From warm up to wacky: Experiential learning and expressiveness in pronunciation teaching

This is a follow up to last week's post on a new haptic pronunciation teaching workshop we are doing this month at the BCTEAL Regional Island conference focusing on expressiveness. A recent study by Rangel, et al. looked at the interaction between instructor expressiveness and learner experiential learning style preference. (Hat tip to Mike Burri.) What they found, in effect, was that expressive delivery in training works well, or at least better, when the trainee is more amenable to experiential learning. 

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What all of us in pronunciation work know is that you must engage learners expressively--or you lose them. Furthermore, getting beyond the basics is futile without something of that experiential "abandon" and receptivity. This is the conundrum: pushing learners beyond their comfort zone so that they can both understand and communicate expressiveness can be lethal. (It is the "Achilles Heel" of many loveable but wacky practitioners!) 

For that "expressive" instructional style to work requires a complementary openness to a less explicitly cognitive and more intuitive response from students. Here is how experiential learning style  is defined (excerpt from Rangel, Chung, Harris, Carpenter, Chiaburu and Moore, 2015. See full citation below.) 

 ". . . a form of processing that is intuitive, automatic and associated primarily with affect and emotional responses (Novak & Hoffman, 2009; Pacini & Epstein, 1999). 

 . . . the experiential learner typically demonstrates low(er) levels of cognitive engagement in the traditional learning process, and instead requires external, affective cues to effectively activate the experiential system and, thus, information processing. Such cues can be provided by one’s instructor when he or she employs expressive, stimulating delivery techniques." 

Does that sound like your typical (traditional?) pronunciation class or lesson? The problem, of course, is setting up the classroom experience so that effective experiential learning can happen, so that even the less naturally experientially-oriented learner can still join the party. 

Haptic pronunciation training is, by definition, highly experiential (as unpacked in any number of previous posts) and (should be) very stimulating, but why is requiring "uptake of" expressiveness, which requires more experientially-directed learners, especially at the conversational discourse-level absolutely essential? 

The Rangel et al. study points toward the answer: It allows more direct, albeit perhaps temporary, unfiltered access to the intentions and emotions being communicated by the speaker. Meta-communicative analysis can follow, of course, but the research would suggest that reverse is almost surely not the case. 

So how do you do that? How do you create an environment where experiential, expressive learning is not only tolerated but embraced by students, especially those in highly visual-cognitive career tracks? (Recall the great Nike commercial: Just do it!) 

One image that certainly comes to mind for me is that of a poetry instructor I had as an undergrad. She gradually enabled/required an extraordinary level of expressiveness in reading poems, where we all seemed to be completely at ease, uninhibited and "in" the experience. 

 If you have thoughts on that or references to published methods that do that quickly and well . . . please express them!

And stay tuned. We'll be trying out a new expressiveness-orientation model in the workshop at the conference. 

Full citation:

Bertha Rangel, Wonjoon Chung, T. Brad Harris, Nichelle C. Carpenter, Dan S. Chiaburu and Jenna L. Moore (2015 ) Rules of engagement: the joint influence of trainer expressiveness and trainee experiential learning style on engagement and training transfer. International Journal of Training and Development 19:1 ISSN 1360-3736, doi: 10.1111/ijtd.12045

Better online? Video modelling for line dancing and pronunciation

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Clip art: Clker

Video modelling is used extensively in many education and training contexts. The previous post sketched out reasons for using a video model to teach EHIEP techniques, rather than doing it yourself, "in person." (Even a video model of yourself on the screen is generally  better than you "live!" You can also, of course, get training videos from the "EHIEP Store" when it opens in Spring 2013!) For a number of reasons, the use of that procedure is also highly effective with autism. (See this summary by Twyman on "Autism Community" blog of a recent dissertation,  "The Use of Video Prompting on the Acquisition, Maintenance, and Generalization of a Line Dance by Adolescents with Autism Spectrum Disorders," by Gies at Ohio State University. In that study, the basic protocol was structured as follows:

a. View video segment   AND   b. Attempt to imitate
c. Error correction   AND   d. Reinforcement
e. Maintenance checks   AND   f. Generalization checks

Those phases could as well describe an EHIEP training protocol and follow up. (a) and (b) represent the initial introduction and training of a technique on video. (c) and (d) happen when a target sound is either presented or corrected in class. (e) is generally done as homework; (f) represents the (inevitable) recognition of change by either instructor or student. Notice "b" -- attempt to imitate. That is for many about all it takes, not mastery of the pedagogical movement patterns or the target sound initially. Don't take my word for it.  Ask Brad Paisley. 

Screening learners in pronunciation instruction

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Clip art: Clker

In a couple of earlier posts, the question of the potential impact of field dependence on haptic-integration work was considered. The same concept as been researched extensively in several field: understanding individual variability in attention management, being more or less affected by environmental distractions, whether visual, auditory or some other potential sensory "background interference or clutter." Kwallek of the University of Texas, in describing the same personality style as it plays out in interior design, makes an interesting observation on the effect of red-coloured walls in working spaces:

"Studies have found that some individuals are more easily distracted by irrelevant stimuli, leading to decrement in performance. Other individuals actually improved their performance on task when irrelevant stimuli were introduced. These differences may be associated with an inability to automatically screen out less important stimulation. Individuals who are most adept at screening out the less relevant stimuli of their environments are referred to as high screeners, while individuals who typically cannot screen out incoming stimuli are referred to as low screeners."

Multiple modality engagement (See recent posts referring to FBIs--full-body interdictions!) should work to the benefit of both high and low "screeners." For low screeners, background interference is immediately curtailed; for high screeners, who may at first be stimulated to better performance by "red" walls, have also probably some advantage initially in haptic work, it heightens attention to the resonance of sound and inherent body movement involved in producing speech, both of which enable change and anchoring. (The backside of the screening style, however, is that low screeners also tend to be more at ease in interpersonal engagement.) Try wearing a red dress or red T-shirt next time you do an FBI and report back . . .

Pronunciation teaching without repetition?

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Indeed. In a good paper in the Proceedings of the 2011 PSLLT Conference, Messum, applying his application of Gattegno's work, Teaching pronunciation without using imitation: Why and how," makes that argument persuasively. As noted in previous posts, I am a fan of Messum and Young's PronSci. The problem with their framework, as he readily concedes, is that it takes a rather radical change of approach and re-training to work within "Silent Way" methodology. That it works in some contexts is irrefutable, with over 50 years of "data" and experience to draw on.

(To repeat again!) my reservations about that approach are only that it (a) is relatively difficult and time consuming to learn to do well, that it (b) has a strong "visual-auditory" bias in basic classroom "inter-diction," and that it (c) depends on associating approximation of motor control of sounds with auditory schema, mediated by color-coded symbols. In other words, the anchoring and keys to accessing anchored sounds are essentially visual-auditory, not haptic as in EHIEP. Our experience is simply that haptic-integrated anchoring is more efficient and accessible to instructors, especially for those with little or no previous training in linguistics and pronunciation teaching.

But don't take my word for it or Messum's. Get trained in the Silent Way so you can work with it in one class and see how it works . . . and then get the complete EHIEP system of haptic videos (which will be available in late Spring 2013) and let it train you and your students in 8, 30-minute weekly segments . . . Note: Versions of many of the basic EHIEP system haptic videos are linked off the blog in earlier posts. If you are interested in seeing some recent, pre-release stuff and perhaps field testing it in your class for us, let me know (wracton@gmail.com)!

Full citation: Messum, P. (2012). Teaching pronunciation without using imitation: Why and how. In. J. Levis & K. LeVelle (Eds.). Proceedings of the 3rd Pronunciation in Second Language Learning and Teaching Conference, Sept. 2011. (pp. 154-160). Ames, IA: Iowa State University.

Scattergunning: A-systematic pronunciation instruction

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Clip art: Clker

Nice set of slides from Derwing's plenary: What should L2 learners be able to expect from their language classrooms? A research perspective. from Pronunciation Symposium at the recent ACTA conference. The current case from a research perspective for what should be the focus of pronunciation-related instruction is (as usual) well articulated. The last two slides are worth the tour through the other 62: Moving from ~ Moving to. One in particular: (Move to) "Focus mainly on problems likely to interfere with communication--as opposed to "Scattergun pedagogy, giving everything equal importance." Interesting. The idea that limited, highly selective attention to problematic targets of intelligibility is the optimal approach in integrated pronunciation instruction needs to be (re)examined carefully. One of the "casualties" of current thinking on achieving greater intelligibility for learners is disregard for the systematic nature of speech production. For example, just because final devoicing of word endings seems to be the presenting problem does not mean that rhythm, stress and intonation can be neglected--in part because re-integration of change seems to depend critically on prosodic involvement. Likewise, orienting learners briefly to "problems that they don't have" may have any number of tangible benefits, from general awareness of the sound system and "healthy" vocal production to affirmations of "Hey, I can do that!" A little integrated pronunciation "scattergunning" may not be a bad thing after all . . .  Much more on this topic later!

Clinical "Pronouncephobia": Had-beens and HIPs

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Clker: Clip art

 If you ever need a quick personality test on most anything, go to the BBC Science site. Sometime ago, half tongue in cheek, I combined the succinct definitions of Idealist and Strategist there to come up with "Theorist/Researcher," especially those who used to or had been teaching pronunciation in the classroom earlier (Had-beens)--and Realist and Performer, to come up with "Pronunciation Teacher," especially "haptically-integrating" practitioners (HIPs). As I look back on it now, it actually helps explain why many leading theorists in pronunciation-related areas are still not genuinely interested in the clinical side of our work yet. They are still principally concerned with how pronunciation is acquired and what is taught--not how, at least not on a moment-to-moment basis. (Never forget Yogi Bera's dictum: In theory, there is no difference between theory and practice--in practice, there is!") They are, both types, important to the field, of course, just in different ways!

Had-beens:

• Make sense of the world using inner values AND quiet, easy-going and intellectually curious
• Focus on personal growth and the growth of others AND use logical, objective thinking to find original solutions to problems
• Think of themselves as bright, forgiving and curious AND think of themselves as logical and individualistic
• May sometimes appear stubborn AND may forget practical issues, such as paying bills or doing the shopping

HIPs:

• Loyal and steady workers who meet deadlines AND performers
• Believe in established rules and respect facts AND prefer hands-on learning to reading a book
• Think of themselves as mature, stable and conscientious AND think of themselves as enthusiastic, sociable or sensitive
• May appear too logical or tough-minded and forget their impact on other people AND may forget about commitments--because they're having so much fun! (Rather like in this blogpost!) 

I know many "Had-beens" who are becoming hip, in fact. If you are now, or are moving in that direction, join us at the organizational meeting of the International Association of Haptic-integrated Clinical Pronunciation Researchers (IAHICPR - "I, a hiccuper!") at the TESOL international convention in Dallas next March. (The earlier announced meeting date has been moved from February 2013 to March; a first order of business will be to change the name of the organization!)

Aping good pronunciation teachers

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Clip art: Clker

(I could also have titled the post "EHIEPing . . . !) Have often been asked about the impact of having learners mirror the pedagogical movement patterns (PMP) of instructors. For example, in doing a correction of the stressed vowel of a repaired word or the rhythm or intonation patterns of a phrase or clause, we generally ask the learner to do the PMP along with us as we both articulate the word, simultaneously. Although learners can learn the PMPs from the haptic videos, instructors can do the training themselves, which involves having learners "dance" along with them for periods of about 3 minutes at a time. (See earlier posts on the meaning of "3-minute" physical routines in learning, in general.) In psychotherapy, the importance of mirroring, both by client and therapist is well understood and practiced very systematically. What Yale psychologist, Santos, confirmed in the case of Capuchin monkeys was that "people warm up to us when we unconsciously mimic them." Apparently what that implies is that your students may not love you anymore if they are EHIEPing your PMPs but you will have no choice but to give them better grades. What a concept! It works in both directions. As Santos notes, the effective communicator mirrors the verbal and nonverbal communication of the other unconsciously anyway (as does his or her mirror neurons as well, of course!) So, EHIEP your students and they'll ape you in return. 

Speaking of pronunciation: We get no respect!

 Have talked about this before, but, obviously, it deserves a little more attention!

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Clip art: Clker

About a decade ago, at the TESOL conference in Long Beach, we had something of a talent show. The topic of the 12-bar blues that I wrote for that evening was the lack of respect afforded the syllable in pronunciation teaching at the time. (Actually, that hasn't changed much since!) Of course there is nothing quite as effective in making you feel better about most anything than singing the blues about it. Turns out there is now empirical evidence that that works--and how! Two studies reported in Science Daily confirm that if you just talk it out, even in the most negative of terms, it'll make you feel better about it, whatever it is. (Granted that may be yet another candidate for the "Well . . . duh!" file.) Anyway, if you want to feel better about your syllables or the fact that we "Pronunciattis" just get no respect, here's an excerpt from  the song: (If you need the other 8 verses to get all the way to feel good, email me!) 

The Syllablues

Oh, I am just a syllable
But I got this vowel in my heart. (2x)‏
Sometimes there’s a consonant
Or even a glide at the start.

Oh but suprasegmentally, you say
I become something else. (2x)‏
Not just a crummy syllable
I can be myself.

Yeah, sometimes I do get stressed, Honey,
Sometimes I don’t. (2x)‏
But when I do, Teacher
Just swish you’d take note.

Yes, my timing as a syllable
Could be more lonely and blue (2x)
If my speech stream wasn’t filled with so many . . . hot
Discourse processes like you.

A key to pronunciation exercise and practice persistence: perceived incremental progress

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Several earlier posts have referred to the use of "self determination theory" in exploring factors relating to exercise persistence. SDT (Deci & Ryan 1985) holds that four factors may combine in various settings to account for exercise persistence: (Professed) autonomy, relatedness (to group or institution), (program or group) support and (achieved or initial) competence. In a 2011 MA thesis by Martinez, which looked at physical exercise program persistence over the course of a semester, only the latter was shown to predict persistence, and that only in women, not men.

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There are no systematic studies that I am aware of in pronunciation instruction that look at (a) what kind of homework is prescribed in pronunciation instruction, (b) the effects of "homework persistence" or (c) personality characteristics or context support features which might support persistence in doing assigned pronunciation exercises and procedures outside of class. If we assume that (a) is important and that (b) is essential to success and that (c) is at least worth considering, then Martinez' research gives us an interesting clue, perhaps a place to start. Why would achieved competence appear to be the sole significant motivator of persistent exercise, and that only in women? Martinez' conclusion is that (probably) the course was structured so that participants could recognize incremental progress on an ongoing basis, week to week, and were thus motivated to keep going. (The men, apparently, were (predictably) not quite as attentive to the "details" of the work or the course, itself.)

Designing physical exercise regimens of that kind seems, at least at face value, to be an easier job than managing pronunciation improvement. In haptic-integrated work, where consistent practice and developing precision of pedagogical movement pattern is tied to pronunciation accuracy, evidence of change and progress, in part because of the "physical" basis of the work, should be easier to both build in and (for both students and instructor) easier to perceive. (See earlier blogposts on "future pacing" and benchmarking trajectories.) Now that is progress. 

The "feel good" factor in pronunciation teaching: Multiple-modality uni-tasking vs multi-media multi-tasking

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Pronunciation instruction is not generally something one associates with good "vibrations,"or a felt sense that it is (almost) rewarding to even practice L2 target sounds--but it should be, of course! Had a student not long ago tell me that she felt like she was able to do pronunciation practice best--while working on her laptop with the TV on showing English-language (British) dramas, including Pride and Prejudice. I was naturally a bit skeptical at the time . . . however . . . Research Wang at Ohio State University, summarized by Science Daily, ends with this observation: "This is worrisome because students begin to feel like they need to have the TV on or they need to continually check their text messages or computer while they do their homework. It's not helping them, but they get an emotional reward that keeps them doing it. It is critical that we carefully examine the long-term influence of media multitasking on how we perform on cognitive tasks." The same principle applies to haptic-integrated pronunciation instruction: multiple-modality engagement does much to manage attention effectively, whereas multi-media multitasking, along with the typical, fragmented cognitive, affective and kinesthetic delivery of  instruction in the contemporary classroom, where the student's mind and attention can wander almost at will, probably does not. Most research on pronunciation effectiveness relies upon a major piece that is something like student satisfaction or how students "feltl" about the class and their achievement. (Pronunciation) "customers" may not always be right, no matter how emotionally or intellectually satisfying the lesson was. Even if it keeps them coming back for less.

Hehehe! (De-stressing with high front tense vowels!)

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Clip art: Clker

This should be enough to make you smile--or at least make your students smile . . . 2009 research by Kraft and Pressman, reported by Psychological Science, appears to demonstrate that even faking a smile can be de-stressing. In pronunciation work we often tell students to smile as they pronounce high, front tense vowels, like in "Hehehe!" or when attempting to make the distinction between 's' (as in see) and 'sh' (as in she), slightly rounding the lips on the latter. I'm not saying that that is the best way to fix and s/sh problem necessarily, but sometimes it is helpful. I have also used something similar when working on word-final velar nasals, as in 'ing'. In effect just activating the muscles of the face to look and feel like a smile "orders" the brain to feel better, less stressed, physiologically. For the native speaker, we generally think of facial expression as being driven by attitude or "feelings." For nonnative speakers--and actors--it often happens in the opposite direction, taking on the paralanguage of the other results (if only temporarily) in changes in attitude and personna. Even if you don't believe that is the case, at least smile when you say it. 

Attention! Malleable L2 pronunciation? Just keep at it!

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Clip art: Clker

Malleable pronunciation. I like that term, especially in relation to error correction and so-called fossilized language. (Have another blogpost about ready on that topic, too.) How's this for an intriguing conclusion to a 2012 study by McClelland and colleagues at Oregon State University, reported by Science Dailey: " . . . the study gives compelling evidence that social and behavioral skills, such as paying attention, following directions and completing a task may be even more crucial than academic abilities . . . " Attention and persistence. Two of my favorite topics here on the blog. Now, of course, the research was looking at the correlation between subjects who could pay attention as preschoolers and their later success in graduating from college, but there is a relevant implication here. They then add: " . . . the good news for parents and educators, the researchers said, is that attention and persistence skills are malleable and can be taught." And how do you do that in your work? For adults, of course, it is not only that it should be part of instruction--and many students DO indeed need to learn how to be better at both--but it must be a constant feature, moment by moment, in the classroom. Multiple modality instruction and clear targeting and anchoring do much to achieve the former; systematic instruction and carefully planned homework and practice outside of class help achieve the latter. You paying attention? 

The music of (haptic-integrated) pronunciation instruction

Here is a set of musical terms which I have been using for some time to characterize the range of mood, expressiveness, affective setting and felt sense of various aspects of haptic-integrated, pronunciation work:

• abbandonatamente: free, relaxed
• amabile: amiable, pleasant 
• con moto: with motion
• andante: at a walking pace; i.e., at a moderate tempo
• piacevole: pleasant, agreeable
• a piacere: at pleasure; i.e., need not follow the rhythm strictly
• con anima: with feeling
• con spirito: with spirit
• liberamente: freely
• deciso: decisively
• energico: energetic, strong
• enfatico: emphatically
• espressivo: expressively
• facile: easily, without fuss  
• hervortretend: prominent, pronounced
• legato: joined; i.e., smoothly, in a connected manner
• leggiero, leggiermente or leggiadro: lightly, delicately
• mezzo forte: half loudly; i.e., moderately loudly
• mezzo piano: half softly; i.e., moderately softly

Taken together, that is provides a good impression of how the flow of HICP classroom instruction should be experienced. How might you label or describe in those terms your classroom pronunciation techniques and mood? Time to face the music?

Ping Pong Pronunciation Practice

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Seeing the table tennis competition in the Olympics inspired me. On the "Inner game of table tennis" website is this characterization of "coaching questions": Coaching questions should compel an answer, focus attention more precisely and create feedback. Instruction does none of these. The coach, which I think is a very useful analogy sometimes to what goes on in clinical pronunciation work, has some other advice for perfecting your (haptic-integrated pronunciation) game:

• Handle your racket like a pro. (Follow along with the model on the "haptic video" as closely as possible. Each of the techniques or protocols are first taught by a video model and then later used in class and homework practice.)
• Perfect your reaction time. (Respond immediately when either repeating an utterance either out loud or to yourself, accompanied by the appropriate pedagogical movement patterns)
• Increase your speed.(With the help of pedagogical movement patterns, speak faster, compressing words and space between syllables, but also providing more processing time at word-group boundaries.)
• Engage your core. (Engage the whole body, including diaphragm and upper chest resonance)
• Sharpen your serve. (All protocols promote upper torso fluidity and, confident, uncluttered delivery of speech.)

And, finally, this one from one of the NBC Olympic commentators quoting somebody's coach: "Confidence is that voice in your head (and that is coming out of you!) that tells you, You belong!" Could there be a better characterization of the felt sense of speaking an L2 well? 

Anchoring pronunciation . . . @ peace!

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Clip art: Clker

This is actually a bit of a follow up to an earlier post, "When to do pronunciation work and what to do before it." In a study looking at enhancement of learning "something verbally new," Dewar and colleagues, according to a summary by Science Daily, discovered that, " . . .  memory can be boosted by taking a brief wakeful rest." Having students sit there in class (or out of class) doing "nothing" for 5 minutes or so in the contemporary Western language teaching program is pretty far out of the box, but certainly worth considering in principle in reference to the process of anchoring learning. The technique is evident in any number of therapeutic, religious and meditative traditions. Research in haptic learning processes has demonstrated the power and necessity of managed attentional focus and limiting distractions, especially visual and past-memory-based. Although the idea of systematically providing brief periods of "emptiness" (not reflection) after the learning act is seemingly different, in function it is not, in part because the overall task sequence includes the "time out" as closure and it does much to structure the nature of what is taught so that it can be experienced and remembered more holistically. Decades ago, when I was experimenting with hypnotic techniques I worked with something analogous, especially in prescribing homework routines for "fossilized" learners. At the time, I did not have a sufficiently systematic understanding of what that should accomplish or a sufficiently integrated mind-body model (See previous post.) We do now.  In the near future, when I have a new student to work with who seems to have the right personality make up to tolerate "nothingness" in at least small bits, I'll try it again. With the scaffolded,  integrated structure of the EHIEP protocols it should be more possible. But try it, too, and report back.  Peace . . . 

Effective pronunciation teacher?

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Ever get the feeling that you need a little more professional development? Extracted from a 2009 University of Nottingham study by Day, Sammons and Kington, summarized by Science Daily, here are the main findings or criteria for being the "most effective teacher."(Stare at the pineapple from the previous post for a couple of minutes, take a couple of deep breaths, then rate yourself on a scale from "Whatever" to "Absolutely!") The most effective teachers are: 

• knowledgeable
• innovative
• skilful
• fun-loving
• caring
• supportive
• task-centered
• pupil-centred
• in a class of their own
• stimulate a pupil’s imagination
• challenge their views
• encourage them to do great things
• motivate them through tailored teaching practices
• ensure that every pupil feels a sense of achievement 
• ensure that every pupil feels valued as part of the class community
• create a positive climate for learning
• inspire pupils
• differentiate amongst pupils according to their abilities "where appropriate”
• differentiate amongst pupils according to their interests "where appropriate”
• give students more control over their learning
• give students more engagement in their learning
• give students more opportunities for success
• have great enthusiasm for their work
• have high aspirations for the success of every pupil
• have positive relations
• have high motivation
• have strong commitment 
• are resilient
• focus on building self esteem
• focus on engendering trust
• focus on maintaining respect.
• and . . . are not necessarily those with the most experience

It's lists like that that make you realize just how little you have accomplished in 40 years in the field . . . or simply wonder at what an incredible overachiever you are!

Deliberate (pronunciation) practice!

"Deliberate practice" as described in a Science Magazine summary report on an experiment using it at the University of British Columbia is an 
" . . . active, iterative process that involves working through their misconceptions with fellow students and getting immediate feedback from the instructor . . . [based on] the latest research in cognitive science, neuroscience, and learning theory . . . [that] begins with the instructor giving students a multiple-choice question on a particular concept, which the students discuss in small groups before answering electronically. Their answers reveal their grasp of (or misconceptions about) the topic, which the instructor deals with in a short class discussion before repeating the process with the next concept."

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Breathtaking huh! (Boldface there is mine. In elementary education the analogy would be the KWL chart on the wall: what we know, what we want to learn and what we learned.) So, how would we apply that amazing process in pronunciation teaching? I'm not entirely sure at this point, but I'm sure there is a cognitive phonologist out there someplace who can not only tell us how but who would take that and run with it. I have seen comments in various studies where student beliefs about pronunciation were "discussed" or where students were provided with the opportunity to talk about those issues in journaling, etc., but not in a systematic, interactive class and small group process. In one of the upcoming pilot studies with learners of sufficiently high general competence to pull it off, we'll give that a try. In fact, it should be possible to work out a general set of brief multiple choice tests to go along with each protocol for students. Let me discuss it with my "small group" here and get back to you . . . 

Better pronunciation? Better sleep on it!

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Clip art: Clker

The basic visual, pedagogical "tool" of HICP work--and the EHIEP system--is a 3 by 3 matrix enveloping the visual field in front of the learner. Vowels, stress assignment, rhythm and intonation are anchored in various ways in that conceptual space. It is, for vowels, for example, a mirror image of the standard IPA matrix. In part because learners use the "matrix" so extensively in learning and practicing target pronunciation, it is not uncommon to hear reports of them dreaming related to the experience. In a rather remarkable 2010 experiment, summarized by Science Magazine, Wamsley, Stickgold and colleagues at Harvard School of Medicine had subjects work with a maze problem--before taking a nap! Those who reported dreams related to it while asleep--performed significantly better on the problem after they woke up. Hmm . . . I have generally recommended that students do their practice in the morning before work, for any number of reasons, including just time management and having a fresher  mind and body to work with. I may reconsider, or at least begin something of an informal experiment, asking some students to practice daily after morning coffee, as usual, and the rest, just before falling asleep. Sounds promising. We'll see what happens. Until we get some "dreamy" data, however . . . better just sleep on it!

Haptic phonetics for pronunciation teaching

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Clipart: Clker

Most would agree that some training in phonetics is essential for both instructor and learner. How and when that is done can vary greatly, of course. (See summary article by Ashby on the LLAC website, for example.) Most consonant work in phonetics instruction involves a substantial amount of kinaesthetic and tactile engagement, directing learner awareness to points of contact and movement of various parts of the vocal tract. (In EHIEP work, the techniques used for basic consonant change are quite standard, although how that new felt sense is anchored once it is established can be quite different, more systematically L2 learner-oriented.) The haptic-based procedures for teaching the vowel system of a language have been designed for presentation and adaptation of the vowels of any language, not just English. Anchoring sounds in the visual field means positioning higher vowels relatively . . . higher, lower vowels relatively . . . lower, front vowels more to the right, and back vowels more to the left. Diphthongs and vowels with off-glides involve movement across the visual field. Tense vowels involve intense concentration on the sound without movement. Lax vowels involve a light tapping of hands with the articulation, etc. (Those are just representative of how movement and the felt sense of vowel resonance and quality can be anchored in the visual field.) I have done demonstrations of haptic-anchored versions the vowel systems of many languages and dialects, including Korean, French, Japanese, Spanish, Russian, various US dialects, often in first anchoring the learner's L1 before moving to English. Will begin posting Youtube comparative vowel systems this fall. Train the body first, but do "Phonhaptic" training right after that! 

Pleasant (physical) pronunciation practice

Clipart: Clker

Clipart: Clker

Do you generally associate the word "pleasant" with "pronunciation practice?" You should--or could--according to this Penn State University study of the effect of 15 minutes or more of exercise on mood. What the research revealed was that even mild physical exercise results in a temporary "pleasant-activated feeling" which seems to encourage one to keep it up. (Earlier posts looked at the factors involved in general exercise persistence.) Beginning the day or class with a body-based warm up which might include movement and stretching of not only the vocal tract but much of the entire body, for example, (See previous post!), should get things off in a better mood. Add to that various "pleasant"  pedagogical movement patterns accompanying presentation, review, anchoring and correcting of language being focused on in the speaking or listening class and both attitude toward pronunciation--and results can't help but improve. In other words, there should be a felt sense of physical engagement and "exercise" that is ongoing, especially in speaking instruction. That is clearly the case in most good public speaking programs, some even creating an almost dance-like mood to capture the dynamic of speaker and audience rapport and communication. In my experience, even coming back to haptic or just kinesthetic engagement intermittently during a lesson achieves much the same effect. If you do a bit of systematic choreography such that you have physically active anchoring near the end of the class in some form, the overall reaction to the work of the day on the part of the students--and myself!--will inevitably be more positive. Plan on it.