Songs 🎶


The song "If" by Étienne Daho (2003) is used as a context for focusing on oral vowel sounds, specifically the [if] sound, due to its abundant occurrence in the lyrics. To activate prior knowledge and engage students in the lesson, I begin by prompting them to brainstorm French words that might contain the [if] sound, thereby activating relevant vocabulary that could appear in the song. I record all suggested words on the board, which allows for a later comparison with the actual lyrics to assess the accuracy of their predictions. 

Students are then provided with a version of the lyrics in which certain words are omitted. We listen to the song twice, giving students the opportunity to fill in the missing words, after which we correct the answers collaboratively as a class. This exercise not only reinforces the targeted phonetic pattern but also provides a meaningful context for learning new vocabulary. Subsequently, students are tasked with writing either a dialogue or a poem incorporating at least 25 instances of the [i] sound. This song activity serves both as a phonetic practice and a reference point for using the sound in creative writing. As with most song-based activities, students gain exposure to new vocabulary and insight into the sociolinguistic elements embedded in the lyrics. 


If intrusif, plus combatif, sous sédatifs en soins intensifs, cherche le motif
If négatif, maladif, inexpressif et plus vraiment vif, cherche le motif


The song "Cinq à sept" by Canadian artist Koriass (2018) serves as a rich example for illustrating various linguistic phenomena. It highlights regional variation, as certain vowels and consonants are articulated distinctively in France and Canada. Additionally, the song underscores semantic variations, as the title itself carries different connotations in the two countries. In France, the phrase "un cinq à sept" refers to an extramarital encounter occurring between work and home, while in Canada, it is commonly used to denote "happy hour" at bars or, more broadly, the overconsumption of alcohol. Furthermore, the lyrics of the song provide a pertinent example of code-switching, a linguistic practice prevalent among Francophone speakers in Canada, reflecting the dynamic interplay of languages and cultures in the region. 

T'es déjà drunk avant le cinq à sept
Pas capable de marcher drette, chaud raide

Tu fais des efforts mais t'es out of breath

Ignore tous les calls, ignore tous les textes

C'est moi d'abord, me myself


Towards the end of the semester, I dedicate several lessons to exploring the prevalence of specific linguistic practices in spoken French, including slang, code-switching, and verlan. 


To introduce slang, I use the song "J’apprends le métier" by Benoît Doremus (2007), which contains a wide range of colloquial expressions such as “en baver”, “piaule”, and “que dalle”. I have developed an activity involving a matching task, in which students are required to match slang terms or phrases from the song with their corresponding circumlocutions. Students are encouraged to use contextual cues from the lyrics to facilitate their understanding of the expressions.


J'ai franchement pas dans l’idée
De me rendre malade à crever 

Me retrouver Ă  faire
 Comme le padré un métier
Que j' peux pas encadrer


The song “It’s Not Because You Are” by Renaud (1980) is used to acquire colloquial vocabulary and examine multiple linguistic phenomena that influence spoken French, including the use of slang, code-switching, linguistic interference and, notably, the linguistic insecurity that many French speakers experience. In this song, Renaud uses code-switching and integrates both French and English. Additionally, the song illustrates the phonetic and grammatical challenges faced by French speakers when learning and speaking English. The humorous nature of the song highlights the singer's self-deprecating attitude, particularly when he sings the English sections with a pronounced French accent and employs grammatically incorrect structures. This serves to underscore the complexities, hyper-correction and insecurities inherent in bilingual language production.


But one day that must arrive,

Together we disputed,

For a stupid story of fric,

We decide to divorced



The final linguistic phenomenon explored in the course is verlan, a feature found exclusively in French which consists in inverting syllables. This practice is exemplified through the song “J’avais la cervelle qui faisait des vagues” by Jacques Dutronc (1971), which provides a rich example of verlan usage.


J’avais la vellecer qui saifait des gueva 

Quand je la ressais dans mes bras 

Je l’ai vétrou un resoi de lletjui 

Dans un leba du técô de la iotibasse 

Menvrai lijo cette lleufi  que j’ me dis

Il faut que je la chebranÂ