Stressin’ the Brain: How Songs Supercharge Language Learning
By: Stephen Pottinger
Singing for many of us in the shower, the bath, the car or other places away from judgement and scrutiny—has been known as a common form of release both emotionally and vocally. Singing along to a favorite song can trigger a surge of chemicals in the body and “research has shown that singing releases dopamine and endorphins, which contribute to feelings of happiness and well-being” (Welsh National Opera, n. d.). In addition, according to Launay (2015)’ “the satisfaction of performing together, even without an audience, is likely to be associated with activation of the brain’s reward system, including the dopamine pathway, which keeps people coming back for more.” Studying and singing songs at different speeds, when integrated into second language acquisition contexts, can stress and activate multiple regions of the brain, facilitating better language learning through rhythm, repetition, stress activation and enjoyment.
Brain activation through singing
Studies have shown that singing can trigger the release of chemicals, such as endorphins and oxytocin, which can alleviate stress and anxiety.
The Chemical Menu:
Dopamine – the feel-good neurotransmitter, associated with motivation and reward
Endorphins – natural painkillers that reduce stress
Oxytocin – the hormone that helps us feel a connection or bond
Serotonin – the stabilizer that enhances well-being and relaxation
Adrenaline – the boost in energy and excitement
Quantifying the exact amounts of chemicals released during singing is challenging due to the complexities of measuring these neurochemicals. The scientific community generally agrees that singing can cause the release of these chemicals thereby promoting physiological benefits. In the book Brain Rules, molecular biologist John Medina explores “Exercise” and how various activities and exercise influence brain function. One point mentioned is how physical movement increases the amount of oxygen absorbed by blood vessels, which in turn increases oxygen levels in the brain. He also goes on to state that’ “imaging studies have shown that exercise increases blood volume to a region of the brain called the dentate gyrus” (p. 31), which is a vital part of the hippocampus, a region heavily involved with memory formation. With this knowledge in hand, it could be suggested that increasing blood flow to the brain would benefit ESL learners because of the possibility of increasing memory-formation.
The role of music and singing in second language acquisition
“Songs are popular among language learners and a text genre that is yet to be fully exploited in language teaching” (Yung, 2017, p. 87).
Using a song in a class still has an effect on students in 2025. In most cases students welcome a chance to set aside the textbook and watch, listen, discuss, and sing. The process of singing, although scary at first to some, helps students to gain confidence, vocalize the language, and build a sense of satisfaction as a group. Long’s interaction hypothesis emphasizes the importance of interaction in language learning. Singing, especially in a group, offers opportunities for interaction, discussion, and enjoyment that promote learning (Long, 1983).
If a song can be used to touch on all of the four skills (listening, reading, speaking, writing), it is a great tool for second language acquisition.
Will singing increase blood flow to the brain?
Singing a song requires breathing—more breathing than sitting at a desk and talking—and therefore forces more blood to flow around the body. The increase in blood flow to the brain coupled with the release of endorphins, oxytocin, and dopamine creates a more enjoyable brain environment for language learning to take place. As students let their guards down and begin to rally together over the process of singing a song, filters, such as those mentioned by Krashen’s affective filter hypothesis, although starting high because of nerves and lack of self-confidence, eventually are lowered, thus allowing the students to learn more.
Stressing the Brain
Brain Rule 4 in John Medina’s book Brain Rules talks about stress, both the good and the bad. Medina states that: “not all stress is the same. Certain types of stress really hurt learning, but some types of stress boost learning” (p. 60). Briefly put, he suggests that stress that lingers for a long time has negative learning and physical attributes, such as depression, heart attacks and “disconnected neural networks” (p. 67). Some stress is good. Medina also states that:
…stress affects memory. The hippocampus, that fortress of the memory, is studded with cortisol receptors like cloves in a ham. This makes it very responsive to stress signals. If the stress is not too severe, your brain performs better when it is stressed than when it is not stressed. You solve problems more effectively, and you are more likely to retain information. (p. 65)
Parallels can be drawn to Krashen’s input hypothesis, where a second language is acquired by using comprehensible language but adds a little more above the current level to stress the student ever so slightly into learning (i+1). If the input hypothesis can be taken into account when selecting the song, based on factors such as vocabulary, content, and popularity, then the right amounts of stress could be placed on the brain to aid learning. I believe that another key element is the speed at which the song is performed by the students. With the use of playback-speed changing or live piano/guitar accompaniment, the speed of the song can be changed in accordance with the level of the students. By changing the speed/tempo of the song, a little stress can be placed on the brain during singing. A faster speed increases stress because learners have to read faster and keep up with the tempo of the song. A slower speed allows for more thinking time and caters to a slower reading pace. This stress will help learners to improve reading and remember lyrics, phrases, and lines faster. On top of that, if students form some kind of emotional attachment to the song, this can result in a better learning environment.
Increasing the chance of success for the tertiary classroom
Harmer (2015) states: “it is accepted for most fields of learning that motivation is essential to success: that we have to want to do something to succeed in it” (p. 98).
In a university classroom context, the role of music and singing could be regarded by both students and teachers as difficult or non-academic. Exam-motivated students may be uninterested in learning about songs or singing because they may feel that it will not benefit them in the future. Teachers may also feel guilty or unmotivated due to many factors, including not being able to pick out a relevant song, a lack of materials to support the song, and a feeling that the time could be better spent teaching with more traditional methods. However, Yung (2021) states that “an innovation of teaching ESL through songs by ‘packaging’ it as an exam practice” can help students to be more motivated and thus more easily engage in the activities, all of which encourages the use of meaningful communication in English. Teachers can use some of the methods outlined by Yung to create a structured approach to using songs with the goal of preparing students for tests. Tegge (2017) states that’ “the use of songs for language teaching raises the question of how many words learners need to know to understand authentic pop songs in and out of the classroom.” However, teachers can select songs to focus on different language aspects, including vocabulary, listening comprehension, pronunciation, or discussion. If presented in an exciting and beneficial way, songs used as a method of extrinsic motivation in language learning may then become the students’ intrinsic motivational source for more learning.
The key to success with using a song in a language class, as outlined by Jazvin (2023), is to carefully consider your own class context to optimally benefit the learners. Songs should be chosen that align with the language level, with lyrics that are clear and relevant to the students’ learning context. It is also important to have students actively engage with the song and not just listen passively. Cultural contexts of the song itself or the band can be discussed, and even the context of the song and why it was written can be brought into play. Reading and repetition are important ways in which vocabulary can be reinforced, and pronunciation can be worked on in varying amounts of detail, including discussion about different accents and their pronunciation. In short, a balance between an array of activities should be sought to create an interesting and engaging set of lessons built around a song.
Below is an outline that shows an approach to song activities, divided into three lessons. The context is an integrated English class at the tertiary level, where discussion, pronunciation, and presentation skills are the focus.
Practical application (a brief outline)
The chosen song is “The Scientist” by Coldplay. My reasons for selecting this song were the emotional meanings behind the song, the possibility for discussion, the vocabulary used, and the tempo of the song. The song is about regret, taking things for granted, and a longing to turn back time to fix mistakes. I feel that the song also centers on the feeling of trying to apply logical explanations to emotional issues. A song about relationships and realizing too late that something is lost may be something that university students can relate to. Other choices could be “Happy” by Pharell Williams, or “I Gotta a Feeling” by The Black Eyed Peas, both of which contain positive themes and engaging rhythms and energy. The vocabulary in these songs also relates to emotions and daily activities, which could help students build confidence and expand conversational skills. It is also notable that rap songs can be used for higher level students because of the use of everyday phrases, idioms, cultural expressions and high vocabulary content.
Lesson 1: Pre-Listening Activities
Objectives: Build interest, read, sing, and introduce key vocabulary.
Warm-up Discussion: Who is Coldplay? What bands do you like? Have you seen any live concerts? What do you think “The Scientist” might be about?
Vocabulary Preview: Learn key words/phrases from the song. (See Appendix.)
Listening Prediction: Read lyrics with words missing—predict what belongs in the gaps.
Listening 1: Watch or listen without lyrics—focus on mood and story.
Singing: Stand and sing the song at a slow tempo led by the teacher or the playback.
Discussion: How does the song make you feel?
Lesson 2: During-Listening Activities
Objectives: Engage with the lyrics, analyze meaning, practice pronunciation, and build confidence.
Focused Listening: Listen with lyrics, discuss meanings of lines.
Pronunciation Practice: Repeat difficult lines, focus on stress and rhythm.
Practice: Sing along in groups with karaoke versions of the song.
Singing: Sing the song together as a full class, raise the tempo to add brain stress and build confidence.
Lesson 3: Post-Listening Activities
Objective: Use the song as a basis for conversation, writing, and performance.
Discussion: What situations can you imagine where this song may fit into your life experiences? What are your experiences with this song so far?
Creative Writing: Challenge yourself to write your own verse of the song.
Singing: Sing “The Scientist” song and enjoy the experience.
Creative: Add your own verses and try singing them in groups.
Final Singing Activity: Sing the full song confidently.
Reflection: What did you learn from this song? Did your own verse work in the song?
Final Worksheet: Answer questions about the song on a worksheet or prepare a presentation about your experience with the song, including your experience of writing your own verse, and then present it in groups.
Conclusion
In conclusion, I believe that the increase in enjoyment caused by singing in groups and the release of feel-good chemicals incorporated with the right amount of brain stress can supercharge the brain and prepare it for maximum learning ability. Even in situations where the students are more exam conscious, shy, quiet, or low in singing confidence, a good plan of action can be developed to cater to the needs of the students in the class. The focus can be changed from vocabulary to performance, or reading to writing, or performance to discussion, based on the overall class environment.
Multiple second language acquisition theories and hypotheses, such as Krashen’s monitor model, can be drawn into play alongside Medina’s Brain Rule 4 “Stress.” With these models, awareness of brain functions, and stress in mind, the learning environment and context can be fine-tuned for many new active and creative ways of encouraging second language acquisition to take place.
References
Harmer, J. (2015). The practice of English language teaching (5th ed.). Pearson Education.
Jazvin, M. (2023). The influence of music on Second Language Acquisition: Motivational and linguistic benefits in secondary education. Malmö University.
Krashen, S. D. (1981). Second language acquisition and second language learning. Pergamon Press.
Launay, J. (n .d.). Choir singing improves health, happiness – and is the perfect icebreaker. University of Oxford .https://www.ox.ac.uk/research/choir-singing-improves-health-happiness-%E2%80%93-and-perfect-icebreaker
Long, M. H. (1983). Native speaker/non-native speaker conversation and the negotiation of comprehensible input. Applied Linguistics, 4(2), 126–141.
Medina, J. (2008). Brain rules: 12 principles for surviving and thriving at work, home, and school. Pear Press.
Tasnim, Z. (2022). Songs for EFL/ESL class: How to teach listening skills through music. MEXTESOL Journal, 46(3), 1-12.
Tegge, F. (2017). The lexical coverage of popular songs in English language teaching. System, 66, 1–12.
Yung, W. H. K. (2021). Engaging exam-oriented students in communicative language teaching by “packaging” learning English through songs as exam practice. RELC Journal, 54(1), 280–290.
Stephen Pottinger is from the UK and moved to Japan to teach some 20 years ago. He has held teaching positions at all levels of the educational system in Japan. Currently he is a lecturer at Chubu University, Japan. His focus is on music and theatre in the classroom and kinesthetics in ESL.