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jueves, 12 de noviembre de 2015

Book Review #3: Pronunciation Myths, edited by Linda Grant - Part 1

I am now back on my "commuting reading" mode, since by November my whole body hurts and I don't engage in those usual 45-minute long walks to work. I decided to make the journeys productive, so I got hold of the Kindle version of the book "Pronunciation Myths: Applying Second Language Research to Classroom Teching", edited by Linda Grant, and wtih conributions from Donna Brinton, Tracey Derwing and Murray Muro, John Field, Judy Gilbert, John Murphy, Ron Thomson and Beth Zielinsky and Lynda Yates.

The book is structured around seven myths related to pronunciation teaching and learning, some of which sound all too familiar for my Argentinian context. The discussion of each myth is carried out through an adequate balance of personal anecdotes that illustrate the points in question, and what the research has found. Each chapter also presents a number of practical tasks or advice to deal with the matters described.

In this review, I would like to briefly comment on each myth/chapter, and add my own humble take on what is said, and how it relates to my context.

As usual, I will piece this review into parts for your (and my!) sake!

***
A few comments: this volume is mostly written by researchers who have done a lot of work in English in an L2 environment, that is, many of the experiences shared refer to students who learn English in instructional settings and have to use English outside the classroom. At times, there are explicit references to non-L2 environments, but I think it is important to keep this in mind when reading the book. 

***
Prologue, by Linda Grant

Grant discusses four interesting aspects of pronunciation teaching and learning as part of the prologue. The first part discusses the last four decades of pronunciation teaching, reviewing some of the tenets identifying different movements, such as audiolingualism, and communicative language teaching, all ascribing different roles and goals to pronunciation teaching in L2. Grant claims that current approaches draw from both traditions mentioned in terms of techniques and goals, and discusses the need for integration of pronunciation work to other areas of the curriculum.  The author describes a shift from concern with native-likeness to intelligibility, and the separation of ideas of accentedness from those of intelligibility, as two different phenomena, also separated from degrees of comprehensibility, based on the research by Derwing and Munro. A very interesting addition to this discussion is the explicit acknowledgement of the listener in this process of interaction.

The second aspect that Grant reviews in her prologue includes the definition and scope of pronunciation, based on Fraser's (2001) contribution, which establishes three categories: peripheral and global features, suprasegmentals and segmentals. The review of these features includes references to research and published materials that describe the complexity of these categories, and the difficulties in language teaching when it comes to the selection of features to teach. 

I particularly enjoyed the "bulls-eye" analogy: 

"in the circle or ring around the eye are all of the acceptable variants of the target sound as they occur in spoken English. So variants diverge from the target more than others, but all of the sounds falling within that first circle are acceptable pronunciations" (Grant, 2014)

Through this comparison, I think many things can be encompassed, and I celebrate Grant's mention of allophonic variants, since these appear to be neglected in pronunciation books, and after all, it is the production of allophones which in fact allows learners to leave the "ideal", "isolated" phoneme and place it around others, to ease co-articulation and thus, together with phonemic processes of connected speech, to produce fluent speech. The comparison with the bulls-eye also goes beyond segment into the production of words, and the variations from "citation forms" to other forms in real speech (in the "jungle", as Cauldwell, 2013 rightly claims!). 

The next feature described in Grant's prologue is related to the levels of pronunciation teaching: motor or physical, perceptual, cognitive and psycho-social. I found this classification so neat and so true, and I can't help thinking that it is the psycho-social that really defines what my students end up reaching. So much to think about!

***
Myth 1, debunked by Tracey Derwing and Murray Munro: "Once you have been speaking a second language for years, it's too late to change your pronunciation"

This chapter discusses issues of fossilization. Some interesting remarks that the authors make include the fact that this phenonmenon is not only restricted to L2, as it can happen in L1 with a few specific linguistic forms. 

Munro and Derwing begin by analysing some of the reasons pronunciation work is not (effectively) addressed in the lesson: a) the belief that explicit instruction cannot possibly be effective; b) the influence of communicative language teaching tenets, that leave learners to their own devices when it comes to pronunciation; c) lack of training in pronunciation teaching. 

Regarding the first reason, the authors quote research findings that prove that explicit instruction does make a difference in learners' performance. These studies appear as a response to the claim that most pronunciation changes are to be made during the first year of residency in the foreign country (remember that this is an English as L2 context), as this is the period where fossilization could become decisive.

A very interesting study reported is that of Derwing, Munro and Wiebe (1998), in which three groups of learners received differentiated instruction: 1) suprasegmental; 2) segmental; 3) no training. The first group rated higher in fluency and comprehensibility, but got no improvement in accent ratings. The chart below by Derwing and Munro (in Grant, 2014) discusses the dimensions for L2 evaluation that they propose:
Derwing & Munro (in Grant, 2014)
One of the most interesting features, I believe, that these authors address is the interdependence of these variables. In my context I struggle with advanced students who could rate perhaps high in accentedness and still render unintelligible speech. I also see fluency problems in advanced students, even when their control over segments appears to be pretty native-like. As a pronunciation instructor, I do wonder at times whether I may be overlooking some of these aspects in my teaching of pronunciation for speaking and reading...especially since my teaching context values accentedness as a goal over perhaps other variables....

Another interesting question that the authors address is related to what makes pronunciation instruction effective.  Apart from the usual perception-production relation already reported in the research, the authors highlight the proper selection of features to teach, following an intelligibility criterion, and they also make a very important point of corrective feedback. This may not come as a surprise to those of us who have been doing this for years, but it is clear to me that correction may be seen as many teachers as an "intrusion" into learner space. This is, I guess, because of the physical nature of pronunciation, whereas all other skills that can be corrected "on paper" do not seem to suffer the same fate. Most teachers would not object to picking a red pen or pencil and giving corrective feedback on the page. This opens up a whole new debate, of course, when it comes to feedback on something which is so physical and so personal as one's accent (worth a million blog posts!)...

Another study included in this chapter was related to student success in de-fossilising speech towards better comprehensibility and intelligibility, even after a long time of residence (10 years, even) in the foreign country.

This chapter finishes with a few suggestions. I would like to quote a very interesting point made by the authors to shed light on what they propose to solve this issue:

"years of input from their (L2) own speech patterns contributes to fossilization because the learners come to establish their own perceptual categories for segments and for prosodic phenomena. These deeply engrained representations make it difficult to change pronunciation patterns" (Derwing & Munro in Grant, 2014)

The first thing these researchers believe should be done in the classroom is, precisely, draw students' attention of their own version versus other more intelligible forms, and train their perception. This is a key aspect of what we do in Lab 1 at College, as we need to teach students to "de-automatise", "de-fossilize", and "un-learn" past habits and targets towards new perceptual and also motor habits. It's indeed a "painful" process, and at times tinted by psycho-social aspects as well. Quite a challenge, methinks!

The second invitation the authors make is, of course, give explicit corrective feedback, not only from teachers, but also from peers. Another suggestion in the conclusion includes choosing the right focus, deciding on pronunciation priorities based on the course and students being taught (which I have addressed in these posts on pronunciation goals: part 1, part 2). One way of approaching this includes considering the relative functional load of pronunciation features, based on the list of criteria drawn by Catford (1987). The next tip for effective pronunciation instruction relates to the use of authentic language over focus on citation forms, and working both on shadowing and mirroring techniques. The use of technology is also put forward, though the presence of the teacher as a judicious guide and feedback-provider needs to be highlighted whenever technological resources appear. The last piece of advice by Derwing and Munro warns teachers against the presence of early fossilization, that is, teachers need to act before fossilization has a chance to seize our students!

***

Hope you have found these comments useful, and interesting.
The next posts will review the chapters that follow. Stay tuned!


lunes, 11 de mayo de 2015

Pronunciation, Phonesthesia and Realia: The case of the STRUT vowel (Part 2)

In my latest post, I compared General British STRUT and its variants to Riverplate Spanish /a/. I reviewed some articulatory and also acoustic features, and I also went over some basic notions of Speech Perception theories. I established that many of my Riverplate Spanish learners may associate English /ʌ/ with their Spanish /a/ "magnets" and may, thus, find the differentiation between both vowels challenging, both for perception and production.

(BTW, apparently, the differentiation between English /ʌ/ and other vowels appears to be quite an issue for many speakers of English as an L1 or L2, as Ettien Coffi (2014) reveals in this paper from the Proceedings of the 5th Pronunciation in Second Language Learning and Teaching Conferencepage 11 onwards)

In this post, I would like to present some of the tips & tricks I have collected over the years (and I will try to acknowledge my colleagues' contributions whenever I can!). My claim will be that many "tips" do the job when they help create an image of the L2 sound which may help the learner steer away from their L1 quality, and that this may not necessarily just be reliant on making the right articulatory movements.

This is why some of my suggestions will draw on creating "mental images" through the contributions of Phonesthesia, and Realia; images which should appeal not only to visual aspects, but also auditory, and emotional resources.
***
A few definitions first:

Realia refers to the introduction of real-life objects in the classroom, to make the learning experience of certain concepts and routines more vivid. This technique also enables students to engage all their senses and learning styles. We can introduce actual objects, or we can create virtual situations that may allow students to experience similar emotions and actions as those recreated in the real situations.
(You can get some teaching ideas on using teaching aids in the TEFLSurvival blog, and the BusyTeacher website.)


Phonesthesia refers to the analysis of "sound symbolism". It basically studies how clusters of sounds may center around lexical sets that express similar meanings. So for example, in the Dictionary of Sound by Margaret Magnus, you can find a number of STRUT words that could be related to "puffy things":  plush, fuzz, fluff, cuff, muff, ruff.

This reminds me of a poem by Tony Mitton, called "Fluff"

What's this here?
A piece of fluff.
I don't know where I get this stuff.
I'll blow it away
with just one puff.
Huff!
There. That's enough.

So the combination of vowel /ʌ/ and the /f/ quality, reminiscent of blowing, creates this "puffy" effect of fluff and makes the poem lovely for oral performance, and effective! 

***
As a College student, I had a hard time fine-tuning my STRUT away from my Spanish /a/. I was given instructions, I  knew I had to drop my jaw, but still, it sounded pretty much like my own Spanish /a/. (Mind you, my friend and colleague Prof. Francisco Zabala has found that the STRUT quality as an allophone is present in many Spanish combinations of "a" + sound /x/, as in "caja".)  And I see my students at Teacher Training College producing a similar type of Spanish /a/ sound. So after a few tries, after watching native speakers of English produce their STRUT sounds, analysing the way this jaw-dropping takes place for this sound, I came up with the first articulatory tip that worked for some of my students:

"Keep to the railings of the mouth". I asked my students to imagine that each of the two sides of their lips, or the corner of their mouths, had a vertical railing, and that there should not be any smiling, as it would defy the railings of the mouth, and that the articulatory movement should be downwards, not sidewards. I could not help thinking of these special types of puppets ventriloquists use:

Celebrity puppet
Image credit: David Noah. Flickr:https://www.flickr.com/photos/davidnoah/5170268541/

With this idea in mind, in one of my lessons, students were asked to place their fingers in the corners of their mouths in the puppet-like manner above, and look at themselves in a mirror/front facing camera of their mobile phones while producing STRUT words, trying to avoid a smile (which was tough, as they were having fun!).Therefore, this sound became the "puppet" sound (and for older Argentinians, this was the "Chirolita" sound, after a well-known ventriloquist in Argentina).
This articulatory tip did the trick for many students, but yet, not all of them really got to acquire a close quality; many students still produced a much fronter, or sometimes, opener vowel.

So I resorted to phonesthesia, and I thought of a few words I associated with the STRUT quality. By repeating the STRUT vowel to myself in isolation, I came up with these words (and a few others, after trying the marvellous Sound Search tool in the Cambridge Pronouncing Dictionary CD-Rom!)

  • Things falling and making noise: thud, plunge  
  • Unpredictable, shocking: abrupt, blunt, rough
  • Pushing, stabbing(?): thrust, chuck, cut, nudge, punch, butt

(BTW (deviation alert!), as a Miranda Hart fan, I could help laughing at myself while repeating these words!)

So with some groups of students, I tried playing around with the words above, getting into the mood of things "falling" or happening "abruptely", which acts in much the same way the downward movement of the jaws does, like a small "bite", even.

Encouraged by the success of this tip for some students, I started thinking about the realia of "emotions", the "tone" that this sound evoked in me, and I could not help feeling "dull", "disgusted" or "miserable", as with these words:
  • love
  • money
  • you suck!
  • duh!
  • yuck!
  • f*#k
And I said to myself (and forgive the vulgarity of it all!), "what makes you suffer? Love, or money?". So I asked my students to think about their most "miserable" feeling, place themselves in that "sad place" (a bit like many actors do), "pull a miserable face" and go for /ʌ/ . 

Credits: http://i3.mirror.co.uk/incoming/article4311979.ece/ALTERNATES/s615b/Kim-Kardashian-and-Kanye-West-arrive-for-a-dinner-at-Hakkasan.jpg
(I have a confession to make: I sometimes ask my students to produce the f-word. It works! Perfect STRUT qualities EVERY time!)

When using this strategy a few years ago, a student came up with the memory of losing a match as a kid, and remembering his father's disappointed reaction (a very sad place to go to, if you ask me!). So we worked on that emotion, and we created a situation in which a very stern father or mother would push their son or daughter to win a race. And I came up with this terrible (!) poem/song, with a "run, run, run" chorus to the melody of Pink Floyd's "Run like Hell". It does sound like a bitter and very dark poem, but as a dramatic technique, it did the trick!

In one of the lessons where I tried the poem, students worked in two teams, with one group acting as an audience, singing the "run, run" Pink Floyd chorus, and a second group "mumbling" the words of the poem as they all pictured the race and their son running. The "little play" that resulted of this poem reminded me of Hermione in the audience uttering the Confundus charm and Harry saying "Come on, Ron" in a sort of low murmur (Deviation alert #2!):



***
Somehow this idea of a "miserable" STRUT sound has been the most effective tip to help my students provide a version of /ʌ/ that drove them closer to a quality different from their Spanish /a/, and also from the "Happy, cheerful, /æ/" and the "Relaxed, cute, awwww-like, /ɑ:/":

***
As with everything, you can find your own way of adapting these tricks for your own lessons, taking into consideration the "classroom management" factor, because let's face it, pronunciation work may create a bit of a mess in the classroom!

And of course, as Adrian Underhill claims, multisensory pronunciation learning is the key. Building one's own proprioception, and supplementing this with mental, auditory and emotional images should, in some way or other, contribute to the uniqueness of our learners' styles and processes. As I always say, what may work for one student may not necessarily work for the other! (Another piece of evidence for the "messy" nature of pronunciation work, sorry to say!)

***

Final thought: It is funny that many of the nice things of life may also take STRUT, and they don't seem to "fit" with with sound. What shall we do about 
love, fun, feeling chuffed, abundance, bubbles ...and maybe, money?
I leave that to you!


lunes, 20 de abril de 2015

#IATEFL2015 Online Coverage #2: Interview to Luke Meddings

Part of the IATEFL Manchester Conference 2015 online experience included interviews with many delegates and presenters. In a previous post, I reviewed an interview with David Crystal. I would like to briefly comment on the 6-minute conversation a British Council presenter held with Luke Meddings this time. As usual, my own input, in a different colour.

Being 12,000 km away, I did not get to see Meddings' talk, which I was told was hilarious, but I would be happy to hear or read about it online, if anyone out there wants to report on it! (There's a brief reference to his talk and other pron talks in Mark Hancock's blog, BTW)

The interview with Luke Meddings, available here, begins with some points of reflection about the way we feel when we speak another language, the idea of being "frozen up", filled with anxiety, fearful of making mistakes. As the interviewer points out, at times it is this fear or anxiety that may lead us to focus on form, and forget meaning. This is something I generally notice with my advanced students at College: they are so concerned with sounds, or even with their own intonation patterns, that it just sounds as if they are reading "patterns" (as one of my colleagues says), reading a set of marks on the page, totally devoid of meaning. I was just thinking of David Brazil's (1980, 1997) notion of oblique orientation here. And not because my students, necessarily, use many level tones, but because their approach is oblique, even when using fall-rises, or rises! Their concern with form and accuracy is stronger than the expression of meaning and the need to address an audience. Moreover, I generally notice many learners making appropriate choices of tone and nucleus in their reading aloud experiences who fail to get the message across! And this, again, is connected to some features that I sometimes fear we may neglect when teaching pronunciation, and even when teaching speaking skills in general: the contribution of paralinguistic features to the overall meaning, and mood, of a text. 

The approach that Meddings suggests appears to address some of these paralinguistic concerns, as he takes up the idea of "impersonation" through body language and gesture, as well as breath and volume control, as a "key" to pronunciation. From what the interview shows, Meddings appears to have got the "hang" of voice quality and articulatory setting features of different people, like the Queen, or John Lennon, and even makes use of chewing gum to aid his impersonation. I remember students talking about impersonation techniques for English learning used in some English institutes in Buenos Aires. Students were asked to pick a celebrity they liked on their very first day, and they adopted this "second personality" throughout their studies. So one of my students was "Ginger Rogers", and that is what she was called by her teachers during her lessons, for six good years! In spite of the fact that this student did not entirely approve of the method, she said that this approach made her feel safe, as it was "Ginger" who was making mistakes, and not herself. Interesting.

Part of Meddings' premise is that we should learn to "let go", as pronunciation is physical and feedback can get on our skin. Once again, there is an invitation for learners to "find their own way of speaking English their own way". I have been thinking about these issues for quite some time, issues related to the "ownership of your interlanguage accent", to the challenge of "finding your own voice", and I have decided to put some of these ideas into a podcast-like post, coming soon, called "Your Accent, Your Patronus" (Yes, another Harry Potter reference! <3).

All in all, the interview gives us a taste of Luke Meddings' style, and it is always enriching to see other ways of doing pronunciation work in the classroom.

viernes, 29 de agosto de 2014

Tools & Apps #1: Typing IPA symbols



Today: How to insert IPA fonts in a document, website, mobile device....and more!

(Disclaimer 1: I know there are lots of posts on this in pronunciation- and tech-related blogs, and there are many tools I am not reviewing here, which you can consult in my Scoop.It collection at the end of this post. I am just presenting the ones I myself have found useful, with the usual warnings and "user discretion" advice!)
(Disclaimer 2: I have tested these tools on a Windows 7 and a Windows 8 computer, and on mobile devices running Android 4.1 and Blackberry 10.2 versions. I cannot help those Mac/iOS users out there, I fear, though some of these may work on these systems as well.)


The easy way out



There are a number of "phonemic typewriters" on the web you may want to try out. In general, all you have to do is to click on the keys and transcribe your desired words/passage. You then select your transcribed text and copy and paste it on Word, on the Web, on Twitter, on Facebook, you name it!




  • I have found David Brett's typewriter really useful when in a rush, for a basic broad transcription, though given some recent changes to GB you may not find all the symbols you need. 

    David Brett's
    Pete McKichan's Phonemic Script Typewriter below works similarly.
    McKichan's


If you need to go for narrow transcription with different diacritics and symbols for other languages than English, you may try Typeit .






Weston Ruter uses the IPA chart to function as a typewriter. Great resource if you need to be reminded of the place and manner of articulation of the symbols you are typing, among other features:










Even easier? Think again!


Yes, dear students, we've known about these for YEARS! And I have trained my eye to recognise transcriptions using these tools. Because what matters in the end is the rule behind the use of a certain sound for a certain spelling, or the choice of a particular weak and strong form, these websites may not be "the coolest" thing to use (especially if you have to sit face-to-face exams, where your knowledge should come straight from your head!). So, yes, these resources may be time-saving, but not grade-savers in the end. So think twice before using them to complete your homework transcriptions. And if you do use them, check the transcriptions against your spelling and weak-strong form rules, trying to account for every bit transcribed, or attempting to spot "errors". 
(Now, having made my usual "witch lecturer" warning, off to reviewing these tools)


Some websites offer a text-to-pronunciation transcription. Yes, they do! I myself have used them to prepare some keys to transcriptions or dictations for my lessons, but found I had to use up quite a lot of that time I thought I'd saved correcting errors or making more suitable choices of pronunciation. 

One of the most popular among my students (Busted!) is PhoTransEdit. You can see from the capture what I mean about "correcting mistakes", but I have to admit it is one of the most accurate tools of this kind I've found so far in spite of some "horrors":
Lingorado offers a similar functionality, but uses /ɛ/ for British English /e/, and it also presents a few issues with weak and strong forms and happY, for instance:

***
Many of these have iPhone, Android and Windows 8 mobile versions, which makes IPA-typing on your mobile or tablet easier. Other mobile apps I have tried on Android and Blackberry 10 include:

Multiling Keyboard: I found this integrated keyboard hellish to use at first, but once I got used to it, I could type IPA really easily. You just need to get acquainted with the location of the symbols on the keyboard and learn some swift movements to make your choice, but the keyboard includes diacritics as well, and I believe all the trouble is worth it. I have produced transcription keys on the spot for my learners, typing almost at the same speed rate they were handwriting their symbols on the page!


Phoneme Converter: if you are familiar with the shortcuts for the IPA symbols to type on a PC (see below), then this tool is going to allow you to type really fast using ASCII-IPA (say, using the @ for /ə/, for example) in order to paste your text later anywhere on your mobile device. This is a capture of its use on a Blackberry 10 device, though it is in fact an Android app:

A bit more challenging, but worth it! 


Indeed, having the IPA fonts in your computer does make things easier for us, and yes, it does pose a bit of a challenge. But once you are over the initial struggle of download and installation, all you need to do is remember the codes to type those symbols that just "don't look like regular letters", so to speak.

UCL (includes also a phonetic keyboard):  http://www.phon.ucl.ac.uk/resource/phonetics/
  • How to install the fonts
Some of the websites above present the fonts as "packages" which "self-install" the fonts with the only task of downloading and opening the file. Some others, however, require manual installation.
If that is the case, on a Windows computer, these are the usual steps:
1. Download your fonts, and if zipped, unzip them.
2. On the File Explorer, copy them (or select them and click "ctrl + C") as you would do with any file.
3. Open the Control Panel. Double click on "Fonts"
4. Paste your files (or click "ctrl + V")
That should do the trick!
  • How to type the symbols
If you use a word processor, for instance, you just need to identify the name of your font and select it on the list of fonts,  in much the same way you change from Arial to Times New Roman, for example. 
The symbols that look like letters, so to speak, are typed directly, and if you need to consult the way of typing in the other "foreign-looking" symbols, you can check the article below:
(Mind you, there is a "logic" behind the system, with the velar nasal /ŋ/as a capital N (shift + n), the STRUT vowel /ʌ/ as a capital V, the NURSE vowel /ɜ/ by pressing "3", and so on! You'll be up to it in no time!)

Intonation

Regarding intonation, things may be a bit "rough", particularly if you use tonetic marks, unlike the conventions used for ToBI that use letters and some (*%!-+) symbols.
Those keyboard tools that offer diacritics do have tone marks you can use, and the fonts listed above also present a few, particularly the one on intonation at the UCL website.
At times, however, it appears to be more useful to use arrow marks with superscript and subscript formatting options . Some people  use slanted lines \ /, others, following the conventions of Discourse Intonation, place words on different lines to show key/termination variation.
These may be just some ways of coding your transcription for intonation, which will depend on your chosen theoretical framework.

Truth is, marking different levels of key and termination may prove a bit of a struggle. There are a few fonts going round, but as I cannot accurately trace the source, I cannot post them just yet. Should I get permission and a reliable source, I will make them available here, I promise! 


IPA tools: My bag of tricks



As usual, here's my full collection of resources to type IPA symbols.
http://www.scoop.it/t/pronunciation-bites/?tag=ipa+fonts
 The links to some of the resources reviewed here will be found in this collection, as well as many other tools I have not reviewed because of their price, effectiveness or accuracy. You can check them out and tell us about your own experience in the comments box below.

A final word

Being able to transcribe on your PC or your mobile gives you the chance of not only showing the pronunciation of a particular word or phrase on the spot, but also, and more importantly, it gives you the freedom to design your own flashcards, acrostics and other teaching materials on any web platform or piece of software. If you use the typewriters, for instance, you can also embed the symbols on Facebook, Twitter, and your blogs and platforms, allowing us "phonfreaks" to share knowledge or code "secret" messages for other "phon-nerds" worldwide!