Bill Acton's Embodiment Blog: vowel numbers

Showing posts with label vowel numbers. Show all posts

Monday, May 7, 2012

See hear! (Moving sounds in haptic-integrated pronunciation instruction)

Clip art: Clker

Scientists at Cal Tech have recently uncovered " . . . a type of synesthesia in which individuals hear sounds, such as tapping, beeping, or whirring, when they see things move or flash." Turns out that areas of the brain in the visual cortext responsible for movement in such cases are connected up to auditory processing a little more intimately than normal. What I liked was the "inventory of sounds" there: tapping, beeping and whirring--the very kinds of sounds that accompany haptic anchoring: beeping (vowels), tapping (the sound of hands touching in 4 different styles) and whirring (general percussive, consonant articulation or brushing motions across the upper body.) And the "flash" analogy also works to emphasize the intensity of concentration or attention involved in real, multiple-modality engagement. The basic idea of haptic-integration, of course, is to create that very kind of felt-sense "hexus" of orthography, sounds, movement, visual field anchoring, meaning and body resonance, as reported earlier. I feel compelled to even offer an appropriate, haptic neologism, something like "Haptic-seize'ya?"

Friday, February 24, 2012

Vowel length--by the numbers

Clipart: Clker

Linked is a summary of a study to be published shortly that looks at the link between the way numbers are represented in the brain and how that can affect visual and haptic perception of length. In essence, focusing on a larger number changes perception of the length of something in the visual field or an object that is experienced haptically, running the hands across it in some manner. Many pronunciation systems use vowel numbers similar to those used in HICP, where the numbers roughly correlate with those on a the mirror image of a clock face--or the place in the standard IPA matrix. According to this research and other previous studies the effect should be to give the learner the felt sense that, for example, vowel #2 (high-front-lax) is perceptually shorter than vowel #1y (high-front-tense-unrounded + off-glide.) Acoustically, that is certainly the case. Whether a vowel #11 (high-back-lax-rounded) is perceptually longer than a vowel #2 (high-front-lax-unrounded) is an empirical question, although my guess is, to quote one of my favorite lines from Bertrand Russell, that "[That] difference that doesn't make a difference, doesn't make a difference . . . " What is of interest, however, is the potential effect of using digraphs such as 1y or 11w for diphthongs or vowel+off-glides, or using double numbers such as 22 or 66 for lax vowels that are lengthened before voiced consonants or sonorants--accompanied by haptic anchoring of course! The type of haptic anchoring used, whether a light tap or brush or scrape or plunging action may interact more with the numbers assigned to vowels than I had previously thought. It may be time to consider reframing the nature of the number system itself to correlate better with the visual and haptic felt sense of vowel length. We can at least wait until the research study is published--and then either mortgage the house to come up with the $32 to buy it or wait until it shows up someplace else as a PDF on some pirate's blog . . .

Friday, October 28, 2011

Teaching pronunciation by the numbers

At a recent workshop I was asked why we use vowel numbers. My standard response (which includes all of the vowels of North American English): "Using or employing vowel numbers for haptic teaching and correcting pronunciation is not just a good idea, it is probably the only way!"

Clip art: Clker

In order, the vowels there are: 11w+2, 8, 4+8y+2, 6w+12, 7+12, 8, 5+2, 1y+2, 5, 8+4+2, 12+12+1y+3y+12, 2, 6, 7, 12, 10, 6y+1y+12, 2, 2, 6+12+1y+1y, 1y, 9w+1y, 3y! I began using that system when I was a student of Joan Morley back in the 70's at the University of Michigan (Here is the link to her great student text, Improving Spoken English, still one of the best ever written.)

The benefits are several, including being able to quickly make sure that the learner gets the right vowel noted, without having to fish around in class verbally for the right vowel quality--which may not happen anyway. Once the vowel felt sense and number and key word are anchored effectively, ability to change and recall are enhanced significantly. If you are relatively "dys-haptic" in your work, it probably doesn't make much difference how you correct vowels . . . but your days are numbered!

Subscribe to: Posts (Atom)

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.)