. Knowledge

  • By the end of the lesson, Ss will be able to:
  • Use the suggestion and permission expressions in the everyday exchange (Why don't we…?, How about…?, Let's…, we should ask permission…) to plan a school show.
  • Pronounce the stressed syllable in two-syllable words (TA-lent, SING-er, per-FORM, en-JOY) and stress the key word in a sentence.
  • Use the six topic words (audience, performance, contestant, judge, rehearse, traditional) in context.
  • Explain the setting of chầu văn singing and describe how a school presentation can present it respectfully, without overgeneralising from one clip.

2. Competences

a) General competences

  • Self-control and independent learning: Ss check their own answers against the model and the key, and revise their written explanation after feedback.
  • Communication and collaboration: Ss work in pairs and groups to role-play the dialogue, share ideas in a jigsaw group and present their group product to the class.
  • Problem-solving and creativity: Ss decide which cultural sources are reliable, how to credit performers and how to present chầu văn respectfully in a school show.

b) Specific competences

  • Communicative competence in English through listening, speaking, reading and writing: Ss read and perform the everyday dialogue with correct intonation, read a cultural text for specific information and write a short, respectful explanation of chầu văn for a school audience.
  • Language knowledge (pronunciation, vocabulary, grammar): Ss identify word stress in two-syllable words, use the six topic words in sentences and recognise the suggestion and permission structures in the dialogue.

3. Personal qualities

  • Responsibility: Ss take turns in pairs and groups, complete their assigned part of the jigsaw task and check permission and source details before any recording or presentation.
  • Kindness: Ss show respect for the performers and the cultural setting of chầu văn by refusing to present a sacred practice as entertainment and by crediting performers in their work.
  • Honesty: Ss give accurate information from the source, do not invent results or claim one short clip represents every regional style, and admit when they are unsure of an answer.

II. Teaching aids and materials

1. Teacher

  • Textbook Tiếng Anh 10 (Global Success), Unit 3: Music, Communication and Culture / CLIL
  • Projector or interactive board with slides of the everyday dialogue, stress examples and the Culture / CLIL text
  • Phiếu học tập số 1 and Phiếu học tập số 2 (printed, one per pair or group)
  • Timer, markers, sticky notes, A3 sheets for group posters
  • NeoEdu lesson page (neoedu.vn/learn/10/english/unit-3-communication-and-culture-clil) for interactive exercises and stress practice

2. Students

  • Textbook and notebook
  • Pen or pencil, highlighter
  • Phiếu học tập (worksheet) for the activity
  • Smartphone or tablet with access to the NeoEdu lesson page (if available)

III. Procedures

Activity 1: Warm-up · 7 minutes

Music around us

a) Aims

Ss activate prior knowledge about music performances at school and introduce the topic of the lesson, the vocabulary of performances and the idea of inviting a local musician.

b) Content

Ss answer teacher's questions in pairs: 'Have you ever watched a music performance at school? Who were the audience?' and 'What traditional music do you know from Vietnam?' Ss then match the six words (audience, performance, contestant, judge, rehearse, traditional) with their Vietnamese meanings on the board.

c) Expected outcomes

  • A short list of 3 to 4 traditional or local music forms Ss know (for example: quan họ, ca trù, chầu văn, or other forms named by Ss).
  • Correct matching of the six words: audience (khán giả), performance (buổi biểu diễn), contestant (thí sinh), judge (giám khảo), rehearse (tập dượt), traditional (truyền thống).

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T greets the class and asks: 'Have you ever watched a music performance at school? Who was in the audience?' T shows the six words on the board and asks Ss to match them with their meanings in pairs.

    Students

    Ss listen to the question and talk in pairs about school performances they have seen.

  2. Teacher

    Step 2: Task performance

    T monitors pairs and helps Ss with pronunciation of the new words. T asks: 'What traditional music do you know from Vietnam?'

    Students

    Ss match the words with their meanings and write down examples of traditional music. Possible answer: 'I know quan họ from Bắc Ninh. I saw it at a festival.'

  3. Teacher

    Step 3: Report and discussion

    T invites 3 pairs to report their examples and asks the class to check the matching together.

    Students

    Pairs read their examples aloud. Ss say the correct meaning of each word, for example: 'A contestant is a person who takes part in a competition.'

  4. Teacher

    Step 4: Conclusion and assessment

    T confirms the correct answers and says: 'Today we will learn how to invite a local musician and how to present a traditional form like chầu văn respectfully.' T writes the lesson title on the board.

    Students

    Ss copy the vocabulary into their notebooks and note the lesson title.

Activity 2.1: Knowledge formation · 12 minutes

Suggesting and asking permission

a) Aims

Ss understand and use the expressions for making suggestions, agreeing and asking permission in the everyday dialogue.

b) Content

T plays or reads the dialogue twice:
A: Why don't we invite a local musician to our show?
B: That sounds interesting. How about asking the music teacher to introduce us?
A: Good idea. Let's prepare two clear questions first.
B: Yes, and we should ask permission before recording.
Ss find the expressions for suggesting (Why don't we…?, How about…?, Let's…), agreeing (That sounds interesting, Good idea) and asking permission (we should ask permission before recording). Then Ss practise the dialogue in pairs, switching roles.

c) Expected outcomes

  • Suggestion expressions: Why don't we…? / How about + V-ing…?
  • Agreement expressions: That sounds interesting. / Good idea.
  • Permission expression: we should ask permission before recording.
  • Ss perform the dialogue in pairs with correct intonation, then change one idea (for example: invite a school choir instead of a local musician) and keep the same structures.

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T says: 'Listen to the dialogue and underline the expressions for suggesting, agreeing and asking permission.' T plays the dialogue twice.

    Students

    Ss listen and underline the expressions in their textbook or on Phiếu học tập số 1.

  2. Teacher

    Step 2: Task performance

    T asks Ss to work in pairs, read the dialogue aloud and switch roles. T walks around and checks intonation of the suggestions (rising intonation in Why don't we…? and How about…?).

    Students

    Pairs read the dialogue, then substitute a new suggestion. Possible answer: 'Why don't we invite a guitar player? How about asking the Literature teacher to introduce us?'

  3. Teacher

    Step 3: Report and discussion

    T invites 2 pairs to perform their dialogues in front of the class and asks the class to point out the suggestion and permission expressions.

    Students

    Pairs perform. Classmates answer: 'The suggestion is Why don't we…? The permission is we should ask permission before recording.'

  4. Teacher

    Step 4: Conclusion and assessment

    T summarises: 'Use Why don't we…? or How about + V-ing… to suggest; use That sounds interesting or Good idea to agree; use we should ask permission to show respect before recording.'

    Students

    Ss write the three groups of expressions in their notebooks with one example each.

Activity 2.2: Knowledge formation · 10 minutes

Word stress in two-syllable words

a) Aims

Ss identify and produce the stressed syllable in two-syllable words and in a short sentence.

b) Content

T introduces the four words: TA-lent, SING-er, per-FORM, en-JOY. T explains that a stressed syllable is more prominent, not simply louder. T models the words and the sentence 'The singer will perform tonight.' Ss repeat, then mark the stressed syllable in the words 'contestant', 'judge', 'rehearse' and 'performance' and check on the NeoEdu interactive exercise.

c) Expected outcomes

  • Stressed syllables: TA-lent, SING-er, per-FORM, en-JOY.
  • Stress marks for the extra words: CON-test-ant, JUDGE, re-HEARSE, per-FOR-mance.
  • Sentence stress: The SINGer will perFORM toNIGHT. (The stressed words are the content words: SINGER, PERform, TONIGHT.)

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T writes TA-lent, SING-er, per-FORM, en-JOY on the board and asks: 'Which syllable is stronger? Listen and repeat.' T explains the definition of stress.

    Students

    Ss listen and repeat the four words, clapping or tapping the stressed syllable.

  2. Teacher

    Step 2: Task performance

    T asks Ss to mark stress on the words contestant, judge, rehearse, performance, then to say the sentence 'The singer will perform tonight.' T uses the NeoEdu interactive exercise for Ss to check their answers.

    Students

    Ss mark the stress in their notebooks and complete the NeoEdu exercise individually or in pairs. Possible answer: 'CON-test-ant, JUDGE, re-HEARSE, per-FOR-mance.'

  3. Teacher

    Step 3: Report and discussion

    T calls on 3 Ss to read the words and the sentence. T corrects only the stress, not the vowels.

    Students

    Ss read the words and the sentence aloud. Classmates say whether the stress is correct.

  4. Teacher

    Step 4: Conclusion and assessment

    T confirms: 'Stress is about prominence. Learn the stress with each new word, because word length alone does not show where the stress falls.'

    Students

    Ss write the stress pattern beside each new word in their notebooks.

Activity 2.3: Knowledge formation · 18 minutes

Chầu văn in a school presentation

a) Aims

Ss understand the Culture / CLIL text about chầu văn singing and learn how to present it respectfully, identifying reliable sources, distinguishing public demonstration from ritual and crediting performers.

b) Content

Ss read the Culture / CLIL text in three parts (jigsaw):
Part 1 (setting): 'Chầu văn singing combines vocal music and instruments in a Vietnamese cultural and ritual setting.'
Part 2 (respectful presentation): 'A school presentation should explain the setting respectfully rather than imitate sacred practice for entertainment. Identify a reliable cultural source and distinguish a public educational demonstration from a ritual.'
Part 3 (credit and limits): 'Credit performers and obtain recording permission. Do not assume one short clip represents every regional style.'
After reading, Ss answer Phiếu học tập số 2 in home groups.

c) Expected outcomes

  • Setting: chầu văn combines vocal music and instruments in a Vietnamese cultural and ritual setting.
  • Respectful presentation: explain the setting; do not imitate sacred practice for entertainment; identify a reliable source; distinguish a public educational demonstration from a ritual.
  • Credit and limits: credit performers, obtain recording permission, and do not assume one short clip represents every regional style.
  • Completed Phiếu học tập số 2 (answers in the Phiếu section).

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T divides Ss into groups of three and assigns each member one part (setting, respectful presentation, credit and limits). T explains: 'Read your part, then teach it to your group.'

    Students

    Ss form expert groups and read their assigned part carefully, underlining key words.

  2. Teacher

    Step 2: Task performance

    T regroups Ss into home groups of three (one expert from each part). T asks: 'What does a respectful school presentation do? Why is one short clip not enough?' T monitors and checks the true or false statements in Phiếu học tập số 2.

    Students

    Each S explains their part to the group. Ss complete Phiếu học tập số 2. Possible discussion: 'We should not present a ritual as a show. We should say where the information comes from.'

  3. Teacher

    Step 3: Report and discussion

    T invites one group to report the answers to statement 1 and statement 5, and asks others to add reasons.

    Students

    Groups report: '1 is False because a school presentation should not imitate sacred practice for entertainment. 5 is False because one short clip does not represent every regional style.'

  4. Teacher

    Step 4: Conclusion and assessment

    T confirms the answers and stresses: 'Respect the performers, the setting and the source. A school presentation is an educational demonstration, not a ritual.'

    Students

    Ss correct their worksheets and write one key idea about respectful presentation in their notebooks.

Activity 3.1: Practice · 15 minutes

Reading the model: purpose, opening and details

a) Aims

Ss practise identifying the purpose, audience, opening sentence and specific details in the model text, and explaining why specific details are more useful than general claims.

b) Content

Ss work in pairs and answer Exercises 2 to 4 from the textbook:
Ex. 2: State the purpose and audience of this everyday exchange on 'Music'. Support your answer with one detail.
Ex. 3: Explain how the opening introduces the topic. Identify the actual opening sentence.
Ex. 4: Select two useful details from the model and explain why including them is better than saying only that the topic is important.
After pairs answer, T checks the answers as a class. Note: these answers are for the teacher to check, not automatically marked.

c) Expected outcomes

Sample answers (teacher's key):

  • Ex. 2: The purpose is to suggest and plan an invitation to a local musician for a school show; the audience is school planners and classmates. Detail: 'How about asking the music teacher to introduce us?' It shows a concrete action the audience can take.
  • Ex. 3: The opening sentence is: 'Why don't we invite a local musician to our show?' It establishes the subject of the exchange before the supporting details.
  • Ex. 4: Two details: 'How about asking the music teacher to introduce us?' and 'we should ask permission before recording.' They are specific actions the audience can evaluate or use; saying only that music is important gives no useful information.

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T writes Exercises 2, 3 and 4 on the board and says: 'Work in pairs. Support each answer with a line from the model.'

    Students

    Ss read the model dialogue silently and discuss the three questions in pairs.

  2. Teacher

    Step 2: Task performance

    T monitors and asks guiding questions: 'Who is the audience? Which line tells us the first idea?'

    Students

    Pairs write their answers. Possible answer for Ex. 2: 'The purpose is to plan an invitation; the audience is the school planners. The detail is: How about asking the music teacher to introduce us?'

  3. Teacher

    Step 3: Report and discussion

    T calls on two pairs to read their answers for Ex. 2 and Ex. 4, and asks the class: 'Is this detail specific enough?'

    Students

    Pairs report their answers. Classmates agree or give alternative wording with the same meaning.

  4. Teacher

    Step 4: Conclusion and assessment

    T explains: 'A specific detail is more useful than a general claim. Accept different wording if the meaning is the same.'

    Students

    Ss correct their answers and write one sentence explaining why a specific detail is useful.

Activity 3.2: Practice · 10 minutes

Summary, middle sentence and closing

a) Aims

Ss practise writing a short summary, explaining the role of a sentence from the middle of the model and reading the opening and closing sentences aloud.

b) Content

Ss work individually and then compare with a partner for Exercises 5 to 7:
Ex. 5: Write a three-sentence summary using only information in the model. Keep any condition or limit that is essential to its meaning.
Ex. 6: Choose one sentence from the middle of the model and explain what it contributes to the message.
Ex. 7: Read the opening and closing aloud. Explain one difference between their jobs in the complete product.
The opening sentence is: 'Chầu văn singing combines vocal music and instruments in a Vietnamese cultural and ritual setting.' The closing sentence is: 'Do not assume one short clip represents every regional style.'

c) Expected outcomes

Sample answers (teacher's key):

  • Ex. 5: 'Ss suggest inviting a local musician to the show. The teacher can introduce them. Ss prepare two clear questions and ask permission before recording.'
  • Ex. 6: 'Identify a reliable cultural source and distinguish a public educational demonstration from a ritual' adds the condition about source and setting, so the presentation is accurate.
  • Ex. 7: The opening establishes the situation (chầu văn in a cultural and ritual setting); the closing gives a final limit or implication (do not generalise from one short clip). The opening introduces, the closing limits.

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T writes Exercises 5, 6 and 7 on the board and reminds Ss: 'Use only information from the model. Keep the limit or condition in your summary.'

    Students

    Ss write their summary, choose one middle sentence and prepare a short oral reading of the opening and closing sentences.

  2. Teacher

    Step 2: Task performance

    T walks around, checks that Ss keep the condition in the summary and does not add invented results.

    Students

    Ss write their answers individually. Then Ss compare with a partner and read the opening and closing aloud with clear pronunciation.

  3. Teacher

    Step 3: Report and discussion

    T invites 2 Ss to read their three-sentence summaries and asks the class: 'Does the summary keep the important condition?'

    Students

    Ss read their summaries. Classmates check whether any information was invented.

  4. Teacher

    Step 4: Conclusion and assessment

    T confirms key points: 'A good summary keeps the essential condition. The opening introduces the situation, the closing gives a limit or next step.'

    Students

    Ss revise their summaries and write the final version in their notebooks.

Activity 4: Application · 18 minutes

Presenting chầu văn respectfully

a) Aims

Ss produce a short, respectful culture or CLIL explanation of chầu văn for a school audience, using the details and conditions from the lesson.

b) Content

In groups of four, Ss write a short paragraph (5 to 7 sentences) or prepare a 1-minute spoken explanation of chầu văn for a school presentation. The explanation must: describe the setting (vocal music and instruments in a Vietnamese cultural and ritual setting); distinguish a public educational demonstration from a ritual; mention how to identify a reliable cultural source; state that performers should be credited and recording permission obtained; and state that one short clip does not represent every regional style. Ss must not invent results or statistics.

c) Expected outcomes

  • A group explanation (written paragraph or spoken script) of 5 to 7 sentences that includes: the setting of chầu văn; a respectful presentation point; a source point; a credit and permission point; a limit about regional styles.
  • Ss use at least two of the new expressions: Why don't we…? / How about…? / we should ask permission before recording.
  • Each group writes a final version on an A3 sheet to share with the class.

d) Organisation

  1. Teacher

    Step 1: Task delivering

    T says: 'Imagine you are presenting chầu văn to the school. Write a short explanation that is respectful and accurate. Use only the information from this lesson.' T shows the criteria on the board.

    Students

    Ss listen to the task and the criteria, and ask questions if needed.

  2. Teacher

    Step 2: Task performance

    T monitors groups and checks that the explanation keeps the conditions (credit, permission, source) and avoids overgeneralising.

    Students

    Groups write their explanation and check each criterion. Possible sentence: 'Chầu văn singing combines vocal music and instruments in a Vietnamese cultural and ritual setting. We should explain it respectfully and not imitate sacred practice for entertainment.'

  3. Teacher

    Step 3: Report and discussion

    T invites 2 groups to read their explanations aloud. T asks the class: 'Is the explanation respectful? Does it mention the permission and the source?'

    Students

    Groups read their explanations. Classmates give feedback on respect, accuracy and pronunciation.

  4. Teacher

    Step 4: Conclusion and assessment

    T gives comments on accuracy, respect and clarity, and summarises: 'A good culture presentation explains the setting, respects performers, identifies sources and does not generalise from one example.'

    Students

    Ss revise their group explanation based on the feedback and keep the final version for homework.

Worksheets

Phiếu học tập số 1

Part A. Complete the dialogue with the words in the box: invite, interesting, asking, prepare, ask.
A: Why don't we ____ a local musician to our show?
B: That sounds ____. How about ____ the music teacher to introduce us?
A: Good idea. Let's ____ two clear questions first.
B: Yes, and we should ____ permission before recording.

Part B. Classify the expressions from the dialogue.

  • Suggesting: ____
  • Agreeing: ____
  • Asking permission: ____

Part C. Match the words with their meanings.

  • audience / performance / contestant / judge / rehearse / traditional
  • khán giả / buổi biểu diễn / thí sinh / giám khảo / tập dượt / truyền thống

Phiếu học tập số 2

Read the Culture / CLIL text and decide whether each statement is True (T) or False (F). Give a reason for each answer.

  • A school presentation should imitate sacred practice for entertainment. ____
  • Identify a reliable cultural source. ____
  • Distinguish a public educational demonstration from a ritual. ____
  • Credit performers and obtain recording permission. ____
  • One short clip represents every regional style. ____

Answer key for the teacher:

  1. F – a school presentation should explain the setting respectfully, not imitate sacred practice for entertainment.
  2. T – the text advises identifying a reliable cultural source.
  3. T – the text asks Ss to distinguish a public educational demonstration from a ritual.
  4. T – performers should be credited and recording permission obtained.
  5. F – one short clip does not represent every regional style.

Homework

  • Finish the group explanation of chầu văn in 5 to 7 sentences. Check that it includes the setting, a respectful presentation point, a source point, a credit and permission point, and a limit about regional styles.
  • Read the everyday dialogue aloud three times, focusing on the suggestion and permission expressions. Then write a new dialogue of 4 lines inviting a different performer to a school show.
  • Practise the stress in the words TA-lent, SING-er, per-FORM, en-JOY and the sentence 'The singer will perform tonight.' Record yourself on your phone and listen to check the stressed syllables.
  • Complete the interactive exercise on the NeoEdu lesson page (neoedu.vn/learn/10/english/unit-3-communication-and-culture-clil) and note any questions for the next lesson.

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