Teaching (of) Basic English Intonation by Non-native English Speaking Teachers

Clip art: Clker

Clip art: Clker

My graduate students and colleagues have submitted four EHIEP-related proposals for the 2013 TESOL convention. (Two were noted in recent posts.) Here is the third one: "In this workshop, four non-native English-speaking teachers (NNESTs) present an innovative, grammar and rhythm-based method specifically designed for language teachers to identify and teach English prosodic, intonation patterns effectively. A straightforward, haptic-integrated (using movement and touch) classroom-tested system for teaching conversational intonation will be demonstrated." EHIEP has been created specifically so as to be used by the NNEST, especially those whose pronunciation may be problematic. In principle, most of the basic instruction can be done by the "haptic videos"--and then followed up with integrated classroom instruction. The five graduate students proposing that workshop did a very successful version/"dry run" of it at a recent local conference. If it makes the conference program, attend that one. It nicely illustrates both the method and spirit of what we do. "Super cool!" You'll be impressed. 

Better (looking) intonation with just the wave of a hand

Clip art: Clker

Clip art: Clker

A new study, summarized by Science Daily, explores why the left side of the face seems more attractive than the right. One explanation offered is that the left side is more emotionally expressive than the right, since that the right hemisphere, which controls the left side of the face, is also more closely associated with emotion. Most thespian logos seem to concur. (Of course, the same does not hold in many cultures for the hands or respective sides of the body.) Earlier posts on the "aesthetics of the visual field," for instance this one or that one, have looked at what it may mean to position or anchor a word or intonation contour in various quadrants of the visual field. There are certainly well documented differences between left and right and upper and "downer." In various studies, the left~right dimension has been characterized with terms such as: cool~hot, soft~rough, stability~change, passive~active, holistic~particulate, analogue~digital, etc. Granted, those are very "rough" generalizations relating to the corresponding brain processing centers. Here is the relevance to HICP work. Intonation contours are performed by the left hand, beginning in the left visual field and then moving over to the right visual field to touch the right hand as the  prominent syllable, word or discourse element is articulated (anchored). We have known for some time that the quality or fluidity and "grace" of the left hand in tracing out the intonation contour of a phrase or clause was a factor but this brings the issue into focus. The character of the pedagogical movement pattern with that hand does much to set up or mirror the emotional and affective mood of the utterance, before the key information is foregrounded. What is also intriguing is that for the observer, the left to right gesture is read in the right eye, which has been shown in many studies--for most people--to be the more emotionally reactive or intense. Express with the left; read and foreground with the right. Wave if you get it . . . (with your left hand, of course!)

Haptic-integrated intonation instruction for NNESTs proposal

My students are submitting this proposal for the upcoming BCTEAL conference at Capilano University (outside of Vancouver, BC):

Clipart: Clker

Teaching essential English intonation can be difficult for nonnative English speaking teachers (NNEST). That can be especially true if the teacher’s L1 has a prosodic system that is quite different from English, such as Thai or Chinese, where tone may have other functions. Although some textbooks have basic explanations and brief practice, integrating features of intonation into general speaking instruction can be challenging, at best. One problem is that, without a minimum of training in English prosody, it can be nearly impossible for some to accurately assign intonation contours to phrases and sentences. The key is first understanding how intonation is related to basic grammatical structure—something NNESTs are often even more conversant with than their NS colleagues! Whereas for NS teachers deciding on the intonation of a conversational turn in speaking (or even in listening comprehension) can be almost effortless, just a matter of “listening to” their native-speaking “inner voice,” many NNESTs are not fortunate enough to have developed one of those, at least not yet. In this workshop, four NNESTs in training to be teacher-trainers first present a simple, grammar and rhythm-based method for determining what intonation contour to use. They then demonstrate a straightforward, classroom tested, “haptic-integrated” system (making extensive use of movement and touch) for practicing conversational intonation rhythmically with students. Participants are given guidelines and handouts for using the framework in classes with teenage and adult learners.

Hopefully, it'll be accepted for presentation. If not, invite them to come to your school and present it there!