INSTRUCTOR'S
NOTES
TO
ACTON HAPTIC - ENGLISH
PRONUNCIATION SYSTEM™
Version 3.0.2
Bees and Butterflies: Serious fun!
“The best, fastest, most moving and touching way
to improving English Pronunciation!”
Guide ISBN: 9-978-0-9919067-0-3
Student Practice DVD set ISBN: 9-978-0-9919067-3-4
Instructor Notes ISBN: 9 978-0-9919067-1-0
Instructor DVD set ISBN: 9-978-0-9919067-2-7
Initial online publication (v1.0): June 15, 2013
Version 2.0 Guide: January 15, 2014
Version 3.0 Guide: October 30, 2014
Hardcopies of Guide, Instructor Notes, Instructor and Student Practice
DVDs available at: info@actonhaptic.com
This is a preliminary draft of the v3.0.1 Instructor Notes. A revised
version will be available in early 2015 that will include new
guidelines for integration of v3.0 with several current
pronunciation teaching student books/programs and web-based
systems. Not to be quoted or reproduced without permission.
CONTENTS
Introduction 3
Optional Web-consultations 10
I. HICP principles 11
How does it work?
The body in language teaching Why Haptic?
Anchoring or "haptically embodying" exemplars The HICPR blogs and research
II. Curriculum and Method 17
Integrated pronunciation Instruction Haptic video training videos
Format of a module
The Matrix (the use of the visual field) Curriculum
Basic syllabus
III. Basic haptic techniques (pedagogical movement patterns) 29 Pedagogical movement patterns defined
Descriptions of basic PMPs
Classroom work appropriate for PMP use What learners do with PMPs
IV. Applications 35
Features of general pronunciation work that AH-EPS does not do much with Reports from the classroom
Specific class-types and contexts
1. How does it work for a nonnative English-speaking teacher? 2. Can AH-EPS be used with big or classes of mixed ability?
3. How about learners who are not very kinesthetic or whose learning style or learning preference or culture is not compatible with this method? 4. Can you use AH-EPS for accent reduction?
5. How about different proficiency levels?
V. Field testing 40
Vl. Common sense and caveats 41
References 43
Appendix A - Glossary 52
Appendix B – Teaching notes on Modules 54 Appendix C - Consonant and word list procedures 71
Appendix D – Instructor's Rubrics 73
Appendix E – Best of the blog
INTRODUCTION TO V3.0
Captain Kirk's (of Star Trek) principles of leadership:
Never stop learnin
Have advisors with different worldviews. Be part of the Away Team.
Play poker, not chess. Blow up the Enterprise.
Instructor Notes is basically an introduction to haptic-integrated clinical pronunciation teaching (HICP). The "C" in HICP, relates to the focus on integrating pronunciation both into general skills instruction and also integrating targeted pronunciation into
spontaneous speech production. Captain Kirk's 5 principles speak well to what AH-EPS is and how to learn to use it.
Never stop learning
By far the best way to learn how AH-EPS works and how to use it in the classroom (other than attending a day-long workshop with us), as noted in the AH-EPS QUICK START instructions below, is to just flip to the Guide (and maybe the Teaching Notes in Appendix H), read the brief introduction in the Guide and then do the videos, both the teaching videos and at least one of the Student Practice Video sets. The system is designed for instructors so that they can start there (with their students) and get most of what they need to do a credible job of helping with basic intelligibility in almost any context.
Have advisors with different worldviews
Although based on insights from several fields, AH-EPS principally reflects work done by those who have systematically “embodied” movement in education and psychology in the broadest sense; two in particular: Arthur Lessac and Rick Bradshaw.
The work of Lessac (e.g., Lessac, 1967) convinced me about 40 years ago that systematic
engagement of body movement was essential to efficient second language learning, especially pronunciation (e.g., Acton, 1984). Like many in our field, I was at that time still very much “voice-centered,” that is not sufficiently concerned with what was going on elsewhere in the body (cf. Acton, 2001; Maley, 2000.) Lessac’s method for training voice and stage movement establishes extraordinary body awareness, control and integration—all essential to successful application of the AH-EPS system.
Bradshaw introduced me to Observed Experiential Integration Therapy (Cook & Bradshaw, 2002; OEIT, 2013), embodiment theory and neurophysiological functions of the visual field. Employing various, well-established eye-tracking procedures and therapeutic management of the visual field, along with a range of body movement
routines, OEIT therapists are able to assist clients in facilitating their access to memories and responses to past stressful events or relationships. OEIT is used in a wide range of contexts, from treatment of post-traumatic stress disorder to optimization of athletic performance--and even L2 pronunciation teaching! (Bradshaw & Cook, 2009).
In addition to Lessac and Bradshaw, Joan Morley, (e.g., Morley, 1992, 2002) shared with me the joy of teaching pronunciation, from a personal, pedagogical and clinical
perspective. The theoretical framework owes much to Alexander Guiora (e.g., Guiora, Brandon & Dull, 1972), especially the centrality of identity and affect to the process of second language learning in general and pronunciation in particular.
I am also greatly indebted to the colleagues and students who have helped in various ways to “embody” this work. Amanda Baker, Mike Burri, Grace Kim, Karen Rauser, Brian Teaman, Angelina VanDyke, Fiona Bramble, Jeromy Acton and Suzy Acton have contributed substantially to the development, testing and spirit of AH-EPS.
Be part of the Away Team.
The "Away Team," in our terms is the classroom, a perilous assignment that far too many theorists and methodologists don't take on often enough. (For Kirk, it meant repeatedly leaving his starship on very dangerous missions, even though he was the Captain of the ship!) Here is what that looks like:
Basic system requirements
1. Video projection system, LCD technology for class-based instruction.
2. Laptop. iPad or handheld platforms are acceptable for individualized work but require hands-free viewing with screen at eye-level
3. Vimeo.com access or DVD player
4. Ideally, seating and standing space of about arms length to the right and left. (That can be adjusted in most contexts.)
5. Reasonably good acoustics so that learners can hear the audio accompanying the video.
6. Time for 1, 30-minute video session per module (typically, per week) 7. Time for 1 to 2 hours of practice following the video lesson in some form:
a. Students use student practice videos for homework, including the 3 practice conversations in each module.
b. Instructors do additional in-class practice with students
c. (Ideally) Instructors integrate the pronunciation techniques from each module into their regular teaching and use them regularly.
Play poker, not chess.
"Poker" is basically an intense, moment-by-moment game of tactics and interpersonal negotiation, like teaching itself; chess, on the other hand, is more strategic, a step or two away from hand to hand combat, much like your typical methods book! AH-EPS is more like poker, relating to the ongoing dynamic of pronunciation-related communication in the classroom. Here is how to get a feel for it:
A. Look over the Introductory Session materials and do the 4 videos.
*Note: The Introductory session is only on the Teaching Video disk, or on Vimeo.com, intended to be used for general introduction to AH-EPS or public information meetings.
B. Do Module 1 – Following the Guide, review the Instructional and Student Practice videos (either on the DVD sets or off Vimeo.com) Just working through the Guide should be enough for basic instruction in most classes, as long as students do the practice videos, either in class or outside of class. If the practice videos are not done, however, and you do not have much experience teaching, then you do need to spend some time preparing by reading over the Instructor Notes and Guide.
Blow up the Enterprise.
My plan is not at all to "blow up the enterprise" of pronunciation teaching. (At the end of the Star Trek movies, the Enterprise, the starship, has become old and obsolete. Kirk destroys it in winning a battle and saving the crew.) HICP (and AH-EPS) is about bringing the body, or embodiment, back into (at least) pronunciation teaching.
•
The theme of EHIEP (Essential Hapticintegrated English Pronunciation, v1.0) was "Train the body first!" based on the work of Arthur Lessac.•
The theme of AHEPS(Acton Haptic English Pronunciation System, v2.0) was "teaching and learning pronunciation with haptic video."•
The theme of v3.0 is "From accuracy to fluency: Bee and Butterfly!" (Inspired, in part, by Mohamed Ali's classic "Float like a butterfly; sting like a bee!")For some, those with more "kinesthetic intelligence," AHEPS v3.0 may seem easy to get, very natural. For others, those who do not have much experience on the "Away Team," or enough advisors of experiential "worldviews"--or who may have temporarily stopped learning when it comes to considering methods that challenge their own, there is still hope, however . . .
How to use the v3.0 Guide Book and videos
A. The Guide Book is designed to be used along with the AHEPS v3.0 videos, by students and instructors.
B. Those videos can be accessed in several ways: DVD set, Vimeo.com and Youtube.com streaming or downloaded with GETONIC.com.
C. In each module, most of the teaching is done on the videos. There are also videos to
help students practice what is taught in the teaching videos.
D. The Guide also contains brief instructions on how to conduct the lessons, explanations, homework, video links and other resources.
E. The key video in each module is the “training video,” where students are
systematically taught how to use the haptic procedure (gesture + touch) to learn the target sound pattern.
F. The other 5 or 6 videos include warm ups, reviews, demonstrations and practice of haptic procedures.
G. IMPORTANT: It is best to teach from the videos, at least the first time you use v3.0. Even experienced “haptic” instructors generally let the videos do initial instruction and then follow up.
Ways to teach with the AHEPS system
Do from 3 to 6 videos of a module (or do the training yourselfnot
recommended!) Students can also do that on their own, online or through a server. Use the techniques from the module in teaching, in class and in assigning
homework
OR
Have students go on and do 1 or more of the 3 homework assignments They can do that with or without videos, by downloading the videos, streaming off
Vimeo.com or with the Student Practice DVDs.
At some point students themselves begin using the haptic techniques for learning and remembering new words, expressions and new pronunciation.
Even with just brief introduction to the appropriate module or video, many students experience rapid improvement. With a little practice, typically over the course of a couple of weeks, change in spontaneous speaking performance is both predictable and often dramatic.
Based on extensive field testing and recommendations from many sources, there are a number of changes and additions in v3.0, including:
• For Modules 2, 3 and 4, alternate vowel systems are available: General North American English, Canadian, British and Australian English
• EHIEP charts of the basic vowel systems of several learner L1s are included for transitioning to English (e.g., Chinese, Korean, Spanish, Arabic, Japanese, and Vietnamese). Other "Englishes," languages and dialects, including 3 US dialects will be added to v3.0 in 2015.
• Haptic pronunciation homework system expanded • Classroom haptic pronunciation "correction" strategies • A new minimodule on teaching unstressed vowels • A new minimodule for teaching linking
• Integrating haptic pronunciation with public speaking • Additional consonant modules
v3.0 is set up so that it can be used either as a whole system11 modules each taking about a week to completeor one module at a time.
A module typically includes the basic 30minute haptic training video that can be done in or out of class, and then up to 2 hours of optional, videobased practice to be done in or out of class as well.
Ideally, after the 30minute introductory video, the instructor then just uses the new strategies from that point on in class in modeling, providing feedback on pronunciation and vocabulary.
There are:
• 4 "Bee," accuracyfocus modules (using vowels and word stress)
• 4 "Bee and Butterfly" modules that involve both accuracy and fluency (using phrasal grouping, linking and tone units)
• 3 "Butterfly" modules that transition to fluency (using expressiveness and conversational speed work)
The general format notes:
There are 11 modules, covering essential topics of English pronunciation: vowels, stress, rhythm, intonation, fluency, expressiveness and selected consonants.
11, 30-minute teaching video lessons (one in each module) where students are trained in using haptic-based techniques to help them learn, remember and recall targeted pronunciation.
AH-EPS is a flexible combination of teaching and practice videos, along with homework assignments, such that a complete module can be completed in about one week in most contexts, a total of about 2 or 3 hours.
It is also recommended that learners go straight through the modules, at least up through M5, but the system can be tailored to a number of classroom settings and curricula.
Modules 6 ~ 11 deal with fluency, expressiveness and integration into spontaneous speech and are certainly more "fun" than the first five, but caution should be taken to make sure that the basic foundation in haptic-based training and English rhythm is well established before going there!
Biographical aside:
I am Director of the MATESOL at Trinity Western University in Langley, British
Columbia, just east of Vancouver (http://www.twu.ca/MATESOL/faculty/acton). Prior to coming here, I taught at Nagoya University of Commerce (1991-2003) and the University of Houston (1979-1991). While in Houston, my research and practice centered to a large extent on the role of the body and embodiment theory in second language learning and accent reduction. While in Japan, I was provided with a marvelous “laboratory” for testing many of those ideas: pronunciation classes of up to 100! As it turned out, embodied techniques such as pedagogical gesture and directed movement were well suited to that context for several reasons. As noted above, since connecting up here with Bradshaw and associates, AH-EPS has developed rapidly and in ways that I could not possibly have anticipated or imagined.
Aside from the fact that it is amazingly simple and inexpensive—and works well—AH-EPS reflects a different way of thinking about what pronunciation is and how to teach it. Some of that is certainly due to the influence of Earl Stevick (1976), Carolyn
Kristjansson (e.g., Wong, Kristjansson & Dornjei, 2013) and others who have spoken to the relational and spiritual dimensions of our work. Instead of understanding the
OPTIONAL WEB CONSULTATIONS
Some of the AH-EPS packages include a 1-hour webcam consultation. There are some good reasons for that:
1. Get acquainted. Once you have gotten into "haptic" we are convinced that you will also want to become part of the network and haptic community as well, whether through the blog (Hipoeces.blogspot.ca), Twitter (@haptickid), LinkedIn (Bill Acton), Google+ (Bill Acton) or email (info@actonhaptic.com).
2. Responding to questions that come up in the early part of the program. In our experience, most of those relate to either execution or training in the use of one of the pedagogical movement patterns. It is exceedingly easy to "explain" how to manage movement on video; nearly impossible in text-format! You can choose to make the session a straight Q&A, if you decide to . . . or you can just request a "social call." That's your call!
3. Once you have completed the webcam consultation, we'll be delighted to continue communicating with you in various forums. The blog "http://hipoeces.blogspot.ca" will probably become the main venue for Q&A and discussion by those who are actively working with AH-EPS.
4. You can also arrange for additional web consultations of various kinds, including assessment of student performance and training seminars for instructors. Rates will vary, depending on the purpose of the consultation. Students, in groups of up to three, for example, can arrange for 30-minute tutorials. It is also possible to get assistance with annotating texts other than those in the program for haptic work and audio modeling services for creating oral readings of texts similar to those in the program.
For additional information on web consultations, contact us at actonhaptic@gmail.com
I. HAPTIC-INTEGRATED CLINICAL PRONUNCIATION
(HICP) PRINCIPLES
Focus on intelligibility – The degree to which the listener can identify the words, utterances and information of the learner
Embodiment - Meaning (and pronunciation) connected to (or derived from) physical experience, especially vocal resonance.
Haptic-integratedexperiential learning - Using movement and touch as the way to get or "grasp" this--to use our favorite haptic metaphor. Just by practicing the pedagogical movement patterns (PMPs) consistently, learners' intelligibility will be enhanced.
Clinical – Focus on spontaneous modeling, correction and feedback in classroom instruction
Integration, in three senses:
Multi-sensory integration, systematic bringing together of visual, auditory, kinesthetic and tactile modalities in learning. (One effect of that is greatly enhanced attention and "body awareness,") Haptic engagement is known to be an effective "cement" in multiple modality learning.
Integration of pronunciation teaching in the curriculum and classroom, making more systematic use of kinesthetic/body engagement in
pronunciation teaching, particularly in providing feedback and making corrections is enhanced.
Giving learners more ways of integrating new or improved pronunciation into spontaneous speech, and more effective ways of self-monitoring and self-correction of their pronunciation.
The videos provide a basis for working with sound change. With just a modest amount of consistent follow up, one can "outsource" much of basic pronunciation to the video system. You cannot easily outsource the essential, aural comprehension and "phonics" related to pronunciation work, of course, which belong in any complete method, but key elements of the productive side of our work, the focus of AH-EPS, you can.
Once that foundation is established, the individual learner can then more efficiently "move" on to their own, personal L2 pronunciation goals. All that is required is a good dictionary, a video player of some kind--preferably an LCD projection on the wall, and "elbow room." (And probably a room where loud, enthusiastic voices won't disturb the neighbors!) For individualized study, a personal computer or smart phone can be
adequate as well--as long as the phone is positioned about 2 feet in front of the face, with both hands free.
How does it work?
today, especially in teaching rhythm and stress assignment (Celce-Murcia, et al., 2010.) Chela-Florez (1990), for example, was one of the first to propose systematic movement in L2 rhythm instruction. The research within language teaching on the efficacy of kinesthetic work, however, is mixed (e.g., Wrembel & Mickiewicz, 2011), due largely to either inconsistent or "minor" application of the movement-based treatment. AH-EPS begins with well-established techniques, such as moving arms rhythmically on stressed syllables or tracing intonation patterns across the visual field-- and then uses touch (the major innovation of the system), in part, to make them more consistent and effective.
Second, what about 10 years of experience with haptic-based techniques in the classroom has demonstrated to us is that the extensive research in the neurophysiology of touch and "haptics" applies very directly to pronunciation teaching. The basic principles behind the technological interfaces based on touch such as robotics, smart phones and virtual reality training systems (where the computer, in effect, guides the hands or body in creating a very real "hands on" experience) translate beautifully into anchoring pedagogical gestures used in presenting and correcting pronunciation. Touch not only heightens awareness and "noticing" of sound and the physical sensations involved in producing it, it also greatly aids committing to memory and later retrieval for use in conversation. (See "Why Haptic?")
Third, we do not yet have much "hard" evidence at this point in the way of empirical studies, per se, that haptic complements kinesthetic in pronunciation within the AH-EPS method in the way described. (There are currently, nonetheless, three or four research programs in progress that should help establish that.) However, both the reports from classroom instructors (discussed later in some depth) who have used it, and the now extensive "haptic" research base in more than a dozen fields, suggests that this is worth at least giving it a try.
Fourth, there is another option, of course, using the Teaching videos just as a resource for yourself and doing the training yourself--live! For some, that may be a good choice; for others, perhaps not. (See "Why video, rather than "live?")
The body in language teaching
“Train the body first.” (Lessac, 1967)
Using the body in language teaching is surely as old as the endeavor itself. Most
instructors employ gestures of various kinds, whether for emphasis, iconic representation (depicting a “picture” of some kind), cross-cultural training or more dramatic purposes (e.g., Macafferty, 2004, 2012; Macafferty, 2008; Carkin, 2013.) When Asher (e.g., Asher, 1972) and others in this field began speaking of learning or teaching language through
actions, what they were generally alluding to was teaching language with actions, using movement as well as an embodied tool, a very powerful one.
What Asher eventually termed “Total Physical Response” methodology (TPR) takes linguistic structures (e.g., commands or other grammatical forms) and ingeniously
employs movement after the targeted sounds, words, phrases or sentences are spoken to enhance learning. In many contexts, especially child second language learning, TPR-based methods have been proven to work well; with adults, the methodology is somewhat less appropriate or at least less comprehensive.
One limitation with the broader application of TPR and similar systems, at least from my perspective, has always been that still not enough of the body is involved. In other words, using actions to teach selected chunks of language, although effective in what it does, is quite different from an approach that begins with early training in the movement and senses inherent in speaking, analogous to that of Lessac (e.g., Lessac, 1984; Lessac, 2014).
In a matter of days into the Lessac system, you suddenly realize that your voice now seems to be “emanating from” your entire body, not just your lips! That simple change in perspective is, for many . . . life changing.
What would it mean were we also to take Lessac at his word, to teach less deductively, to train the body first, to see pronunciation and intelligibility work from the outset as more embodied, body and movement-centered? How would we do that? Where would we begin? Experientially!
In the now nearly four decades that I have been working with the kinesthetic or physical side of pronunciation teaching, one thing has become abundantly clear: this way of teaching must be encountered and learned experientially, not simply by reading about it1
or observing it being done.
The value of “physical work” in language learning is certainly accepted in the field today, but it remains either trivial (or a mystery) for most, something used mainly for
reinforcement or “loosening up” the learner. The AH-EPS system attempts to bridge that gap. For learners, just experiencing the videos is often sufficient to understand the concepts and be prepared to work with them later--with consistent instructor follow up. (See discussion below on the role of "mirror neurons," especially in learning movement, such as dance.)
To be able to teach with it or train others to use it, however, requires a little more. You really do need to have "done"2 the videos, referring to Instructor's Notes as necessary. If
you are an experienced pronunciation teacher, that should suffice. If not, you’ll probably
1
The Instructors Notes has been written for use “on the front lines” those who are part of the "Away Team!" As such, there is relatively little theoretical discussion here related to the underlying basis of haptic work, in general. For much more in depth presentation of the research base of AHEPS, there are several sources available, in addition to the extensive resources of the HICPR blog: Acton 2001; Acton, Baker, Burri and Teaman 2013; Teaman and Acton 2013a. In addition, materials from over 5 dozen recent "haptic" conference presentations are available in various forms.need to do that and then do each module over as lesson preparation before the class when you do it w/your students the first time.
For relatively experienced instructors, the basic 10-module package (consisting of nine, 30-minute haptic video lessons and the Introductory module) should be adequate. For the less experienced, the complete AH-EPS system of workbooks, audio files, AHVS training videos and even additional consultations may be desirable.
In other words, AH-EPS will make sense if one has experienced the “felt sense” of it or some kind of rich kinesthetic learning. In real time, it may take up to a few hours for some to get to that “Aha!” moment. At a recent conference, after the workshop, a participant came up to us and reported what for him was a significant breakthrough. His exact words: “So that’s what experiential learning is all about!”
Why “haptic?”
The research and development related to the cognitive or metacognitive “inner game” of language learning has advanced rapidly and significantly, but the systematic connection to the body and the use of directed movement in instruction has not, for a number of reasons--some cultural, some theoretical, some pedagogical. As argued persuasively by Holme (2012), embodiment and embodiment theory should, nonetheless, be understood as central constructs within cognitive linguistics and by extension, language teaching. By “embodiment” Holme (2012:7) notes that
“ . . . embodied approaches to language teaching try to make language more memorable by showing how a meaning has been derived from physical experience. My suggestion, however, is that the new form will be made more memorable if it is thus reinvested in the movements, gestures, and physical imagery from which the meaning was conceptualized.”
In other words, many speak of embodiment as making the connection in the mind of the learner to physical experience, generally through language and visual imagery that aims to evoke or establish a somatic sensation or memory. When Holme then speaks of “reinvesting” meaning by means of gesture he is referring principally to movements or body states that are in some sense directly linked to the linguistic form or metaphor, such as “the mind-numbing lecture.” Most any learner can connect the sensual experience of numbness with an interminable, deadly boring professorial pontification. There have been a number recent studies on the neurophysiology of metaphor, especially ones with tactile of haptic nature, such as "rough" or "smooth" or "slimey." The brain reacts to the
adjective in ways very similar to actual touching, not surprisingly. (Lacey, Stilla, & Sathian, 2011.)
The are a few features of "haptic experience" that are fundamental to how movement and touch are applied in the HICP/AH-EPS model:
Tactile memory traces tend to fade quickly, are most relevant during learning or exploration; typically visual takes over at some point. (Gallacea, Hong, Haggardd & Spencea, 2008).
Some words cannot be learned by observation, but require touch (Medina, Snedeker, Tureswell & Gleitman, 2013).
Visual/auditory interrelationship - Visual generally overrides audio and haptic; haptic is encoded in the same general pre-frontal area as visual (Bradshaw & Cook, 2009) but haptic+audio often holds its own. (Gallacea, Hong, Haggardd & Spencea, 2008).
Haptic "cement" - unites the senses, helps bond the senses together (Fremdenback, Boisferon & Gentz, 2009).
Haptic is very sensitive to affect and intention (Gray 2012).
The AH-EPS application of those principles is to use not only the movements, gestures and some physical imagery to connect to concepts, per se, (cf., Macedonia, M & K. Kriegstein, 2012)—although in some cases those parallels are also present—but to focus on the somatic sensation inherent in the production of the sound, itself (Lessac, 1967.) Another way to think about it is that the pedagogical/pronunciation movement patterns (PMPs) of AH-EPS attempt to mimic or externalize or embody what it feels like to produce the sound. The PMPs each have identifiable “textural” features such as “rough,” “smooth,” “sharp”, etc., that is, types and locations of body resonance used in many performance disciplines which can be identified in terms of their “felt sense” (that is both cognitively and physically recognizable).
More importantly, once the "felt sense" (Gendlin, 1996) of the sound or pattern has been designated and experienced in a PMP, it should be accessible to be modulated and manipulated from that point on in instruction. An example would be having a learner raise his or her hand slightly to create a higher pitch or different vowel quality—or move their hands closer to the body to turn down voice volume, etc. (See discussion that follows on why “haptic” engagement so effectively facilitates that linkage.)
As noted earlier, the key to AH-EPS is the controlled use of gesture and vocal resonance. Much of the inspiration and theoretical grounding for that came from what is termed "Lessac-Madsen resonant voice therapy (Seligman, 2005.) In essence, patients are trained to use vocal resonance, the "felt sense" of the bone-conducted resonance in the upper body, to develop improved public speaking voices and persona.
AH-EPS is actually one the English language realization of what we refer to in general as embodied, “haptic-integrated clinical pronunciation,” HICP. AH-EPS is the video
embodiment of EHIEP. In principle, the sound system of any language can be represented and taught in similar “haptic” fashion. Thus far, in addition to English and selected English dialects, we have done some preliminary work on the vowel systems of Korean, Chinese, Japanese, several African languages, teaching phonetics from a haptic
Anchoring or haptically embodying “exemplars”
HICP is based on the notion of anchoring or embodying3 new or corrected pronunciation
in context from an “exemplar” perspective (Bod and Cochran, 2013.) By that I mean that the specific exemplar, or word or phrase in which the new or corrected sound is
addressed becomes more the focus than in more traditional pronunciation work, where the rule involved in producing the sound or just the sound itself may occupy more of the attention of the learner. In that context, then, anchoring the exemplar (the sound of the word, along with its graphic representation) and its context of usage becomes the priority.
That can be accomplished a number of ways, such as just being part of an emotionally moving experience or a great narrative. The exemplar is anchored haptically, using movement and touch, while keeping the sound, context and graphic representation in “mind” or the “mind’s eye.” The general concept of anchoring sound "cross-modally" in language teaching, and specifically phonetic-related instruction, has been explored by several researchers (e.g., Wrembel & Mickiewicz, 2011.)
Recent research has demonstrated that young children do not learn by repetition as much as had been thought earlier, despite appearances to the contrary (Medina, et al., 2011.) At least until they are “captured” by formal schooling, they learn for the most part by what can best be characterized as “revelation” or “teachable moments.” Now they may repeat the action or word immediately after the learning occasion, but the function of that repetition is qualitatively different. Given a meaningful event and a threshold-level of comprehensible input, Krashen (1982) was, it now seems, more correct than he has been given credit for since. “Natural” learning of any kind, and language acquisition in
particular, progresses best when individual words or concepts are experienced in attention grabbing, whole person “happenings.”
Conscious engagement with rules and principles often becomes essential later as
application or potential application begins to diverge from immediate experience. But for the process of first learning the pronunciation of L2 sounds and words--or correcting a targeted form, it is also the experiential encounter, the "teachable moment" that is central.
In that context, the learning brain has less difficulty in applying the parameters of this current “exemplar” to the evolving interlanguage system and network--without being told to or how.
Studies in a number of related fields have demonstrated the potentially powerful effect of haptic-based techniques in assisting students in learning and integrating concepts and skills. Some of the best examples come from rehabilitation, manual skill training and virtual gaming. Minogue & Jones (2006) is a good place to begin, as is Harris (2013) and Maneschevitz and Kriegstein (2012.) See also, Acton, Baker, Burri &Teaman (2013) and Teaman & Acton (2013.)
3
One of best quick summaries on the many uses of term "embodiment" and Embodiment theory is (believe it or not) Wikipedia: http://en.wikipedia.org/wiki/Embodiment. Holme (2012) is excellent in that regard but a bit dense for some.So, a haptic anchor seems to effectively “cement” (Fredembach, Boisferon & Gentaz, 2009) together the sound change with a word and its linguistic context. In addition, research has shown that the pedagogical movement pattern itself should become a unifying “nexus” for any event or sound that is associated with it. (In practice in the classroom, that is a frequent and expected connection.) In AH-EPS, for example,
performing a vowel-based PMP will often allow the learner to bring to mind many other words having the same vowel in a primary stressed syllable, just as concentrating on a grammatical structure may allow some learners to quickly come up with a large number of phrases that have been practiced which have that patterning.
In AH-EPS, adding a haptic anchor (touch associated with the articulation of a stressed syllable of a word) to a gesture or pedagogical movement pattern (See Section IIG.) seems to consistently to assist students in not only learning new sounds or correcting sounds more quickly but also in being able to recall them later and use them in spontaneous speaking.4
The HICPR blogs and research
The HICPR (Haptic-integrated-clinical-pronunciation-research) blog,
www.hipoeces.blogspot.ca.There are over 800 blog posts and comments there relating in one way or another to haptic pronunciation teaching.
In principle, the case for haptic-integrated clinical pronunciation should be easy to make. On neurological, "physical," pedagogical and psychological grounds, I think it is. The problem is that the very notion of using systematic movement to the extent that we do in AH-EPS, despite the arrival of touch screens, smart phones, virtual reality training and gaming-- is only gradually gaining acceptance. (More on that later, too.)
There is a substantial amount of research cited in Notes, as well, but I have intentionally tried to keep it to a minimum, leaving the invitation open to the interested reader to come over the blogs and follow the many fascinating threads there that can serve to better bring the "whole cloth" together.
II. CURRICULUM AND METHOD
Integrated pronunciation instruction
A recent summary of research on efficacy of pronunciation instruction by Saito (Saito, 2012), surveying 15 studies found, not surprisingly, that instruction does seem to promote improvement. (What a relief!) Almost without exception the studies dealt with focus on form (or form-focused) instruction with young adults or older. In terms of descriptions of what actually went on in the classrooms, even the original studies generally do not give
much detail as to how pronunciation instruction was conducted or how effectively—only which procedures were apparently used. For the most part, the studies did not appear to include integrated pronunciation instruction (cf., Baker, 2011; Cooper, 2011; Baker and Burri, in press) but were more traditional technique-based, where drill and explicit instruction and relatively decontextualized practice were the norm or dominant “treatment.”
In the Saito review, only two or three studies explicitly addressed the question of how successfully learners had been in integrating what they had learned in class into their spontaneous speech. None of the studies considered how that process of integration actually takes place or how instruction might better enable it. Part of the reason for that, as Saito notes, is that current research methodology is not well suited to looking at integrated pronunciation instruction.
In a recent article, Derwing, Diepenbroek, and Foote (2012) found a relatively consistent pattern in general integrated series ESL textbooks to Saito's findings. Their (decidedly low key) conclusion:
We found striking variability in the concentration of pronunciation activities both across and within series. Similarly, whereas some textbooks used several task types, others relied heavily on a limited range. Furthermore, some texts offered little in terms of explicit explanations. In some instances teachers’ manuals provided instructors with guidance; others included little more than repeated admonitions to remind the students to monitor their L2 pronunciation. (Abstract, p. 23)
The HICP/AH-EPS approach aims to make pronunciation-related interventions in context, to the extent possible, within the flow of normal classroom instruction. That can occur in conversation practice, classroom management discourse or “solo” performances such as oral reading, storytelling or public speaking.
Haptic video training videos
The complete AH-EPS haptic video system (AHVS) is a set of about 130 video clips that are structured and organized so that basic instruction in pronunciation can be done by working along with the model in the videos and then following up with regular practice, either in a course format or independent study. The video clips range in length from 1 to 5 minutes. Some are recycled through one or more modules, in both the Teaching and Student Practice Video sets.
AH-EPS basically takes essential English pronunciation and delivers it using video. The video does the basic training and provides a good measure of practice if the workbook instructions are followed carefully and consistently. It is not a substitute for integrated pronunciation instruction but it at least gets the process underway and can give students enough practice with the sounds and structures so that, for most, substantial progress results.
In AHVS, each module presents one protocol. Each protocol, or set of procedures, is based around a unique PMP or technique, presented in a format similar to an aerobic-like routine, for training and practice. Learners (and instructor) simply follow along (or do the
exercises together with the model on screen) through six or seven steps for each module for about 30 minutes:
1. Warm up
2. Review of previous techniques 3. Model of technique to be learned 4. Intensive training in the technique
5. Bilateral, rhythmic practice (using both hands and both sides of the brain and body)
6. Practice of the technique and targets in a short, 12-line
conversational oral reading (called a “2x6”), which students then should follow up on in homework, ideally three more times.
An important "visual/spatial" consideration in haptic video work is that, in addition to "elbow room," as noted earlier, the learner needs to be positioned relative to the video model at close to eye level. If seated, for example, that means that the visual display of a laptop should be positioned as close to shoulder level as possible. That is especially important on PMPs where learners must work temporarily on their feet, standing. In addition, in relative terms, learners can be no further than about 10 meters from the model to be able to mirror effectively the actions of the model.
The recommended approach, regardless of curriculum or instructor previous training, is still to simply “outsource” the preliminary training to AHVS and then follow up anytime as appropriate during general classroom instruction or self-study. For example, when introducing new vocabulary or providing corrective feedback, use of the PMP introduced in a module can be very effective in anchoring or focusing attention on the pedagogical “target.”
There are a number of reasons why that is probably the case, but principally, it is (believe it or not) just more effective. In essence, with haptic work in this context, training
learners in the basic techniques by using a video model is simply better. The video is not only more consistent than you can be but the very nature of the process, which involves coordinated mirroring of the instructor by students, is at best, rarely efficient.
But why video rather than“live”?
Research – It has been found that some types of movement training are better or more efficiently done using a video model, rather than a “live” instructor (Acton, 2012.) One reason is just consistency. A few of the PMPs are a bit complex and require that the model be precise and pattern mirrored carefully. For some types of highly visual learners, even the slightest variation in the movement pattern can be disconcerting. (We do have solutions for that, such as having them stand off to the side of the classroom. See IVB3.) Second, long experience in various
psychotherapies has revealed an almost infinite number of potentially serious “complications” that can arise when instructor-learner relationships come into play during visual following or mirroring activities.
2002), what Marks terms "haptic visuality," where the film makers make you feel as if you are the one with the scorpion crawling up your hand--instead of James Bond in the new "Sky Fall" movie! . . . or Tom Cruise using "haptic" gloves as he climbs up the side of skyscraper in Dubai in "Mission Impossible/Ghost
Protocol."
Practical – The videos allow almost any instructor, regardless of background in pronunciation teaching or teaching in general to work with most of the
techniques, using them later in any skill area class—based on use of the video alone. That can be especially advantageous for some non-native speaking instructors.
What we discovered in field testing of the system is that none of the haptic techniques are difficult to learn and seem to work reasonably well—as long as, after the introductory haptic video lesson, instructors then use them in their “regular” classes. The other option, of course, if the instructor is not going to follow up, using the PMPs, is to have the students do the all homework videos, which provide extensive practice with the pronunciation targets associated with the PMPs. (Those are integrated with the Guide.)
Making your own haptic videos for classroom use. As we detail in workshops on haptic-integrated pronunciation, most instructors who work with PMPs consistently will eventually decide to either purchase AH-EPS videos or
something like them--or make them, themselves. As hard as it is to believe at first, the basic training does, indeed, work better on video than live, in part for the reasons noted above. "Haptic engagement" by its very nature creates conditions and dynamics that work well in visual media. Creating the videos, with today's technology is not at all complicated. What is surprisingly difficult is standing in front of a camera for a couple of minutes and doing the PMPs consistently, so that the node positions and movement patterns across the visual field do not vary appreciably.
As we learned the hard way early on, even the slightest variation may create serious issues for a few highly visual-eidetic learners, those who appear to "take pictures" with their brains and cannot tolerate then being given inconsistent patterns on subsequent repetitions. Not surprisingly, some of the AH-EPS video clips took me literally dozens of tries to get one that was sufficiently in range for those types of learners.
Format of a module
AH-EPS presents a set of manageable pronunciation teaching targets and techniques focusing on warming up, vowels, stress, intonation, rhythm, and fluency. Each haptic (movement + touch)-based procedure is designed to be learned quickly (if imperfectly)
and then integrated into regular instruction and practice, especially in speaking and listening tasks, and vocabulary development (e.g., Acton, Burri, Rauser, Teaman & Moulden, 2013.)
And as mentioned earlier, with only a few exceptions, many of the pedagogical
movement patterns (PMP) of AH-EPS are those used intuitively by language instructors, especially the more kinesthetic in pronunciation teaching, such as wave-like gestures to signal pitch changes in speaking. One distinguishing feature of classroom-based AH-EPS work is that the PMPs can easily be used systematically and consistently in integrated instruction. The basic recommended format for each training module is this:
1. Once a week, students in class or individually, follow along with one of the 9 basic, 30-minute video sets, focusing on one PMP/technique.
2. It is also recommended that students then do at least one of the three, 30-minute homework assignments during the following week, related to the skills learned with the video. The Student Practice Video-audio/Workbook package manages homework and practice. One set of practice materials for a module contains 4~6 videos and workbook pages. Space is provided for instructor feedback as well. 3. An instructor, any time the need arises, uses the techniques introduced on the
video in class for focused “noticing” of pronunciation targets. The set of
techniques allows one to briefly attend to any of several aspects of a conversation or text, e.g., word pronunciation, stress placement, rhythm, intonation, and expressiveness.
4. The instructor may also follow up formally, possibly assigning related homework, such as the optional video homework/practice package or having learners go "back" and redo a previous module or some part of the Teaching Videos for that module.
5. The system can be readily integrated into any course or curriculum, or used for independent study for personal intelligibility improvement. In individualized work, one-on-one with advanced students who have accent issues, for example, I use the same basic set of nine protocols. The practice phase of each module, where learners focus on using the target sound or structure of the module, will be more customized, higher level and different from the standard three, 12-turn conversations that are used in AH-EPS. (Those are, by the way, aimed at about upper beginner L2 English level.)
6. One or two of the optional (~5-minute) mini-modules for selected, haptic-based consonant work are included at the end of each module. (More are in
development.) Typically, the consonant videos are assigned for individual homework, but can be done in class as well.
7. Every homework practice assignment practices the targeted work of the module in various ways and then concludes with word list development and review of the wordlist from the previous module. (Plus specific practice guidelines.)
The Matrix (use of the visual field)
In the late 1970s, as a graduate student at the University of Michigan, I attended
memorable lectures and demonstrations given by Ian Catford, internationally recognized authority in phonetics (e.g., Catford, 1972). In characterizing some aspect of a vowel system, for example, he would often gracefully move his hand around in front of his face (and ours), as if gliding through an invisible International Phonetic Alphabet vowel chart (IPA, 2013). As his hand position shifted, the sound he was producing changed
language. Since the earliest phonetic descriptions, such as that of Sweet (circa 1874, the model for “Henry Higgins” in the musical, My Fair Lady), a visual/kinesthetic depiction of the relative placement of sounds has been basic to phonetics and pronunciation teaching.
Not all that dissimilar, at least in spirit, from Catford’s demonstration, we create an “imagined” matrix, in the form of a “square clock” in mirror image, in front of the learners which assists them in acquiring and producing various aspects of English pronunciation. The matrix resembles the standard, two-dimensional IPA –based phonetic vowel chart—visually positioned in front of the learner's upper body, from waist to hairline, slightly wider than shoulder width.
Although some presentations of vowels charts do involve a color schema, I have chosen not to include one here. It is an idea that has been explored many times in the past, with great anecdotal reports (e.g., Color Vowel Chart, 2013.) I have in the past presented the vowels in colors and hues, with the vowels to the right being brighter, those to the left being darker, those toward the top being whiter, and those to the bottom, blacker. In practice now no explicit mention is made during instruction of the relative intensity or shading of the various quadrants, although the underlying "color" of vowels, from a phonasethetic perspective, certainly influenced early development of the 3x3 visual field that we use now. Some colleagues, e.g, Rauser (2011) do work with color-based vowel schemata (Caunce, 2013.)
There is no question that the inclusion of color would add to the impact of the matrix and vowel positioning. At this point, however, from my review of the research and experience with the EHIEP system, I am not sure what that is. It may distract as much as enable, as any visual overlay may do in haptic work (e.g., Yang, 2011.) On more than one occasion, when using a color-based presentation that allotted a different color to each quadrant, I discovered that having two vowels of the same or like color was unquestionably confusing. The Color Vowel Chart (2013) gets past that problem by assigning different colors to every vowel, but the colors there are simply good mnemonics, not based on the phonaesthetic or neurophysiological properties of the visual field. (See several HICPR blog posts on that topic!)
AH-EPS Square clock Matrix
(Words or “sounds” in parenthesis are used only in the initial warm up in
the introduction to the system, before learners have been introduced to
phonetic symbols, in brackets.)
Vowel # BACK CENTRALy (12) FRONT Vowel #
HIGH
11w
[uw]
(oooh)
(E)
1y
[iy]
10
[ ]
ʊ
(ooh)
(Ih)
2
[I]
MID9w
[ow]
(oh)
w (zero)
(A)
3y
[ey]
8
[
Ɔ]
(awe)
(eh)
4
[ ]
ɛ
LOW7
[
ʌ
/
Ə]
(uh)
(aeh)
5
[æ]
6w [aw]
(ah)
6 [a]
6y [ay]
In “The Matrix,” the ultimate placement of the vowels in mirror image to the typical IPA chart was based a number of considerations, in addition to the fact that the original left to right alignment appears to have been, as far as I can determine, arbitrary (Wikipedia, 2013.) There are analogous models in several fields, including research in marketing and advertising identifying the emotional loading and pan-cultural “meanings” or intrinsic character of certain sounds, colors and motions. In a number of philosophical or
psychological systems there are visual/conceptual frameworks that embody the same left to right and top to bottom orientation. (Acton, 2011) (See also, Appendix E: The Matrix, for discussion of the potential roll of color in such presentations in the visual field.)
In AH-EPS then, discourse prominence and front (more affectively loaded) vowels are generally anchored in the right visual field, connected to the left hemisphere, the more analytic but emotionally more reactive hemisphere; whereas back-grounded, more analogue functions, such as non-stressed elements and some less prominent aspects of intonation "happen" on the left side.
There are credible arguments for flipping the vowel chart back as well, not least among them that every textbook on the planet has it the other way or that getting learners to work more on the right side of the brain may be preferable . . . At least for the time being, until we get more data, especially on vowel anchoring and recall, the matrix will remain in its contrariwise position!
As noted earlier, the system can be adapted for use with any language. We have done some preliminary work with only one right to left writing system, Arabic. I was also informed by a retired Korean teacher trainer that in the system that he had trained in decades ago, new teachers were "given" a similar, 3-dimensional conceptual box in which all hand an arm movement was to be strictly confined. The Matrix is also defined in three dimensions. Some of the PMPs involve controlled motion away from the torso on
designated angles or vectors as well.
The focus of the matrix is on modifying student expressiveness, fluency and intelligibility, while, at the same time, maintaining a more optimal “mind set” or attentiveness. Most (consciously) focused pronunciation work and some types of vocabulary learning and aural comprehension practice is done while speaking and moving hands within that “virtual” space.
Curriculum
For experienced the instructor who has either a coherent pronunciation course or systematically integrated pronunciation in their curriculum or syllabus, it is quite feasible to use selected modules within AH-EPS as well, as noted in the Forward. For inexperienced (pronunciation) instructors, however, it is generally essential that they take their students through at least the first five modules to insure that the haptic techniques are grounded well enough experientially, in practice, for them to be available either in class or for independent study.
1. Linguistic preliminaries
a. Intelligibility5. AH-EPS focuses on L2 pronunciation and intelligibility
improvement, as opposed to accent reduction. The curriculum has been created to focus on aspects of learner speech that are most important for intelligibility and comprehensibility in oral communication (Levis, 2005).
b. AH-EPS essential targeted sounds inventory is based, in part, on Jenkins’ (2000) characterization of English as an International language pronunciation (EIL.) The general framework is consistent with but not limited to those proposed for EIL:
5 The degree to which the listener can identify words, utterances and information being provided by the
(L2) speaker, in this case.1. Vowel length contrasts remain, but vowel reduction is not emphasized. 2. Focal stress, discourse prominence and attention to production units must
be maintained.
3. Initial clusters are not simplified; medial and final clusters may be. 4. Aspiration of word-initial consonants that have aspiration, e.g., [p,t,k] is
critical, although medial and final aspiration are less essential. c. AH-EPS begins with orientation to a simplified pedagogical version of the
standard IPA vowel matrix of English (e.g. Celce-Murcia, et al., 2010) and then uses that visual/spatial/haptic framework as the basis for much of the rest of the program. There are several reasons for the central place of vowels in the method. Vowels are from this perspective:
1. The carriers of pitch, stress and intonation 2. The locus of rhythm (the center of the syllable)
3. The prime marker of dialect (vowel quality setting) and critical aspects of identity
4. The primary carrier of new/given information
5. The nexus of vocal life (Lessac, 1984) that is the experiential center of what a good voice feels like.
2. A few things (linguistic structures) that AH-EPS does not do much with
a. Formal word stress and grammar rules – Depending on the learner population, explicit attention to the “grammar” of word stress may be of greater or lesser relevance. For basic, functional, conversational development, the system is sufficient. There are also many excellent sources available for material on lexical stress instruction (e.g., Murphy & Kandil, 2004).
b. Training in phonetics, other than some dictionary symbols orientation, although training in articulatory phonetics is still exceedingly valuable for instructors in being able to diagnosis individual learner systemic pronunciation issues.
c. Unstressed vowels. AH-EPS generally avoids early work on vowels in secondary or non-stressed syllables in general pronunciation work. (But see "Unstressed vowel thumb-flick" PMP in M11.) Such “clean up” is certainly appropriate after the conclusion of the last module for some learners but the general intelligibility model assumes that with appropriate rhythm, stress and intonation, most vowels in non-stressed syllables will evolve to be within acceptable range to critical listeners. The research literature on both the developmental effects of this strategy and studies of listener response to non-reduced vowels is at this point in time, indecisive, at best. It is clear, however, that in non-native-non-native interaction, with appropriate suprasegmentals, the non-reduced vowels are often not that critical (Derwing & Munro, 2005.)
recommend specific consonants throughout the program, which are available on both Teacher Disk #4 and Student Disk #4.
3. Summary of key parameters, benchmarks and goals:
A. General fluency and intelligibility in conversation (prior to accuracy)
B. Focus on exemplars (The word or phrase becomes the "center of attention" in most sound change.)
C. Effective anchoring (The new or changed pronunciation must be well "connected" to its graphic, kinesthetic, auditory and visual features.)
D. Good pedagogical movement pattern form and execution (for #2 to work!) There is technically a different PMP for every vowel or consonant sound, stress pattern, rhythm pattern, intonation or tone group, phrasal fluency grouping. From the student’s perspective, there are just a half dozen basic patterns that are modified slightly, or placed differently, depending on the type or vowel, for example.) E. Consistent warm ups (before every video lesson or homework session)
F. Scaffolding. Modules 1-5 should be done in order; modules 5-9 can be worked through as appropriate for the learners. If the class is text-based, using extended conversations as the primary source, then a slightly different order is possible, fronting work in module 8 on discourse mood and setting to the early part of the process.
G. Vowel resonance. The key idea is that the effectiveness of the entire system depends on learners developing a strong "felt sense" of vowel resonance. That is established in M2 and M3. At the very least, M1, with the Matrix Anchoring Protocol, should be thoroughly explored before doing any other module. Without that grounding, the PMPs can easily get out of control, inconsistent and
ineffective. (See IIG below.)
H. Disciplined; personalized practice, e.g., scheduling of homework, word lists, note taking, pronunciation logs and/or journals. Of course, any system works better if learners are persistent and consistent in well-conceived homework. The workbook with video and audio support is very helpful in that regard for most, giving the less organized a formula to follow in practice and use of word lists.
I. Voice-body alignment, embodiment and coordination
J. Integration into overall language learning (classroom) instruction (preferably during content or highly context-embedded activities)
K. Gradual, unobtrusive integration of new and changed pronunciation, typically in two to three weeks. The general model given to learners is something like this:
a. Practice new sounds/words in phrases with PMPs regularly as homework for two weeks, even if what they are saying appears to not be all that accurate at first.
b. Do only post hoc self-monitoring (recognizing problems after they occur, not trying to prevent them in advance)
c. Before long they will be aware, kinesthetically (as the anchor "replays" in their body), when they use the word (and sometimes even the sound in a new word) in conversation or when they hear it. A very common
experience.
d. Once that happens, they will begin "hearing" whether they have mis-pronounced it or not. Generally, that is the watershed or critical benchmark.
e. From there on, the word is quickly integrated into their spontaneous speaking. (Now, granted there is a substantial dose there of "future
pacing," or "post-haptic" suggestion, or whatever you want to call it! Basic stuff of at least some good psychotherapy.)
4. The modules, appropriate for learners of upper-beginner proficiency level and above, cover most “standard” topics, although not necessarily in this order:
Warm ups
Dictionary use for pronunciation, meaning and usage Vowels
Selected consonants (interspersed throughout the process) Word, phrasal and clausal stress
Pronunciation and vocabulary learning strategies
Basic rhythm (canonical rhythm, as in poetry with regular “beats”) Conversational rhythm and speed
Fluency and linking Pitch range and intonation
Conversational discourse prominence (stress & intonation)
Each module (in-class haptic video lesson plus homework) should require a minimum of about one week to complete, depending on time-on-task and the proficiency level of students.
Basic Syllabus
Those topics are aligned basically in this order:
Module 1 - Haptic learning preliminaries (includes dictionary orientation) Module 2 - Lax Vowels/Word-stress
Module 3 - Tense vowels and tense vowels plus off-glides Module 4 - Focus grouping and phrasal stress
Module 5 - Basic Intonation (5 basic intonation contours) Module 6 - General fluency and linking
Module 7 - Conversational rhythm, general speed, compacting of unstressed syllables, and providing listener with additional processing time
Module 8 - Expressiveness (Takes the intonation patterns of M4 and adds to them pitch range [high, mid and low], final quick fall-rise [as in tag questions] and PMP for
secondary word or sentence stress ["the mini-wave'], a quick rise-fall)
Module 9 - Integration (Takes the patterns from M8 and works with them using only a "baton," pencil or chopstick)
Module 10 – (Optional) Linking
Module 11 - (Optional) Unstressed vowels
Research – The prime objective of AH-EPS work is to anchor sound and sound change. The set of basic targets are generally applicable to any learner. One reason is that the basic PMPs serve to orient or reorient the body so that “it” can better monitor, recall and control that particular type of sound-movement “nexus” (or combination or association.) Specific learners may, of course, have very different issues with the same sound, for example, one may have "simple" articulatory problems just producing the target, whereas another "fossilized," advanced speaker may be able say it fine but can't figure out where, in which words of contexts. In both instances, getting to a point where one can concentrate on the true "felt sense" of producing it is often the "cure" in itself. (See also extensive discussion of this topic on the HICP blog.)
Practical – The initial training sets up learners so that when a problematic sound or sound process comes up in context in an integrated skills class or in everyday speaking or listening, it can be either dealt with efficiently or noted. Learners should have a much better chance of noticing it, “uptaking” it, recalling it later and incorporating it into their spontaneous speech. (In each module, the uses of the PMP are presented to learners in the introduction.)
Why only 3 homework assignments, one every other day? And how do I get students to do their homework?
Research – The two questions are related. There is extensive research in what constitutes effective homework assignment in various fields (other than pronunciation teaching!), some of it under the general rubric of “exercise persistence.” (NCFS, 2012) In part the answer is if the assignments are right, students will do them. In physical exercise, the recovery, timing (3x a week) and rebuilding constraints following exercise are well documented (e.g., Bernstein, 2011.) Analogous research in cognitive functioning seems to bear out the same basic principle: the brain benefits substantially from appropriate intervals of rest and consolidation as well.
Practical – AH-EPS work is intentionally more physical and, not surprisingly, subject to many of the same constraints as working out in the gym. It is critical that the “body” finds the exercises both interesting and relevant. Our experience is that a disciplined, systematic practice regimen, like that programmed into the Student Workbook with accompanying audio and video and “pronunciation journal-like” engagement (with pen or pencil—not done online) works best. The other aspect of body-based work is that it does provide more tangible and
recognizable benchmarks of the process. (See the Blog for extensive discussion of that issue as well.) Especially in the early modules, as the learner's control of the PMPs and associated sounds improves, typically the sounds themselves are recognized as better conforming to the target structures. They go "hand in hand," so to speak!
Now this may sound odd, but what we have found is that as long as learners have very clear instructions and expectations, they'll do the homework consistently.
The homework, ideally, should not be more than three, 30-minute sessions per week, although in some modules that runs a little longer, to about 45 minutes. Most seem to feel that that is a reasonable commitment of time for the potential benefits.
How is improvement or progress measured in AH-EPS?
In terms of general intelligibility, any valid instrument, such as pre- and post- audio recordings with appropriate scoring and reliability controls should be adequate for measuring the effectiveness of the protocols. (See Appendices E for two rubrics, one for use in assessing performance of the pedagogical gestures themselves and another for looking at general classroom work and participation during haptic pronunciation instruction activities.)
III BASIC HAPTIC TECHNIQUES:
(PEDAGOGICAL/PRONUNCIATION MOVEMENT PATTERNS)
Note: HICP/EHIEP/AH-EPS is based on the concept of highly controlled, disciplined pedagogical movement patterns. Two or three of the PMPs are great fun and learners can easily lose sight of the purpose of the work. One of the truly valid criticisms of kinesthetic work in pronunciation work and those proponents of it (myself included!) is that many of the exercises are emotionally or personally too far "out of the box" for many learners and instructors. That should never be the case with AH-EPS. Emotional, overly excited gestures, out of control speaking pace and other reactions are generally counterproductive, at best.
The key is that the PMP is defined in relation to other related sound complexes, not just as an isolated element. Pike (1959) and others have characterized language as “wave, particle and field.” A PMP is a precise movement (wave) across the visual field,
representing a sound or sound structure (particle) in relation to all other adjacent sound-complexes in the system. As such, the relative “space” between the PMP and its
neighboring “sounds” comes to occupy relatively more of the learner’s immediate attention than does just the physical experience of the targeted sound itself.
That is, in fact, a fundamental principle of haptic anchoring: relative spatial and touch "texture" are important, whether or not the learner matches me on the videos all that precisely is pretty much irrelevant
Pedagogical/pronunciation movement patterns defined
Research – It is a “temporary or transitional” movement or gesture across the visual field concluding in touch, generally not associated with any iconic
(Murphy, 2000). PMPs are simply heuristics that help learners “get” something and then quickly fade from awareness. In part, that is also a function of the nature of "haptic" as noted in the "Why haptic" section
Practical - In many ways it is just a formal, systematic version of gestures naturally used by pronunciation teachers. The first set of PMPs was based in part on an inventory of directed movements from extensive classroom observation of experienced pronunciation teachers (Acton, 1994.) Even if the learner does nothing else, just going through the PMPs, one after another, in succession as a daily routine is quite valuable. There is even a name for that: Bote's No-practice Routine! (After one of the first learners I worked with using some of the Observed Experiential Integration techniques. He did nothing but the PMPs and made substantial progress, nonetheless.)
Because of the wide-ranging movement across the visual field, the constant bilateral engagement and touch, and the attention to rich body and vocal resonance, along with the music setting (in many practice videos) the overall effect is both energizing and channeling. As noted earlier, when facing the class, instructors typically perform the PMPs in mirror image to that of the students. I have recently heard from one colleague who chose, instead, to do the PMPs with the same hands/arms as students--with seemingly good results also. (My general response at this point to that is to proceed with caution in adopting that
perspective.
Some of the PMP routines are similar to those eye tracking therapeutic “moves” used by OEI therapists (OIE, 2013); others are based on established meditation and neuro-therapeutic procedures which produce both “mindfulness” and some measure of “mindlessness!” Once finished with even some parts of the set, it can be a challenge for some to even attempt to multi-task for at least an hour or so. That, in itself, may be worth the time to master the PMPs!6
