HICPR: Three mistakes pronunciation instructors may make (especially if they play guitar badly)

Sunday, July 15, 2012

Three mistakes pronunciation instructors may make (especially if they play guitar badly)

Clip art: Clker

It is not a coincidence that language instructors who gravitate toward speaking and pronunciation instruction tend to be musical. (My guess is that they play or have played an instrument or are singers of some sort as well. That connection is mentioned in several studies but I can find no systematic research on it.) Being a guitar player, one of the sites I stumbled on, Guitarscalesystem.com, has a list of 3 mistakes to avoid and 6 principles to practice. (Unfortunately, to get to this list you have to sign up for the newsletter, etc.!) The "translation" to pronunciation work is very straightforward . . . if you play an instrument, especially the merging of motor learning and meaning (My extrapolations are in italics):
Mistakes:
1. Too many scales and keys without ever deeply mastering a single scale - Acting like simply "pointing out" problems is effective technique.
2. Not making real music out of the scales - "Rich" repetition of targeted sounds, with haptic-integration and/or engaging expressiveness is the antidote.

Clip art: Clker

3. Mindlessly repeating scale patterns - If you do "mindless" repetition, without multiple-modality involvement, you should be teaching something else, not pronunciation.
Principles of good practice:
1. Memorize your scale patterns - Yes, teach learners how to memorize more efficiently, based on their personal cognitive style preferences.
2. Learn to jump to anywhere on the neck - Link target sounds across lexical sets and exemplars. (Pedagogical movement patterns, based on haptic research in several areas, should do that.)
3. Learn to switch direction in the blink of an eye - Use the visual field for anchoring targeted sounds consistently.
4. Know the building block shapes and how they interact together - Yes . . . the "sense" half of "felt sense" means having very concise, clear cognitive and rule schemas for learners as well.
5. Learn your scales on single strings, as double stops and beyond . . . This is critical, focusing on targeted sounds with maximal attention, in an "uncluttered" visual and emotional setting in class.
6. See the entire keyboard as one "monster pattern!" - Both instructor and learner need to understand how the whole system functions, instructors at a theoretical level; learners, by being equipped with a simple set of explanations, practices and anchoring procedures--especially the latter.

Time to face the music on how you manage drill, repetition and anchoring?

No comments:

What is haptic pronunciation teaching?

Basically, it is using gesture, touch and movement to teach pronunciation of English (or any language). What makes this method unique is that it is based on controlled and systematic use of gesture in doing that. (Often the problem with gesture use in language learning is that it can be "crazy" or random or intimidating or inconsistent, or not well-developed and tied to clear outcomes.)

The earlier "Essential Haptic-integrated English Pronunciation (EHIEP) approach," now KINETIK, does a better job of enhancing presentation, modelling, feedback and correction. The method is simple and easy to follow. Once a 30-minute module is finished, teacher and students have a set of techniques to use in class anytime a pronunciation problem or opportunity comes up!

Haptic Preliminaries

I often begin workshops or papers with the comment that in about 40 years in the field I have had just one idea: that the systematic use of body movement is essential to effective and efficient pronunciation instruction. That has never been more relevant than today, with the general deemphasis on pronunciation and introduction of technology into the field. From both perspectives, the "haptic" perspective approach developed here offers great promise. I can at least promise you a "moving" experience!

What is the KINETIK Method?

KINETIK is the name of the new v6.0 haptic pronunciation teaching system. About six years earlier we were using the acronym, "Haptic Integrated Pronunciation for Other/Extended Circle English Speakers" (HIPOECES)--still there in the url of this blog!

Haptic-integrated clinical pronunciation is:

A different way to learn pronunciation, based in part on Arthur Lessac’s notion of “Training the body first.” It is also based on research in the use of movement and touch in learning and training. It:

Looks somewhat like a combination of aerobics, sign language and Taichi

Provides a basic foundation for continued, self-directed pronunciation learning and classroom instruction

Designed for use by relatively untrained teachers but appropriate for all teachers (and learners) of all levels

Focuses on pronunciation used in conversation (not all words in English)

Is a highly “brain-and-body-friendly” system that promotes efficient learning of integrated tasks in general

Designed to promote integrated classroom pronunciation instruction and enable integration of conscious pronunciation work into spontaneous speaking.

Introduction

This blog was formerly named: HIPoeces (pronounced 'hI-pƏ-cIs), basically an approach to teaching English pronunciation to speakers of "outer and expanding" circle Englishes (including that population commonly termed: non-native speakers) but also compatible with the use of local models other than simply Standard" American" or RP. Using Kachru's "Inner, expanding and outer circles" model to characterize the breadth of Englishes and speakers of those, HIPoeces (now HICP) systems focus on developing haptically-centered pedagogical models and methods which can be adapted for teaching the pronunciation of various Englishes as they are spoken and taught by "owners" of those varieties.

In theory, the underlying principles can be applied to teaching the sound system of any language. Most language instructors intuitively use a great deal of movement and tactile anchoring in the classroom. The essential question is how to use that resource systematically, especially so that those learners who are less "haptic" in nature are also "moved" by the method.

Simply put, the HICP model/method is based on the idea of speaking along with arm and hand movement, not all that different from that used in sign languages. Most movement patterns are taken from either typical classroom pronunciation instruction practice or from related fields, such as psychotherapy or sports.

Most blog posts link to research that relates to the general HICP model, that is studies dealing with the role of gesture, touch, movement, learning modalities, learning in output, use of the visual field in learning, and experiential learning.

DEFINITIONS:

"Haptic" techniques- procedures that involve both movement and touch (Obvious examples include clapping hands, tapping feet, or holding an object and shaking it to the rhythm of a poem.)

"HICP techniques" - procedures that are haptic and also explicitly coordinated with phonological structures and/or discourse prosody (For example, clapping hands on primary stressed syllables in multi-syllable words, or doing a dance step on key words in conversational turns.)

"Haptic integration"- The haptic dimension probably functions as much to anchor visual and auditory material as it does to assist the learner in getting the "felt sense" of the sound or sound process. Lack of integration into spontaneous speech being such a serious potential shortcoming of instruction, haptic engagement seems a promising bridge to more accurate fluency.

"Visual field" - in HICP extensive use is made of the visual field in front of the learner. (For example, a modified version of the IPA vowel chart is anchored haptically in the imagination of the learner, directly in front of the upper body, and used for several purposes throughout the program.)

Sunday, July 15, 2012

Three mistakes pronunciation instructors may make (especially if they play guitar badly)

No comments:

Post a Comment