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PHONETICS IN THE TEACHER EDUCATION CLASSROOM: goals, challenges & strategies
Transcript of PHONETICS IN THE TEACHER EDUCATION CLASSROOM: goals, challenges & strategies
Gonzalo Barreiro email@example.com
Camila Laurenz firstname.lastname@example.org
URUTESOL Silver Southern Cone Convention
April -2013 PHONETICS IN THE TEACHER EDUCATION CLASSROOM: goals, challenges & strategies Research group
& Language Acquisition TEACHER: The student as a language professional The student as a
•Native-speakerism in language learning, EFL materials and self-perception (Jenkins 2000).
•Negative attitudes towards language variation (regional & social accents; non-native accents). (Jenkins 2007; Holliday 2005).
•Misconceptions and prejudice against language variation (e.g. the concept of consistency)[monostylistic speakers] (Valdman 1967, 2003, among others). GOALS: NORMATIVE GOALS the student as a LANGUAGE USER:
Orthoepic approach to pronunciation:
•production, etc. Warm-up questions: 1. To what extent do you think phonetics is an
important area of study in teacher education? Why?
2. Do you find any differences between teaching pronunciation and teaching other areas of language
such as grammar, vocabulary, etc?
3. What was your personal experience with
phonetics as an EFL student and as a teacher
education student? LANGUAGE USER
•Underelaboration of methodologies for pronunciation teaching (Kelly 1969; Celce-Murcia, Brinton y Goodwin 1996).
•How to teach pronunciation from a communicative perspective.
•Decontextualization of pronunciation exercises in EFL materials. Institute of Linguistics,
Universidad de la República Why a ''Phonetics'' course in teacher education?
FORMATIVE GOALS: the student as a LANGUAGE PROFESSIONAL:
Scientific/pedagogical approach to pronunciation:
•specialized knowledge and technical vocabulary
•teacher strategies to teach pronunciation
•didactic transposition of specialized knowledge Peer evaluation project:
Pronunciation log * Highly-structured and decontextualized teaching of Phonetics. HOW IT WORKED -When? -Who?
* Procedure: 1.self-evaluation
(lack of self-confidence, perception of our own pronunciation)
-Sense of responsibility
Writing task: Transposition of technical knowledge Exercise design Aim(s):
•Make students aware of the use of specialized vocabulary in the field of phonetics
•Find ways to transpose that vocabulary into plain English. RUBRIC 1:
You're assisting a renowned phonetician who trains famous singers. He has asked you to go over an audio by Natalia Oreiro singing Light my Fire and to write a report to him explaining what vowel features you think she should change in order not to sound too Spanish-accented. Write your report in no more than 500 words.
After handing in the report, the phonetician has asked you to write a set of instructions for the singer to follow in order to improve her pronunciation of English vowels before actually recording the cover that will be released to the public. Write your set of instructions in no more than 400 words. REPORT:
''The singer tends to produce long, tense /i:/ instead of short, lax /I/ in words such as ''it would be untrue'' ''if' I was to say to you'', in the mile''. This kind of under differentiation can be explained because of the negative transfer from Spanish: Spanish only has tense /i/ with no distinctive feature for length''. SET OF INSTRUCTIONS:
''The letter ''I'' in English is very complicated, as it may sound in different ways. There are some words in the song like (…) in which instead of producing a plain Spanish ''I'' it would be better to produce an English sound for which you need to do the following: pronounce your Spanish ''I'' (and note where your tongue is). Then pronounce Spanish ''e'' (and note where your tongue is, probably lower in the mouth than ''I''). Then try to find a position for your tongue halfway between both and produce the words: it, in, if, etc.''
''Also, the singer seems to have problems pronouncing the schwa, and in this respect written forms seem to affect the way she produces this sound. This problem is also expectable, considering the one-to-one correspondence in vowels in terms of grapheme-sounds. The neutral, short and reduced aspects of the production of the schwa do not appear in the speech of the singer. It sounds like she is not keeping her lips neutrally open (...)''
SET OF INSTRUCTIONS:
''One aspect that would enhance your pronunciation is including the production of a very complicated English sound. Pay attention to the following words: that, to, the (…). In the song, you should pronounce all those different written vowels in the exact same way. To get this pronunciation right, you can do the following: put your lips in a position like you were about to steam [up] a window in a sexy way and then produce Spanish ''a'' (...)'' "Light my fire" Original "Light my fire" Cover NEW DIRECTIONS MOST FREQUENT TRANSPOSITION STRATEGIES CHALLENGES CHALLENGES