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Bonnie Engel Lee, Ph. D., is currently a public school Speech/Language Pathologist, where she works with children ages three to nine. In her private practice, she works directly or via Skype addressing clients accent reduction and communicative needs. In conjunction with her training as a voice actor, she maintains a home recording studio. She produces a podcast called Talking Kidz: What Parents Want to Know as a means to reach parents who need information and support. She also blogs about topics pertinent to professional speakers and voice actors. Additional information is available at: BonnieEngelLee.com
The purpose of this article is to share some of the procedures used in my private practice while working with clients whose first language is not English. These clients are often referred to as English Language Learners (ELLs). Their goal is to improve their speech intelligibility by improving their pronunciation of English. Improved speech intelligibility results from changes in clients sound systems, as well as the stress and intonation patterns they use. These changes are often sought to improve a clients ability to obtain employment and/or for job advancement. While the major focus of this article is on ELLs, several of the procedures can be used with people who speak professionally, such as actors, voice actors and public speakers. My approach to working with clients has been shaped by more than thirty years of training and experience as a speech/ language pathologist, and also by courses taken from Daniel P. Dato, author of Psycholinguistic Aspects of Foreign Accents, and the work of Arthur J. Compton, Director of the Institute of Language and Phonology. The article addresses various phases of the process from intake/evaluation and analysis through interventions with clients.
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Private Studio Practice Accent Reduction: From Intake to Intervention by Bonnie Engel Lee
the clients production of the /s/ sound is modified by teaching the client to use a more posterior tongue placement and to use a rounder lip position. There are a variety of techniques that clients find helpful in the learning process. I often begin with a general overview of the production of English speech sounds and then focus specifically on the sounds identified in the assessment. The features of voicing as well as place and manner of phoneme production are explained to the client. Thanks to University of Iowa Flash Animations Project (http://www.uiowa.edu/~acadtech/phonetics), students can select a particular vowel or consonant and become acquainted with how the specific sound is produced by watching an animated diagram of the mouth. At the same time, they are able to simultaneously listen to the words pronounced by the speakers. After educating the client about speech sound production, I focus on listening. This phase of the coaching process, which might also be referred to as ear training or auditory discrimination training, enables the client to hear sounds produced correctly in various contexts and to compare how he/she produces the same sounds. After a client has become familiar with how a particular sound is produced, it is important for a client to be able to differentiate between correct and incorrect productions of a particular sound. Through the use of minimal pairs, as mentioned previously, a client is presented with pairs of words that contrast the sound the client is learning to produce. It is also helpful to include sounds that the client is currently using as a replacement for the target sound. For example, a client who is working on the // sound might hear a list of words such as run and won or red and wed, which help him/her appreciate the auditory differences between the target sound and the clients own productions. Minimal pairs can also be used in the production phase, where clients practice saying minimal pairs of words and making them sound different from each other. An accent reduction coach can develop a list of words that contrast the clients speech pattern with the targeted English phoneme or use the online minimal pair resource compiled by John Higgins, which can be found at: http://myweb.tiscali.co.uk/wordscape/wordlist. After identifying the two vowel or consonant sounds which you wish to contrast, you click on the number which indicates how many minimal pairs have been collected for your contrast and you will see a list of pairs of words that are contrasted on the two sounds selected. After a client understands how a particular sound is produced and is able to discriminate between correct and incorrect productions of a targeted sound, the client begins to practice saying the sound. If a facilitating context is identified during the assessment, then practice begins with that specific context. For example, if a client tends to produce the /j/ sound as in yes instead of an /l/ sound, but is able to produce an /l/ when followed by the vowel /i/ then practice would be expanded to include words that contain the same vowel such as leek and leave, lean, etc. Next, production is attempted with other vowels produced near the front of the mouth such as the vowel // in the word, pick or the vowel // in the word, bed. After practicing with the front vowels, central vowels such as the schwa // or // as in the words, vanilla or cut would be used in practice materials. The general pattern of increasing from syllables, to words, phrases and sentences is typically followed. It is important for a client to be engaged in self-evaluation early on in the process and to continue to do so throughout the intervention phrase. An easy to use method is to have clients extend their thumb upward if they rate a particular production as successful, while a horizontal thumb position might mean the production is fair and a downward thumb position might mean that the production is not a good approximation of the target sound. By attending to your clients speech, you might notice other facilitating contexts. I recently noticed that one of my current clients is able to say the /l/ sound when it is followed by a /d/. Therefore, we practiced words such as hold, cold, called, held, etc. Non-native speakers of English can often be identified as such, not only because of the speakers speech pattern, but also because the speaker does not use the reduced forms that native speakers use. Specifically, in conversational speech, native speakers of English tend to omit or change sounds, which enable them to speak more rapidly, and the absence of these patterns is easy to identify. For example, where a non-native speaker might say, I have to go, a native speaker might express the same idea by saying, I hafta go. One can argue the value of teaching non-native speakers to use reduced forms. However, clients may have difficulty understanding reduced forms if they are not familiar with these patterns. Of course, it is also important to acknowledge that there is a time and place for different speech patterns and one would not use reduced forms when giving a formal presentation. For more extensive examples of reduced forms, refer to my July 10, 2008 post, Want to Speak Naturally? Use Reduced Forms, which can be found at http://speechdoc.blogspot.com Intervention: Intonation Patterns Intonation patterns can be conveyed to clients using the numbers one through four. The number two is used for the clients consistent or habitual pitch level, the one he/she would use if speaking in a monotone. The number one is used when the clients pitch drops below number two, and numbers three and four are used for pitch levels that are successively higher than the clients habitual pitch. Practice materials beginning with two syllable words and then extending to phrases and sentences can be used with numbers written over each syllable to convey to the client when his/her pitch level should be increased or decreased. There is a common misconception that the pitch rises at the end of all questions and drops at the end of a statement. While statements tend to having a falling pitch level at the end of the statement, certain questions tend to have a falling
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