Pronunciation more than communication?

Clip art: Clker

Clip art: Clker

In yet another study for your "Well . . . duh . . . straw man" file, (Summarized by Science Daily) Trofimovich of Concordia University and Isaacs of the University of Bristol report on a study based on what they term 'comprehensibility': "Understanding accents: Effective communication is about more than simply pronunciation." That question has been the subject of research for decades. That it should be "news" in the popular science press still should not be surprising. Comprehensibility is partially defined, at least in the summary, as simply " . . . linked to vocabulary and grammar." But to what extent is pronunciation just "accent", what is potentially problematic for the listener? The socio-political strategy of educating the public to learn to attend less to accent in some contexts is absolutely valid. But equating or trying to parse the two terms in that manner is a mistake, in a couple of senses. First, as any Linguistics 100 student knows, pronunciation is at least a morpho-phonemic (grammar + phonology) problem. A mispronounced segmental can cause a grammatical ending to "disappear." Conversely, a syntactic breakdown may impact very directly the intonation of the constituent structure. In addition, calling attention to grammar may bring with it even more inherent bias. Second, and more importantly for our work, pronunciation is, indeed, more than just interpersonal communication in how it is experienced by the speaker and the effect that just the act of speaking has on the speaker. For example, resonant, rich, (haptic-integrated) strong pronunciation can have a very positive effect in itself, on both the speaker's state of mind and sense of identity, "intra-personal" communication of a sort, the essence of embodiment.--which in term affects one's attitude toward one's accent. A "pronounced" difference, to be sure.

Get in the mood for pronunciation work? Try a touch of vowel color!

Clipart: Clker

Clip art: Clker

According to this research by Ackermann and colleagues at MIT, summarized by ScienceNow, touch--expressed in texture and hardness--can not only "color" one's mood but "impact . . . how we perceive the world!" For example, " . . . running your hand over sandpaper may make you view social interactions as more hostile and competitive." In the study, subjects put together either a puzzle with pieces that had sandpaper-like texture or one where the pieces had by contrast, a very smooth surface. Depending on which puzzle they had assembled, their mood in responding to a video clip varied accordingly. So, how is what students touch in your class affecting how they feel about the work? In the EHIEP vowel protocol (a set of techniques for teaching and anchoring the vowels of English), there are four distinct touch-textures: (a) a light tapping (lax vowels), (b) gently dragging the fingernails across the palm of the other hand (diphthongs or tense vowels plus off-glide), (c) holding the hands together gently (tense vowels), and (d) one hand pushing the other hand about 5 centimeters either to left or to the right (lengthened lax vowels before voice consonants). Those pedagogical movement patterns (PMPs) are also performed while articulating the vowel with as much "euphonic resonance" as possible, anchoring the sound to the movement and touch-texture. The mood encouraged by those PMPs, based on the sensations experienced on the hands, is at least pleasant (See earlier post.), if not slightly stimulating. (This sense of the potential "coloring" of one's mood by "vowel-texture-touch" is different from but somewhat related to the inherent visual intensity or phonaesthetic quality of vowels in English, addressed in several earlier posts.) Assuming that the class began with something of a full-body warm up, the effect of haptic-integrated touch-on-vowels should at least help learners to perceive the process more positively. It does more than that, of course, but systematic attention to "mood maintenance' is always a nice touch. 

Haptic phonetics for pronunciation teaching

Clipart: Clker

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! 

Pronunciation "Vowel-age"

Clip art: Clker

Clip art: Clker

Caveat emptor: This is a long post. Turn back now, O ye of little faith or short concentration span--or those who find discussion of bodily energy fields disorienting or otherwise!

As described in earlier posts, the types of vowels in the EHIEP system are characterized using "textural" terms, for example: "rough" (for lax vowels), "smooth" (for tense vowels), smooth-dynamic (for diphthongs) and "rough-dynamic" (for lengthened lax vowels preceding voiced consonants.) General phonetic descriptions of English consonants often use terms with obvious "textural" qualities such as fricatives, affricates, liquids, glides, etc.

 Within each of those vowel types, the felt sense of different vowels can be productively described for students in terms of a system or circuit of energy flow, intensity or "voltage," (aka "vowel-age!") in several senses. (There are some other "mystical" senses as well which will be avoided here, of course!)  The configuration or locations of the vowels in the visual field (a general mirror image of the IPA vowel chart for English) involves a set of nodes, one for each vowel, where the hands touch on prominent syllables.

Each node represents a point in the visual space in front of them where the nexus of texture, intensity (voltage) and vowel formants (resonance) of the vowel (and/or word) are anchored.  The analogy I have often used is Kirchoff's circuit laws: (a) the total energy going into a node in a circuit is equal to that leaving it. (A node does not absorb energy, only transfers for redirects it.) and (b) the sum of voltage around a closed system is zero.

The analogy to EHIEP work, taken largely from Lessac, for the learner is this: First, voltage or energy is redirected, expended and captured by performing a pedagogical movement pattern. The action is both communicative and energizing. (You use energy and intensity to perform/say the vowel but it is simultaneously "replaced" or balanced by the voltage experienced and "stored" in anchoring in memory.) Second, although different vowels have different inherent "vowel-ages" or vividness (see posts on the inherent phonaesthetics of vowels, for example, this recent one), the key is to experience them as a system, a whole, not as individual, isolated elements.

That is especially important when the learner's L1 appears to have vowels similar to the L2. One way to demonstrate that, for example, is to do a vocalizing "tour" of the "universal" vowel space, moving a hand slowing throughout as the vowel quality changes accordingly--done admirably by Professor Higgins in My Fair Lady, of course! So check your "vowel-age" regularly. It is certainly worth the time--and energy!

How to create great, moving, memorable (movie) lines

In this study by Danescu-Niculescu-Mizil et al of Cornell University, summarized by ScienceDaily, the secret of coming up with great movie lines was discovered. They should have " . . . familiar sentence structure but incorporating distinctive words or phrases, and  . . . make general statements that could apply elsewhere." and contain " . . . more sounds made in the front of the mouth (italics, mine), words with more syllables and fewer coordinating conjunctions." If you were attempting to characterize the ideal type of conversational language or phrases in which to anchor pronunciation change, that would not be a bad framework to use either. Note the finding relating to the vowel quality evident in those "memorable" lines: in the front of the mouth. Several earlier posts have cited research in the phonaesthetics of vowel quality, confirming the more vivid and engaging nature of front vowels--the vowels positioned in the similarly more vivid and engaging area of the right visual field (as established in other studies) in the EHIEP system. (Conversely, those same vowels are traditionally located in the left visual field in the standard IPA vowel chart or ESL/EFL pronunciation teaching models or frameworks.) Add to those features of the optimally memorable conversational expression a haptic-integrated anchor (a pedagogical movement pattern terminating in touch--usually of both hands or one hand to the upper torso) and you, indeed, have a potentially memorable line. In fact, it is just the ticket!

Process-experiential Pronunciation instruction

Logo: Process-Experiential Therapy

Once every couple of months I check in with my local counseling psychologist/researcher in the building next door on my current thinking as to the development of this work, one of those who introduced me to Observed Experiential Integration over five years ago. Yesterday's question was: How can I better conceptualize the role of haptic integration within the appropriate balance between cognitive-conceptual and body-based somatic pronunciation instruction? He referred me to Process-experiential therapy. To the right is the logo from the PE website which outlines the general model. If you just substitute "haptic-integrated" for "experienced emotion" you have a very interesting framework for the theoretical foundation of our work, especially in light of recent developments relating to the importance of learning about this approach--experientially! (The logo, itself, not surprisingly, maps on very nicely to the general character of the visual field as detailed in several earlier posts, with "up~down" being "internal~external, and "left~right" being "stability~change.") What is even more striking (to me at least, not my colleague!) is that the 12 boxes also map on beautifully to the "vowel clock" framework described in earlier posts as well. In the next few posts, I will unpack and slightly alter the labels of several of those "boxes" in examining the empirical and theoretical bases of HICP. If you are one of my grad students, you have your homework!

Prana(yama)nciation work readiness: Bee "Mmmm"

Clipart: Clker

Some kind of warm up is often essential before attention to pronunciation. The current warm up in the  EHIEP system, designed to loosen up mind and body,  takes about three minutes and resembles a cross between exuberant choral conducting, ballet moves and body building stretches. (See the linked Youtube in the right column for an earlier version.) The warm up function can be accomplished many ways. In developing an EHIEP adaptation for use in India, I went back to my earlier experience with yoga and began experimenting with versions of the "Pranayama" or "Bee" technique. As noted in a recent post, the paralinguistic side of HICP work must be culturally attuned to appropriate nonverbal behaviorial norms of the students. Although it seems to take about twice as long to "get there' (at least for ME!), the effect or mind/body state you arrive at seems remarkably similar. Of course, if you can't do a good lotus position, don't have a venue where your intense buzzing won't be seen as socially dysfunctional--or have serious nasal congestion--this might not be for you. But it is worth trying once, just to get the felt sense of what optimal, holistic readiness is like. So, pour yourself a cup of herbal tea, relax, sit down, and follow the directions. Will give you a buzz . . . Pranayam(a)ise!

Hands up! (The felt sense of resonance from Baoding)

In recent posts, I looked at various techniques for establishing focusing on vowel resonance in the upper body. For over 20 years, I have been exercising with Chinese health balls (保定健身球), pronounced 'ken-shin-kyu' in Japanese. There are many types. According to "legend," their use originated with soldiers rotating iron cannon balls in their hands to develop strength and dexterity back before the Ming dynasty. Along the way, they evolved into many forms, including beautiful cloisonne-covered 55 millimeter-diameter versions which contain various kinds and frequencies of chimes. High quality balls may also have surfaces that are exceedingly pleasing to the touch. The haptic feedback to the hands, and then to the entire skeletal structure can be simply amazing: when the balls are rotated in optimal patterns--which takes considerable practice--the resonance experienced through the hands, along with the sound emanated and the blurs of colours, can be a multiple modality experience of the first order. To keep the balls rolling optimally requires complete sensory attention and engagement. I can think of no better analogy or model of the type of momentary full-body focus that is always the goal of HICP protocols. Unfortunately, it is nearly impossible today to find a set of four matching balls without going to a shop yourself and (often) spending an hour or two trying to find a set of four that match in colour, weight and surface texture--let alone getting a set of four where the tones of the chimes create a chord of some character that is pleasing. (In the literature on the balls, it is said that Chinese folk medicine practitioners would, based on the personality, physical and emotional state of the patient, prescribe to the artisan exactly how all the various parameters of the ball should be created.) I'll do a Youtube video in a bit to demonstrate. The best "hapticanalogy" I can imagine. Hands down . . . 

Gola Aperta: Good, good, good, good vibrations . . . and vocal resonance

 Don Jupedo in the character of Harlequin
 jumping down his own throat . . . 

My current project is to develop a new protocol to establish excellent vowel resonance. That is simply critical for effective anchoring. The linked piece by Tracy Watson, which I will quote here, does a very nice job of explaining what it is, the felt sense of it and how it is achieved:

"Gola Aperta [literally: open throat] reflects not only the need for comfort, meaning a healthy, positive amount of muscle antagonism and tension when singing, but also the optimal use of the throat as a resonating body . . . Correct sensation involves an awareness of positive vertical and open space in the throat (like the sensation of breathing in the scent of a flower), and a feeling as though the sound being produced is gently yet energetically filling all of the available space. Depending upon the pitch, one can also feel the intensity of the vibration in different parts of the face. For lower pitches, there is most often a sense of the vibration in the jaw, lips, bridge of the nose, and the lower cheek area. With chest voice present, one may also feel some subglottic and “chest” vibration. As the frequency increases (pitch ascends), there is a sense of awareness of the vibration rising to a higher part of the face, across the bridge of the nose, the cheek area, behind the eyes, between the eyebrows and sometimes in the forehead as well."

Clearly, being able to speak with great resonance impacts more than just pronunciation. For one, it sets up the idea of speaking in a "new voice or identity" one that can be accessed almost as a distinct character or role. For many that construct is extremely helpful in switching to new pronunciation and monitoring ongoing speech. (See several earlier posts on elements of that therapeutic and actor-training strategy.) Once the new protocol is ready I'll post a video so you can try it out with your students. In the meantime, in preparation, get a first rate head and neck massage and practise seeing how much lavender essential oil fragrance you can draw in in one breath . . . 

Haptic Video and a haptics video

The terms "haptic" and "haptics" are used inconsistently today in various fields but the distinction is important for HICP work. The general definition of "haptic" is " . . .relating to the sense of touch." HICP methodology falls within that definition. Technically, we should refer to our work as something like "kinaesthetic-haptic," but we have been using "haptic" as a shorthand of sorts to include both movement and touch. "Haptics," on the other hand, is the "science of applying touch to human-computer interaction." (See this somewhat glitzy video of some haptics devices.)

As noted many times in blogposts, however, the ultimate GOAL of HICP development is to create a system that is readily integrated with "Wii-like" virtual reality technology. In a very real sense, it is approaching that. Here is an important caveat, however. As it is now the "felt sense" of saying a word, focusing on the vowel resonance, while performing a pedagogical movement pattern, culminating usually in both hands touching on the stressed syllable in most cases, is a very powerful,  proven holistic anchor. It is not entirely obvious that the virtual reality embodiment of the system will be as effective (or how?), although it would contribute a range of possibilities of voice recognition options such as modelling and offering various types of corrective feedback.

The two current versions, one done face-to-face by a "live" instructor and EHIEP haptic video system (EHVS), both have the same haptic requirements on the part of the learner of following either the instructor in the classroom or the instructor on the video. The haptic video system is a substantial step toward the virtual reality embodiment design. In other words,  HICP work is currently "haptic" in application but "haptics" in outlook and destination. It is just a matter of keeping in touch . . . and time. 

HAPTICULATE! (Learning new or changed pronunciation efficiently)

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I like that term . . . Among voice coaches, the asymetrical relationship between "bone conduction" (perception of one's own voice experienced through the bones of the face) and "air conduction" (awareness based on input via the auditory nerve from the ears) is generally a given. Estimates range from 80/20 to 60/40. Thus, in training programs, the internal "felt sense" of the voice is understood as primary. (This abstract of a  study looks at varying frequency ranges involved.)

Assuming that observation is essentially correct, or at least useful--and drawing on research cited in several recent posts on the relative strength of different modalities in speech production and comprehension, here are the fundamentals from a HICPR perspective on how to manage your attention (or those of your students), to learn a new or corrected sound with optimal efficiency. In brief, there are 4 basic components: (What function each fulfills has also been elaborated in previous blog posts.)

A. Breathe in through the nose, then breathe out through the mouth as the word or phrase is articulated, accompanied by specific modality management--with haptic anchoring. See B and C, below.)
B. Focus strongly on the felt sense in your personal Vowel Resonance Center (a point, typically, in the bones of the face between the eyes or thereabouts, where bone-sound conduction is experienced most intensely or, for some, at a point in the throat or chest when speaking). The breathing procedure in A helps to create and maintain that focus.
C. Manage the visual field (Visual Field Management). Do that either by focusing on a fixed point in front of you, tracking hand movements with eyes or closing your eyes--or some combination.
D. Perform 2 or 3 "pedagogical movement patterns" (basically sign language-like movements/gestures through the visual field, terminating with both hands touching on the key, stressed syllable –haptic anchoring) as the target word or expression is . . . well . . hapticulated!