Richard Cauldwell: Phonology for Listening. Teaching the Stream of Speech. Speech in Action. Birmingham, UK 2013.
ISBN 0954344723, ISBN-13: 978-0954344726. Printed on demand by Amazon. €25.68
Richard Cauldwell makes a key point: Listening acquisition lags behind the acquisition of other skills, he says, because we treat listening skills as something learners will acquire through enough exposure, as if by osmosis. Instead of teaching listening, we simply test listening comprehension. Drawing on learner diaries, Cauldwell reports that, as a result, learners typically have two complaints:
- “Ying’s dilemma“: Ying from Sinagpore says she can’t catch the words she knows, as she doesn’t understand how their sound shapes change in the middle of sentences, squeezed together, especially in spontaneous speech.
- “Anna’s anger“: A student from Finland is angry at her teachers for underusing recordings. She wants them to go beyond comprehension practice to teach what Cauldwell calls “the realities of the stream of speech.” (p. 3)
Approaching the problem from the standard pronunciation syllabus doesn’t resolve the problem, Cauldwell says, because the “careful speech model” that underlies that syllabus treats language as “a correct, tidy, steady-speed, rule-governed phenomenon,” with a limited set of sounds and rules for sentence types and connected speech phenomena, “optimised for clear pronunciation.” (p. 4) So while it may be easy to use such a syllabus to teach, it doesn’t help learners acquire the listening skills they need. Cauldwell explains the challenge using three metaphors: Beyond the “greenhouse” of the classroom, and outside the “garden” of careful speech, the student of English needs to deal with the unruly “jungle” of spontaneous speech (p. 260). That’s the messy, real world that we need to prepare our students to handle.
Cauldwell’s solution is to take a comprehensive approach, “teaching learners to decode the sound substance of the stream of speech.” (p.1) He lays out a “window on speech framework”, a toolkit for contrasting the clearly pronounced “citation form” with the changed sound shapes in spontaneous speech. The framework is built around the speaker-defined speech unit, rather than the grammar-defined sentence unit, as it reflects “the moment-by-moment choices that speakers make as they communicate.” (p.5) Speech units are defined as multi-word rhythmic sections with prominent and non-prominent syllables, steps up and down in pitch, and tone glides (up, down and level). Cauldwell’s special focus is on the “squeeze zones” of non-prominent syllables contained in speech units, and he highlights the compression of whole word groups.
- Part 1 (Chapters 1-5) presents the “window on speech” framework, expanding on the work of David Brazil, Richard Bradford, Martin Hewings and others to introduce notation techniques to describe the precise sound effects of squeezing.
- Part 2 (Chapters 6-10) describes the sound substance of the stream of speech, including shifts in stress. This includes an interesting discussion on syllable timing, i.e. how speakers of an L1 such as French will retain syllable timing when they use English.
- Part 3 (Chapters 11-15) studies the range of factors influencing the stream of sound, including accents (i.e. Britain, Ireland, North America, and Global including English as a Lingua Franca), as well as how identity, emotion and attitude influence speech.
- Part 4 (Chapters 16-20) suggests learner activities for spontaneous speech listening, in both low-tech (teacher and peer listening, recordings) and high-tech (recordings and apps) contexts.
Overall, the exercises raise awareness for getting past the “decoding gap”. The key requirement is “letting go of the careful speech model”. While Cauldwell uses sample recordings throughout the book to raise awareness for the specific sound shapes, with careful listening/analyzing and preparing/performing tasks, Part 4 goes the extra step of explaining how to work with the material.
The activities pivot on what Cauldwell calls “savouring” and “handling short stretches of speech“. Such activities often involve drafting a transcript of the various versions of one and the same phrase. Notations bracket phrases in speech units between double lines to signify short breaks in the stream, capitalize the stressed syllables and underline the main stress. One of the exercises goes like this:
18.1 Stepping stones (mp3 sound files 18.01-4)
This pair work activity to explore a variety of ways a phrase can sound is modeled in four recordings using the phrase “It’s the second biggest city in my country, I think.”
- First, students or the teacher create a “greenhouse” version of the phrase, i.e. every word is spoken very clearly.
- Then they create a slightly messy “garden” version with stress being dictated by the speaker’s personal intended meaning.
- After that, pairs speak in unison to contrast the two different versions (then performing before the class). In the recoding, this sounds quite disjointed.
- Finally, students are presented a very messy “jungle” version with hesitation, stumbling, hedging (perhaps from the teacher, or from an authentic recording)
This is a rather general awareness-raising exercise that could be used to introduce the overall approach, and to practice noting down a phrase in its different sound shapes.
Other activities targeting more specific areas include:
- Practicing clusters of frequent forms
- Close listening following transcripts
- Soft focus listening to suggest “mondegreens” – phrases that are misinterpreted because they sound like something else – i.e. “occasionally” can sound like “ok jolly” (p. 285)
- Formulating multiple choice questions to include an answer that the learner would give based on mistakes in decoding the sound stream
- Taking phrases from the squeezed version to the clear version and back
- “Instant dictations” in which you stop recordings and have students write down the last 4 words they’ve heard, which are still fresh in mind and not yet processed for meaning
Finally, Cauldwell suggests using Audacity or another digital editor to record and study the wave shape of sounds, and Audio Notetaker to listen to, analyze and edit the chunks of a given piece of audio.
Overall, Phonology for Listening represents an original and enormously practical approach to teaching an essential language skill that needs attention, and is clearly in need of improvement among many of our students. Highly recommended.
- You can access the Phonology for Listening soundfiles here and here.
- Richard Cauldwell’s recorded workshop “Jungle Listening” is available online on the British Council website.
- His iPad app “Hot Listening, Cool Speech“, available on iTunes, won the digital innovations award at the 2013 ELTons.
Sounds good. It only took me about 2 hours to get through this kind of stuff from English Pronunciation in Use and that’s all the book has on it, so might well invest in a whole book on the topic.
Glad you found this! It does have quite a bit to add to that. It’s also a welcome addition to Adrian Underhill’s great Sound Foundations approach to making pronunciation both physical and visible. Listening is more than a physical activity – you do need to have a model to interpret something by. I also find learners are somewhat phased by the IPA symbols, but can deal easily with Cauldwell’s simpler notations.
Thanks for the extra info, sounding more and more tempting (though it will have to come out of my own pocket). What level would you recommend it from?
Thanks for this – I’m thinking I might invest in a copy too now. Like you say, it’s definitely an area that a lot of our students desperately need to improve, and an area that they get so frustrated with. Thanks, Katy.
P.s Really appreciated you sharing your ideas on our blog!