Why this method?
Using your own body enables music to be experienced on a holistic level. Both watching and creating the movement and choreography yourself are valuable experiences on the way to getting to know the songs. In many cultures, music and movement are inseparable.

Fits
Module 1 or Module 3 in the teaching material for the Song Contest

Procedure
The movement can be created either in small groups or alone – depending on the size of the student group.

Phase 1: Each group gets to choose a song. The song must be kept secret.

Phase 2: Each group needs a place where they can work unobserved. Here they develop a small choreography that only consists of movement without sounds to the chosen song. This can be a dance, but also an abstract pattern of movements.

Phase 3: The groups meet again in the room and present their results to each other. The others are now asked to guess which song provides the basis for the presented choreography.

Text: David Ehlers

Why this method?
Classes that already have some experience in making music with instruments are introduced to improvising and composing in a structured and playful way.

Fits
Module 3 in the teaching material for the Song Contest

Procedure
The first group is divided into melody/topliners (2-4 musicians, preferably singing, alternatively on instruments), chords (at least 3 for rhythmic chords, melodic chords and extended chords) and possibly bass and a rhythm section. A circle or semi-circle is formed.

While the first group plays, the other class members are actively challenged to observe. A specific task can also be given to them (write a melody in your head, collect ideas for lyrics that match the pattern), which in the end creates additional inspiration or collaboration between the groups.

Working in sequence, a composition is now created in the circle. Here the first member of the rhythm section begins to play a repetitive pattern. Satisfied with their pattern, the person looks directly into the eyes of the next person, who may then begin to play along. Care should be taken to always try out first (the tendency is to pass the ball quickly) and to give each musician enough time. In addition, whatever they play must be easy enough to play through consistently. The rhythm section is followed by the bass, chords and finally the topliners. The very first time, a “quick round” can also be played to try out the system and overcome inhibitions.

When each group has had a turn, they continue according to the equipment and the result. The patterns can be combined with each other as different form parts, the class can continue to work together on a partial result or divided into different rooms to create a fixed arrangement from the experiences. The resulting melodies and lyrics fragments can be further elaborated. A group can start completely new.

Text: Tobias Rotsch

Why this method?
Pupils gain their first experience of creative writing and prepare for writing the song lyrics.

Fits
Module 2 in the teaching material for the Song Contest

Procedure
Groups of five to eight pupils are formed. Each pupil needs a blank piece of paper and a pen. The teacher gives the task of writing a line of lyrics on the piece of paper. The teacher does not give any information about the next steps.

When everyone has finished, each sheet of paper is passed on clockwise and the pupils then each write a second line of lyrics to match the one on the new sheet of paper that they have been given. The whole thing is repeated until eight lines have been written. The sheets of paper are then passed on once more and anyone who wants to can read them aloud.

A brief discussion is then held with the pupils as a group to reflect on their experiences. The results of the exercise can be taken up again in the later song writing.

Text: Tobias Rotsch

Why this method?
Pupils are playfully introduced to writing lyrics and composing a song. Especially suitable for younger children.

Fits
modules 2 and 3 in the teaching material for the Song Contest

Procedure
First, collect suggestions for the theme of the song with the class. As the teacher, you can ask about current interests, funny incidents or personal wishes. Classic examples of topics include holidays, our school, a season, Christmas, sports, trends, et cetera.

The topics are then put to a vote. You should make sure that the topic is easy to implement and known to all, and justify your recommendation accordingly. Now statements about the topic are collated on the blackboard and first of all a chorus is written. The pupils decide which four lines will become the chorus.

The other lines are kept for the verses. The chords for the musical accompaniment are determined at random, for example by rolling a dice. Afterwards, the song is rehearsed and the lyrics are further refined. The musical accompaniment is provided by the teacher.

Text: Tobias Rotsch

Why this method?
To activate creativity at the beginning of the brainstorming process. This creates a deliberate break from the rest of the school day or from previous content development with the aim of enabling thinking to take a different direction and to initially postpone classification/evaluation. The method can also be conducted online if the method is instructed orally via a video conference and the pupils share their thoughts afterwards.

Fits
Module 1 in the teaching material for the Song Contest, which also has its own variation, the “Phantom Island” exercise. Building on the fantasy journey, it is then possible to move on to Module 2.

Procedure
The teacher creates a calm and relaxed atmosphere: the pupils sit comfortably, possibly resting their heads on their arms. If there is enough space, they can also lie down on the floor. In a calm voice, the teacher tells about an invented journey. The teacher then prepares the “homecoming” (the ship docks again, the jungle thins out, et cetera.), and brings the pupils back to reality. Afterwards, the pupils write down the impressions and feelings they experienced during the fantasy journey. They can then share their experiences working with partners. Finally, there is a discussion in the whole group.

The exercise can be accompanied by music. The teacher can give specific assignments. The teacher can work out the fantasy journey in writing beforehand so that the presentation is more fluent. A prepared reading text for a fantasy journey into the future can be found here.
A variation of the fantasy journey is the “Phantom Island” exercise in the teaching material for the Song Contest.

Based on: Mattes, W. (2006). Methoden für den Unterricht: 75 kompakte Übersichten für Lehrende und Lernende. Paderborn: Schöningh.

Text: Engagement Global

Why this method?
Pupils gain their first experiences in creative writing and prepare for writing the song lyrics. An initial writer’s block can be overcome.

Fits
Module 2 in the teaching material for the Song Contest

Procedure
Pens and paper are needed. The pupils are given the task of writing down everything that comes to their mind for five minutes without putting their pens down. For now, the text is only for themselves.

This technique encourages the flow of writing by counteracting premature evaluation of one's ideas. The aim is to clear the mind and focus on the “subconscious voice”.

After the exercise, the first step is to reflect on what the pupils have experienced in the writing process. Excerpts from the individual texts are then read out.

Afterwards, this exercise can be repeated with the content specified for ONE WORLD: What particularly interests you with regard to global development? Are there things that you find amazing in this context or are there other aspects that worry you? If you had a wish to make the world a better place, what would you wish for?

Text: Tobias Rotsch

Why this method?
The method can be used to develop in-depth knowledge in a short time if the pupils already have basic knowledge – for example with regard to the SDGs. The method is very cooperative and interactive, but also demanding. Good preparation is necessary.

Fits
Module 1 in the teaching material for the Song Contest

Procedure
In preparation, the teacher chooses 4 topics/tasks (A, B, C, D). These should be sub-aspects of a common overall topic. The class is divided into groups with at least 4 pupils.

1st phase (core groups): Each group member gets one of the respective tasks and works on it individually.

2nd phase (expert round): Pupils with the same task meet together in an expert round (A, A, A, A) and discuss their ideas. They then work on presenting the outcomes to the core group.

3rd phase (core groups): In the core groups, the sub-aspects are now presented one after the other. The other group members can then ask questions.

4th phase (core groups): The core groups summarise the sub-aspects and can establish connections. Each group chooses a group spokesperson to present the outcome to the overall group.

5th phase (whole group): The group spokespersons present the outcomes of their work. A discussion can also follow here.

Text: Engagement Global

Why this method?
For developing self-selected topics, which can also come from different areas. The free choice of topics promotes motivation and engaging with the topics. The method can also be carried out online using a corresponding video conference tool that has so-called “break-out rooms”. However, this requires a high degree of self-organisation on the part of the pupils.

Fits
all modules in the teaching material for the Song Contest. The method can be used across topics and modules, as very different stations are conceivable here, for example one on an SDG and another on creating a beat.

Procedure:
For the lightning talks, 4 stations are needed that are separated from one another so that different talks can take place at them at the same time. It would be advantageous if at least one double lesson were available for this method.

Preparation: Each pupil chooses a topic. Pupils are given time to research and prepare an input at home.

Implementation: A clear timetable is written on the blackboard as to which topic will be dealt with at which station and in which time slot. If there are 24 pupils, there would be 24 topics and 6 time blocks of 15 minutes each. Alternatively, the pupils could each prepare a topic in pairs.

Four experts are each assigned a station and the remaining pupils decide which topic they would like to listen to. 15 minutes are now given for each topic. The speakers then swap stations.

The pupils can discuss what they have learned at the end of the session or during the next lesson.

Text: David Ehlers

Why this method?
To start writing song lyrics and to encourage independent research and engagement with the topic.

Fits
Module 2 in the teaching material for the Song Contest

Procedure
The internet offers a wealth of content to start writing song lyrics.

An internet search can be set as homework in advance. Here care should be taken that the links are not only posted but also viewed.

To do this, you can set questions such as:

Why did you choose this link about writing song lyrics?
Who created the article, blog post or video?
What are the most important tips you can get here for writing your own lyrics?
If applicable, give the timestamp for the part of the video you are talking about.

Text: Tobias Rotsch

Why this method?
Suitable both for introducing a topic (asking about previous experiences, activating prior knowledge) and for recording findings or concluding a discussion. A variation of this can also be used for writing song lyrics.

Fits
modules 1, 2 and 4 in the teaching material for the Song Contest

Procedure
Division into 3 work steps. The pupils have to keep to a certain time frame for each step:

1st phase: Pupils get into groups of 3 or 4. Each group is given a prepared sheet of paper with a large square in the middle and three or four squares around the edges. The sheet is placed in the middle of the table. Each individual silently writes ideas/notes/points in one of the corner boxes according to the given topic or task.

2nd phase: The ideas written down are discussed in the group. The whole group then summarises their findings and writes them in the middle box.

3rd phase: The group outcomes are then collected in the whole group and written down on, for example, a flipchart so that they can be discussed or worked with in the further course.

Source: https://www.methodenkartei.uni-oldenburg.de/uni_methode/placemat/

Why this method?
To examine a selected topic on global development in greater depth while also making assessments and deriving options for action. The outcomes and the structure given by the method can also be used for writing the song lyrics.

Fits
modules 1 and 2 in the teaching material for the Song Contest

Procedure
In this method, the pupils create possible images of the future based on the present. Current facts and development factors serve as a basis for this. Pupils can analyse connections and interactions as well as fill in possible gaps with creativity and imagination. Three scenarios are developed:

• Positive extreme scenario (most favourable future development)
• Negative extreme scenario (most unfavourable future development)
• Trend scenario (extrapolation of the current situation into the future)

Based on the scenarios developed, concrete measures and strategies can be determined in order to realise a desired goal.

Text: Engagement Global

Why this method?
The method enables an open discussion and is therefore equally suitable for identifying topics, collating initial ideas for lyrics and drawing conclusions on the work phase.

Fits
modules 1, 2 and 4 in the accompanying teaching material for the Song Contest

Procedure
There are several group tables in the classroom where "casual" conversations can take place like in a café. After 5-15 minutes, the pupils change tables and new groups are formed (the length of time can be adjusted). On each table there is a large piece of paper on which the pupils scribble, draw or write important things from the conversation. In this way, the topics are addressed in more depth and can be presented to each other at the end.

Text: David Ehlers