available from - education resources information … · one is functional listening and vocabulary...

ED 246 697

AUTHORTITLE

INSTITUTION

SPONS AGENCYREPORT NOPUB DATECONTRACTNOTEAVAILABLE FROM

PUB TYPE

EDRS PRICEDESCRIPTORS

DOCUMENT RESUME

FL 014 515

Morley, JoanListening and Language Learning in ESL: DevelopingSelf-Study Activities for Listening ComprehensionPractice. Language in Education: Theory and Practice,No. 59.ERIC Clearinghouse on Languages and Linguistics,Washington, D.C.National Inst. of Education (ED), Washington, DC.ISBN-0-15-599298-884400-82-0009161p.Harcourt Brace Jovanovich International, Orlando, FL32887Information Analyses ERIC Information AnalysisProducts (071) -- Guides Classroom Use Guides(For Teachers) (052)

MF01/PC07 Plus Postage.Auditory Discrimination; Class Activities; ClassroomTechniques; *English (Second Language); *IndependentStudy; Instructional Materials; *ListeningComprehension; *Listening Skills; *MaterialDevelopment; Notional Functional Syllabi; PhonemeGrapheme Correspondence; *Second LanguageInstruction; Second Language Learning; Spelling

ABSTRACTAn examination of materials development for

independent study in listening comprehension of English as a secondlanguage (ESL) begins with an outline of current directions in secondlanguage instruction. The discussion that follows has two parts. Thefirst is a review of some changing perspectives on the role oflistening in language learning and teaching, including historicalnotes, the distinctions emerging in the field during the 1970's, andthe 1980's' emerging focus on the importance of listening. Part twopresents guidelines for developing materials and examples of speciallistening activities designed for a segment of a self-study auralcomprehension curriculum. The materials are intended for adult andteenage ESL learners at elementary and intermediate levels, and aredesigned to focus intensive attention on selected listening tasks intwo broad categories. One is functional listening and vocabularybuilding, with an emphasis on understanding message content andintent in building vocabulary. This category is further divided intonotional/informational listening andsituational/functional/informational listening. The second categoryof tasks is structural analysis listening, with an emphasis onanalyzing sound patterns, spelling patterns, and some grammaticalelements. This category is subdivided into discrimination-orientedlistening practice and sound-spelling listening practice. Abibliography is included. (MSE)

LISTENING AND LANGUAGE LEARNING IN ESL:

Developing Self-Study Activities forListening Comprehension Practice

Joan Morley

A Publication of Center for Applied Linguistics

Prepared by ,ERIC1 Clearinghouse on Languages and Linguistics

LANGUAGE IN EDUCATION: Theory and Practice No. 59

U 5 DEPARTMENT Or Mt/CAN:n.4NA TIONAt INSTITUTE OT EDUCATION

{MICA MM.( ;Ilf :OVOtta' rORMA rgJfiC(1.. r ,141t.

A ,,,, r.,,: ,,,,, orlt,

wyn rot 1. In r.,

$.01...11 ...Pow }hos

.1 :311

n trohr.

'PERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BY

C41--

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER IERICI

This publication was prepared with fundingfrom the National Institute of Education,U.S. Department of Education under contractno. 400-82-0009. The opinions expressed inthis report do not necessarily reflect thepositions or policies of NIE or ED.

Copyright 1984 by Harcourt Brace Jovanovich, Inc.

All rights reserved. No part of this publication

may be reproduced or transmitted in any form or by

any means, electronic or mechanical, including

photocopy, recording, or any information storage andretrieval system, without permission in writing from

the publishers.Requests for permission to make copies of any part ofthe work should be mailed to:

Permissions, Harcourt Brace Jovanovich, Publishers

Orlando, FL 32887

Printed in the United States

ISBN 0-15-599298-8

CONTENTS

INTRODUCTION 1

PART ONE: SOME PERSPECTIVES ON THEROLE OF LISTENING IN LANGUAGE LEARNINGAND TEACHING 5

I.1 Historical Notes 7

1.2 Into the Seventies: Emerging Distinctions 111.3 Into the Eighties: An Emerging Focus

on the Importance of Listening inLanguage Learning 15

PART TWO: GUIDELINES FOR DEVELOPINGMATERIALS, AND SAMPLE ACTIVITIES FORLOWER-LEVEL, SELF-STUDY LISTENINGPRACTICE 19

II.1 Introduction 2111.2 Notional/Informational Listening

Practice 2911.3 Situational/Functional/Informational

Listening Practice 6311.9 Discrimination-Oriented Listening

Practice 11311.5 Sound/Spelling Listening Practice 149

BIBLIOGRAPHY 157

4

INTRODUCTION

A. CURRENT DIRECTIONS INSECOND LANGUAGE INSTRUCTION

Looking back over the last decade, it is clearthat perspectives on language learning and lan-guage teaching have changed in some very basicways. Significant changes in concepts about thenature of second language learning and learnerprocesses have influenced language pedagogy andare reflected in syllabus design, in methodologies,and in the form and function of instructionalmaterials.

Some of the features that characterize a wide-ranging instructional revolution in the second lan-guage field are the following:

(1) A focus on learners as active creatorsin their learning process, not as pas-sive recipients

(2) A focus on genuine communication(3) A focus on the learners' language(4) A focus on language function as well

as language form(5) A focus on the individuality of

learners and individual learningstyles

(6) A focus on the intellectual involvementof learners in the learning process

(7) A focus on a humanistic classroom

5

1

(8) A focus on the special purpose lan-guage needs of particular groups ofstudents

(9) A focus on teachers as managers oflanguage learning experiences, notas drill leaders and presenters ofmaterial

In following changing directions in secondlanguage learning and teaching, teachers findthemselves facing greatly expanded responsibilitiesand a whole array of challenges. These include:

(1) Assessing the needs of each particu-lar group of students

(2) Structuring curricula and developingappropriate syllabi

(3) Shaping changes in patterns of stu-dent involvement (i.e., developingmethodological and procedural frame-works for interaction in classroomsand developing self-study modes)

(4) Evaluating and selecting appropriatetexts and instructional materials andplanning adaptations for particularclasses

(5) Developing new instructionalmaterials for particular purposes andspecial student needs

B. LISTENING AND LANGUAGE LEARNING

Within the broad scope of changes in the stateof the art, virtually every facet of language learn-ing and language teaching has come under scrutiny.This book focuses on one area of language learn-ing--specifically, listening and language learning.

Part One of this work presents a brief reviewof some changing perspectives on the role of listen-ing in language learning. Part Two presents guide-lines for developing materials, and examples ofspecialized listening activities designed for a

2

6

segment of a self-study aural comprehension cur-riculum. The materials are intended for adult andteenage ESL learners at elementary and intermedi-ate levels.

The materials described in Part Two are de-signed to focus intensive attention on selectedlistening tasks in one of two broad categories.The first of these is functional listening andvocabulary building, with an emphasis on under-standing the content and intent of a message andbuilding vocabulary. This category is furtherdivided into (a) notional/informational listening and(b) situational/functional/informational listening.The second broad category is structural analysislistening, with an emphasis on analyzing sound pat-terns, spelling patterns, and some grammaticalelements. The two subdivisions of this categoryare (a) discrimination-oriented listening practiceand (b) sound-spelling listening practice.

3

SOME PERSPECTIVES ON THE ROLE OF LISTENINGIN LANGUAGE LEARNING AND TEACHING

1.1 Historical Notes

A. LISTENING: A HIGH-PRIORITYCOMPONENT OF COMMUNICATION

Listening is the most frequently employedskill in daily language use. Research results varyslightly, depending upon the groups studied, buton the average, time spent in communicating dividesinto approximately 50 percent listening, 25 percentspeaking, 15 percent reading, and 10 percent writ-ing.

In Human Listening, Processes and Behaviors,WcIver (1972) comments on the history of exten-sive instructional focus on the expressive areas oflanguage use and the comparative neglect of atten-tion to the receptive areas- -even though the recep-tive skills are used more than twice as much as theexpressive skills. Weaver also draws attention tothe elusiveness of our listening awareness. Hegives a rationale for our tendency to rememberhow much of the time we talk--but to forget howmuch of the time we listen:

After all, listening is neither so dramaticnor so noisy as talking. The talker isthe center of attention for all listeners.His behavior is overt and vocal, and hehears and notices his own behavior,whereas listening activity often seemslike merely being there--doing nothing.

8

7

In the language learning/teaching literature acase for special attention to listening has beenmade from time to time by respecter: leaders in thefield, e.g.: Palmer (1917), Nida (1953;1954), andRivers (1966;1968). And yet, as Blair (1982) ob-served, special attention to listening just didn't'sell' until recent times.

Specific listening comprehension instructionalmaterials for learners remained largely nonexistentfor many years. Books on grammar, pronunciation,vocabulary, reading, and writing were in plentifulsupply, but these provided little--if any explicitattention to listening (except in the context oflistening to repeat). Until the last decade or so,virtually no texts directed special attention towardhelping learners listen to understand.

B. THE NEGLECT OF LISTENINGCOMPREHENSION IN LANGUAGE INSTRUCTION

The reasons for the lack of attention to listen-ing in second language instruction are by no meansclear. Some factors that may have influenced thelanguage-teaching field in this regard are thefollowing:

(1) Intense concentration on 'speaking' a language

During the past forty years, much of theconcentration of language instruction has been onoral production. Under the dominant influence ofaudioling-ualism, the primary explicit focus was onteaching learners to speak the second language.Notice we seldom ask anyone, How many languagesdo you listen to? (i.e., hear and understand).

With the major focus on production, not com-prehension, the assumption seemed to be that ifone learned to speak the language, listening com-prehension would occur simultaneously. Today,quite an opposite view is held by some; that is,if one learns to comprehend the language, speakingwill develop as a natural process (Postovsky;Winitz; Krashen).8

a

(2) Listening to repeat (i.e., listening used as ameans to teach speaking, but not as aninstructional goal in its own right)

The use of listening as a means to teach oralproduction may have obscured the fact that listen-ing to understand was not given explicit attention.Clearly, audiolingualists recognized the importanceof listening, as the very name 'audiolinguaP demon-strates. Indeed, 'listening' provided the input forimitation. However, the term 'listening' was ap-plied to the auditory processing of a very shortspeech segment (word, phrase, sentence) in orderto reproduce it. The goals of instruction weremastery of oral grammar and mastery of pronunci-ation, not listening for meaning.

Newmark and Diller (1964) drew attention toa need to emphasize the audio in the audiolingualapproach:

The suggestions made in this paper areaimed at having students spend more oftheir time listening to natural speech andauthentic models of th- foreign language.They underline the need for the systematicdevelopment of listening comprehension notonly as a foundation for speaking but alsoas a skill in its own right.

(3) A long-standing assumption that listening wasa passive skill

Until fairly recently, listening - -along withreading--was labeled a 'passive' skill. Perhapslistening sometimes appears to be a passive skill,but nothing is further from the truth. As Postov-sky (1977) noted:

Listening is not a passive skill; it requiresfull participation and the undivided atten-tion of the learner. And when the natureof the skill is understood, the process be-comes exciting.

9

11

(4) Few listening comprehension models from firstlanguage instruction

Until rather recently, relatively little formalattention was given to listening comprehensionskill building in first language learning. Perhapsby analogy it was assumed that it was not neces-sary to teach listening in a second language. Inany case, there appeared to be few instructionalprocedures available that could be transferredfrom first language instruction to second languageinstruction. One familiar instructional procedure,of course, is the study of phonics and sound/symbol correspondence. In phonics instruction,however, notice that listening is used as the tool,while the primary end-product is skill building inreading and writing, not the development of listen-ing comprehension skill-s-.

10

.12

1.2 Into the Seventies: Emerging Distinctions

Until the late sixties and early seventies,there was very little instructional material availablethat was designed specifically for listening skillbuilding.

Over the past forty years, classrooms andlanguage laboratories did, of course, providelistening experiences and students were involvedin purposeful listening and active participation inlistening activities; however, the 'purposefullistening' was a means to another end (i.e. , oralproduction), not listening comprehension skillbuilding, and the 'active participation' was instantrepetition.

It is important, then, to make a careful dis-tinction between

Listening to repeat--a tool -and(2) Listening to understand--aural compre-

hension as an end in itself.

Today a third category must be included in orderto distinguish the 'comprehension approach to lan-guage learning' as exemplified, for instance, in thework of Postovsky, Winitz and Reeds, Asher andothers, that is,

(3) Listening to learn a language- -thecomprehension approach to languagelearning.

11

13

A. L!RTENING TO REPEAT(a means to another end)

Listening as a means to another end focuseson listening to repeat, or hearing and patternmatching. The word 'listening' is applied to theneed for auditory processing of a word, a phrase,or a sentence in order to reproduce it. Auralcomprehension skill building may or may not be aby-product of 'hearing and pattern matching.'

An example of instructional materials thatutilized listening as a means to another end wasLado and Fries' English Pattern Practice (1953;1957). Students were asked to listen and to re-peat in order to "establish orally the patterns ofthe language as subconscious habits." The intro-duction noted, "These oral practices are directedspecifically to that end."

B. LISTENING TO UNDERSTAND(comprehension as an end in itself)

Listening comprehension skill building as 'anend in itself' concentrates on giving studentsguided practice experiences in listening to under-stand as distinct from listening to repeat. Instruc-tional materials specifically directed toward this goalbegan to appear in the early seventies, for example,Morley (1972) and Plaister (1976). The former texthad a general focus and the latter was specificallyrelated to lecture comprehension. Morley's lessonsstress extensive notional listening and vocabularybuilding and require an immediate written response.They feature a double task-structure in which dic-tated material is followed immediately by problem-solving directives or questions. Plaister developeda specialized ESL text for lecture listening in whichhe constructed a series of lectures and comprehen-sive workbook materials designed to facilitate lecturecomprehension, note taking, and vocabulary build-ing.

12

I4

1

1

C. LISTENING TO LEARN A LANGUAGE(the comprehension approach to

language learning)

Winitz (1981) notes in his introduction to TheComprehension Approach to Foreign Language In-struction:

In the comprehension approach a new sys-tem of learning is not really advocated.The instructional format is to extend theteaching interval of one component oftraining, comprehension, while delayinginstruction or experience in speaking,reading, and writing.

Language researchers Asher, Postovsky,and Winitz and Reeds developed instructionalmaterials for use in three different programs thatfeatured early attention to comprehension and adelay in oral production.

Asher developed a system he called TPR, or'Total Physical Response,' which provided exten-sive attention to listening comprehension. Thedistinctive feature of this method was that everyutterance by the teacher was a command or wasembedded in a command that the students thenacted upon. They started out with "Stand up!"and "Sit down!" but soon moved to complex com-mands such as"Greg-ory, find the picture of thebeautiful woman with green eyes, long black hair,and wearing a sun hat that has red stripes."(See Diller, 1975.)

Winitz and Reeds developed a course called'Rapid Acquisition of a Foreign Language by theAvoidance of Speaking,' in which the students weretotally silent and the teacher (or tape recorder)did all the talking. The learner's only overt be-havior was to choose the one picture in a quadrantthat corresponded to the meaning of each utterance.(See Diller, 1975.)

Postovsky ( 1970; 1974) developed a listeningcomprehension program for English speakers

10

13

learning Russian. His program featured an initiallistening/writing phase of instruction with an ex-plicit delay in oral practice at the beginning ofsecond language learning. Postovsky's rationalefor a listening approach to language learning isthought provoking. He observes that if we accepta proposition that 'learning by doing' is an efficientway to learn a foreign language, then we need tohave a clear idea of what the learner is expectedto 'do' with language in different phases of thelearning process. In the beginning phase, Postov-sky suggests that teachers need to provide learn-ers with listening experiences that help them todevelop an auditory receptive ability to comprehendthe spoken language. He observes that this willenable learners to develop covert processingstrategies for transforming 'foreign auditory input'into meaning:

14

(This) serves to imprint the integratedstructure of language in human memoryat the level of recognition. When newlinguistic patterns have been thus per-ceived, frequent reactivation of thesepatterns on the recognition level willmake them more and more retrievable,and as linguistic features of a foreignlanguage become retrievable, spontaneousvocal responses follow.

16

1.3 Into the Eighties: An Emerging Focus on theImportance of Listening in Language Learning

Beginning in the seventies and continuing intothe eighties, there has been a steady increase inattention to the role of listening in language learn-ing theory and pedagogy. The centrality of audi-tory input--its quality, its quantity, and how it isprocessed--has been recognized in both secondlanguage acquisition research and in second lan-guage instructional programming.

In this section some notes on listening aspectsof work by Burt and Du lay, Krashen, and Terrellwill be presented.

A. OPTIMAL LANGUAGE-LEARNINGENVIRONMENTS

In "Optimal Language-Learning Environments,"Burt and Du lay (1981) identified four conditionsnecessary for this type of environment. One ofthe four includes a focus on the roles of listening,reading, and responding. This condition is that"communicative interactions must match the learn-er's level of language development in order tomaximize the student's likelihood for success."When learning a new language, learners appear topass through at least three phases of communica-tive interaction: one-way communication, partial

17

15

two-way communication, and full two-way communi-cation.

Burt and Du lay characterized one-way com-munication as taking place when a learner listensto or reads in a second language with the com-munication targeted toward the learner but notissuing from the learner--e.g., listening tospeeches and radio programs, watching films andmost television programs, and reading books andmagazines. (See pages 21 and 22 in Part Two ofthis book.)

Partial two-way communication was describedas a situation in which communication is targetedtoward the learner and a response issues from thelearner, but the response is either nonverbal, suchas a nod or a physical response, or it is in thelearner's native language, not the target language.

In full two-way communication, the learner isinvolved both in speaking in the target languageand in receiving verbal messages.

B. INPUT AND EFFECTIVE SECONDLANGUAGE ACQUISITION

In "Effective Second Language Acquisition:Insights from Research," Krashen (1981) stressedthe importance of 'comprehensible input' andfocused attention on listening and reading. Hecame to the following conclusions:

16

(1) Learners first 'go for meaning' inlanguage acquisition, and acquirestructure as a result of understand-ing the message (an opposite viewpointfrom a philosophy that assumes thatstudents should first master forms andthen learn how to use them).

(2) The learner's understanding--via hear-ing or reading--of input language thatcontains structure 'a bit beyond' his orher current level of competence is anecessary (though not sufficient) condi-tion for language acquisition.

18

(3) Speech 'emerges' after the learner hasbuilt up sufficient competence via in-put; therefore, we need not teachspeaking directly.

Krashen noted that the most important impli-cation of his hypotheses for the second languagefield is that the emphasis should be on providingstudents with input-rich listening and readingexperiences.

Krashen characterized optimal input as:

(1) Comprehensible(2) Interesting and/or relevant to the stu-

dent(3) Not grammatically sequenced(4) Supplied in great amounts(5) Presented in such a way that it will

not put the student on the defensive(6) Providing beginning and intermediate

students with tools that will enablethem to obtain additional input outsideof the classroom. (See page 22 inPart Two of this book.)

Krashen further observed that languageacquisition occurs NOT when we are focused onlanguage per se, but when we are engaged inusing language. That is, he concludes that weacquire L2 when we are concentrating on under-standing a spoken or written message. He sug-gests that teachers can best help students to'acquire' L2 by providing them with comprehensibleinput that they cannot get from the outside world.

C. PARTIAL UNDERSTANDING ANDSECOND LANGUAGE LEARNING

In "A Natural Approach," Terrell (1977; inBlair, 1982) emphasized the critical importance ofhelping students learn to tolerate partial under-standing as they listen to the second language.

17

19

He noted that the main objective of the first classsessions is to convince students that they canunderstand utterances in the second language andthat they can be comfortable with only a partialunderstanding of the components that form theutterances. (See page 29 in Part Two of thisbook.)

Terrell further observed that "building atoleration for listening to a second language whichone is only partially understanding is not especiallyeasy ," but that "the satisfaction the student de-rives from comprehension usually ameliorates thetension caused by the hearing of unfamiliar lexicalitems and structure."

Terrell also commented on the importance oflearning vocabulary:

The learning of vocabulary is the key tocomprehension and speech production. Witha large enough vocabulary the student cancomprehend and speak a great deal of L2even if his knowledge of structure is forall practical purposes nonexistent.

* * *

In Part Two of this monograph, self-access/self-study listening activities for elementary- andintermediate-level students will be described. Someways in which L2 teachers can exploit the listening/language learning potential of an adapted one-waycommunication format are suggested (see Burt andDu lay, 1981). These listening comprehension activi-ties can provide recorded listening/writing experi-ences for students as an institutionalized part ofout-of-class 'comprehensible input' opportunities(see Krashen, 1981). And, finally, the kinds oflistening materials discussed in Part Two can givestudents additional opportunities to listen exten-sively and to learn to tolerate partial understand-ing (see Terrell, 1977 in Blair, 1982).

18

20

PART TWO:

GUIDELINES FOR DEVELOPING MATERIALS, AND SAMPLE ACTIVITIES FORLOWER LEVEL, SELF-STUDY LISTENING PRACTICE

21

INTRODUCTION

It is no exaggeration to say that listening hasbeen coming into its own for several years now andhas finally arrived! Today the role of listeningcomprehension -- listening to understand meaning- -is clearly recognized to be of primary importancein the learning of a second language. Most pro-grams are devoting an increasing amount of atten-tion to providing students with appropriate listen-ing experiences in the second language.

There are a number of problems, however, intrying to reach this goal. While a pre-oral, 'silent'listening approach might be considered desirable,in many programs it is just not feasible due totime constraints, financial limitations, etc. Alter-natively, at least two options can be taken tocreate more opportunities for students to obtainlistening comprehension practice outside the classhours. One option is to provide out -of -class situ-ations in which students can engage in the type offull two-way interactive communication described byBurt and Dulay. (See page 16 in Part One of thisbook.) These situations can be one of two kinds:(1) planned assignments and arranged situations;(2) natural settings in which spontaneous communi-cation can occur.

A second option is to provide out-of-classopportunities for students to participate in listeningactivities that are naturally occurring or adaptedforms of one-way communication. These activities

21

22

include: (1) attending movies, plays, lectures,and other public presentations, and listening totelevision or radio, and (2) using recorded audioand video materials that are organized into self-access/self-study programs. Both kinds of activi-ties can provide input-rich experiences as describedby Krashen. (See page 17 in Part One of thisbook.)

Ideally, recorded materials would be madeavailable to students in a special language-learningcenter or multipurpose, self-access materials room,with a teacher/monitor present at all times to givestudents guidance in selecting and using materials,and instruction in using equipment. Alternatively,materials might be used in a more conventional lan-guage laboratory setting if students could controlthe playing of the materials themselves. It isessential that students be able to control the source6711W so that they can pace it--stop it, start it,replay it--at will. This allows them to regulatetheir own schedules of study rather than have arate and volume of auditory input imposed on them.This can help reduce the anxiety that many lower-level students seem to experience when listening inthe second language. Some materials might also bemade available for checkout and home study. How-ever, a study facility often has fewer distractionsthan a home or dormitory environment and an at-mosphere that is more conducive to the self-discipline that often is necessary for concentratedlistening in the second language.

For programs in countries where the targetlanguage is spoken, recorded listening materialscan be organized to complement the naturallyoccurring experiences. When the target languageis not the language of the host country, option two--using recorded audio and video materialmay bethe only choice possible.

Many good sets of listening materials now areavailable commercially and can be adapted to fit

22

23

into a self-access/self-study format.' In addition,in many programs today, teachers are engaged indeveloping their own materials to meet the listen-ing/language-learning needs of their particularstudents.

A. MATERIALS AND PROCEDURE

In general, the listening activities describedin Part Two include the following features:

(1) Utilization of both authentic and teacher-constructed aural texts

(2) Carefully guided student involvement(3) Presentation of a shore aural text with a

specific listening focus (i.e., studentslisten to an aural text and extract infor-mation of some )ind)

(4) Integration of a reading component (i.e..students both listen and relate spokenlanguage information to written languageinformation)

(5) 'Internal' manipulation of some of theinformation (i.e.. students manipulateand/or analyze some of the informationin specified ways)

(6) Execution of a specific listening task ortasks

(7) Completion of an immediate written re-sponse of a specified type

(8) Verification of comprehension. throughimmediate feedback in the form of self-checking

'Krause and Susser in a recently published(1982) bibliography of ESL materials for teachinglistening comprehension listed more than 50 items.Ten years ago, finding a list of even five to tenitems would have been a challenge.

23

24

The kinds of materials suggested in Part Twocan form a segment of a larger ESL listening librarycollection. Ideally, such collections would encom-pass a wide range of audio and video materials,including full-length and short lectures, interviews,conversations, songs, poems, plays, story telling,movies, and radio and television programs.

The self-access listening materials can be madeavailable to students in a variety of self-studypackets orgaitized to meet the needs of individualstudents or groups of students. Special packetsthat feature up-to-date, locally relevant, authenticaural texts are especially effective and are recom-mended wherever possible. In addition, segmentsfrom selected commercially prepared materials canbe integrated into the self-study curriculum wher-ever appropriate (see Bamford, 1962).

The procedure for using self-sccessfself-studymaterials might go something like this:

(I) Students check out a listening packetcontaining the taped audio or videomaterit1J Worksheets (and perhapssome pictures), answer key (and per-haps a script), and instructions.

(2) Students play the tape on their ownschedule of starting. stopping, andreplaying.

(3) Students check their work themselvesfor verification or comprehension.

(4) Students consult the teachertmonitorwhen necessury.

B. CATEGORIES OF LISTENING FOCUS

The suggestions that follow for developingmatt rials emphasize two major types of listeningfocus, each of which is divided into two subcate-gories.

(I) Functional listening and vocabularybuilding(understanding the content and intent ofa message, and building vocabulary)

24

25

(a) notional /informational listening(listening to get information andanswer questions or solve problemsin selected concept areas)

(b) sit uationalifunct io»al/in format ionallistening(twofold listening - -to get informationand answer questions or solve prob-lems while analyzing sociolinguisticand contextual dimensions of selectedtypes of aural texts)

(2) Structural analysis listening(listening to analyze sound patterns,spelling patterns, and grammatical ele-ments)(a) discrimination-oriented listening

practice..(analyzing features of stress, rhythm.intonation, vowel sounds, consonantsounds, consonant Ousters, andgrammatical suffixes)

(b) sound !spelling listening practices(listening and relating spoken lan-guage to written language)

C. OBJECTIVES FOR DEVELOPINGMATERIALS

The twelve objectives outlined below are meantto be used as guidelines. They are stated in termsof instructional focus, and each relates to one ormore of three basic instructional objectives. Thatis, some are informational objectives and relate toa cognitive leariiinponent; some are practiceobjectives and relate to s performance learningcomponent of learning; some are self-involvementob ectives and relate to an affective learning com-ponent.

(1) A focus on listening as an active processwith instant and slightly delayed manipu-lation of information received aurally

25

26

26

(2) A focus on listening to language (a) inorder to acquire information and (b) inorder to analyze particular structural,notional, and functional features

(3) A focus on internal communicative inter-action, as the learner receives externallanguage data (aurally and visually), re-structures it, and makes a written re-sponse that is (a) a reformulation of someof the data or (b) a conscious identifi-cation and analysis of features in the data

(4) A focus on providing learners with veri-fication of comprehension (i.e., immediateor only slightly delayed feedback withself-check answer keys and/or scriptsprovided where needed)

(5) A focus on encouraging guessing andfollowing 'hunches' when in doubt

(6) A focus on selective listening, ignoringirrelevant material, and learning to livewith less than total understanding

(7) A focus on self-involvement, with anemphasis on self-access and self-regulatedschedules of study (including expandingself-awareness, encouraging responsi-bility for one's own learning, and takingpride in one's own accomplishments)

(8) A focus on providing learners with non-threatening instructional experiences andlowering anxiety levels created by exter-nally imposed rate and volume of auditoryinput (Le., students control source ofinput and can pace it at will as well ascheck their own performance)

(9) A focus on integrating auditory and visuallanguage

(10) A focus on gradually increasing expec-tations for levels of comprehension (i.e.,encouraging students to challenge them-selves and to move themselves along towardincreasingly demanding comprehension ex-pectations)

(11) A focus on vocabulary building

2i

(12) A focus on language samples that conveymeaning from the very beginning (includ-ing pictures, realia, etc. as needed)

D. OVERALL GOALS

Overall, in preparing graded sets of listeninglessons for self-accest/self-study programs, it isimportant to consider the following aspects ofmaterials preparation: (1) definite goals (eitherstated explicitly or clearly implicit), (2) carefullyspecified listening and writing tasks, (3) cleardirections (i.e., what students can expect to hear,see, and do), (4) step-by-step planning, (5) pro-gression of difficulty (through the introduction oflonger, more complex samples of aural discourseand more demanding tasks), and (6) use of avariety of authentic samples of aural discourse.

27

28

11.2 Notional/Informational Listening Practice

Notional/informational listening is one facet offunctional listenin and vocabular -buildin Thefocus is not on language form but on the message:(1) listening to extract information from an auraltext; (2) writing selected parts of the information;(3) using the information to answer questions or tosolve problems. Students can be encouraged to beselective in their listening (i.e. , something like'skim' listening), to concentrate on the specificlistening task at hand, and, as emphasized byTerrell, to tolerate parts of the information thatmay not be understood. (See page 18 in Part Oneof this book.)

It is important to stress that notional/infor-mational listening practice is concerned not justwith receiving information but also with doing some-thing purposeful with that information.

VOCABULARY BUILDING

The activities in this notional/informationalcategory of listening practice can have a doublevocabulary emphasis. One emphasis can be on thevocabulary associated with the conceptual areas(i.e., notions of space, time, enumeration, measure-ment , etc.). A second emphasis can be on thevocabulary associated with the content areas (i.e.,people, events, actions, history, geography, etc.).

29

29

NARRATIVE AND CONVERSATIONALPRACTICE MATERIAL

In the examples that follow, two kinds ofpractice material are included in each of thenotional/informational units. The first type isnarrative dictation practice material that is con-structed by the teacher in order to emphasizespecific listening tasks and specific notions. Theselessons, even though they are teacher 'cooked,'can make use of meaningful information that hasreal-life application. In Part A, the students aredirected to listen and then write information on theworksheet. In Part B, they are given aural ques-tions that they are asked to answer. In listeningand answering questions, the students must studyand review the information they have just writtenand manipulate some of it in order to formulate ananswer and code it into written form. Questionscan include short-answer questions (who, what,when, where, how many, how much, which one,etc.), true/false questions, multiple choice ques-tions, completion questions, etc.

The second kind of practice material is conver-sational dictation. These lessons use real or simu-lated conversations as the aural text. In Part A,the students are given directives to listen and writeinformation on the worksheet. In Part B they areinstructed to study the information they havewritten and to extend or organize it in some way,or to draw some conclusions from it in some way.This part of the lesson features a listening andproblem-solving task of some kind.

Students are encouraged throughout to replaythe tape as many times as necessary to get the de-sired information. They should feel free to askthe teacher/monitor for help if there are any ques-tions. As a final step, they are asked to correcttheir work using the answer key.

The packets can be graded from short, easyactivities for elementary students to longer, moredemanding activities for intermediate learners.

30

30

Some packets might focus on general uses of infor-mation in everyday situations. Other packetsmight be constructed to serve particular studentneeds in specific academic, occupational, profes-sional, or recreational areas.

* * *

A. LISTENING FOR NUMBERS ANDNUMERICAL INFORMATION

The goal of the activities for practice inlistening to and using numerical information is togive students practice in (1) instant recognitionof numbers in context, (2) instant production ofnumbers, (3) listening to and responding to numeri-cal vocabulary and phrases, and (4) rapid manipu-lation of numerical information.

31

31

NARRATIVE DICTATION: PRACTICE IN CONTEXT

EXAMPLE 1. STUDENT ENROLLMENTS

A. LISTENING AND WRITING INFORMATION

Directions. Listen and fill in the blanks. Checkyour answer key as you finish eachsection.

1

Worksheet The Oxford School of English has anand enrollment of (305) this fall. TheScript. largest number are from I

the Far East. (95) students arefrom Japan, (31) are from China.and (24) arein Thailand. Thatmakes a total of (150) from the FarEast. There are also many studentsfrom South America. There are (41)students from Venezuela, (29) fromColombia, (7) from Brazil, and (3)from Chile.

B. LISTENING AND ANSWERING QUESTIONS

Directions. Listen and write the answers to thequestions as they are given. Use theinformation you have just writtenabove.

Worksheet 1.and (How many students are fromScript. Japan?)

2.

3.

4.

32

(How many students are from theFar East?)

(Are there more students fromColombia or from China?)

(What is the total number of stu-dents from South America?)

32

EXAMPLE 2. FAMILY


Directions. Listen and fill in the chart. Checkyour answer key as you finish eachsection.

Worksheet.

DAVIS FAMILY

Name

JohnJaneBobMaryBill

Age

Script. Let me tell you about my family.There are five children in our family.My name is Bob and I'm 26 years old.My sister Jane is two years older thanI and my brother John is a year olderthan Jane. Mary is two years youngerthan I and Bill is only 21.

B. LISTENING AND ANSWERING TRUE/FALSEQUESTIONS

Directions. Listen to each statement. Consult thechart. If the answer is TRUE, circleT. If the answer is FALSE, circle F.(Number 1 is done for you.)

Worksheet 1. e Fand (Bob is the middle child in theScript. Davis family.)

2. T F(Mary is 40 years old.)

33

33

34

3. T F(Bill is the youngest child in theDavis family. )

4. T F(Jane is the oldest child in thefamily.)

34

CONVERSATIONAL DICTATION: PRACTICEIN CONTEXT

EXAMPLE 1. BOOK ORDER BY TELEPHONE


Directions. Listen to the following conversation.Fill in the information on the orderform. Check your answer key as youfinish each section.

Worksheet.

VocabularyStudy: Bk 1VocabularyStudy: Bk 4AdvancedReading

BeginningPronunciationTelephoneNo.: Grand Total:

Script. A. Campus Bookstore. Order de-partment.

B. Good morning. This is Bob John-son at the international LanguageCenter and I'd like to add to ourbook order for the French classes.

A. Sure. What would you like to add?B. Add 45 copies of Vocabulary Study:

Book I. (pause). . . 25 copies of VocabularyStudy: Book 4. (pause). . . 20 copies of AdvancedReading. (pause) . . . and /0copies of Beginning Pronunciation.

35

35

B.

A. O.K. Let me repeat the orderjust to check. (repeats)Would you like the list price forthese books?

B. Oh, yes. Thanks. 1 left myprice list at home.

A. O.K. Vocabulary Study: Book 1is $6.95 per copy . . . butBook 9 is $9.50 . . . Advanced

Beading is $8. 75 . . . andBeginning Pronunciation is $7.25.

A. Now much was Advanced Reading,again? 1 missed it.

B. $8. 75.A. Got it. Thanks very much.B. You're welcome. We'll give you a

call as soon as they come in. 1syour number still 391-7799?

A. Right. Thanks for your help.B. Sure. You're welcome. 'Bye.A. 'Bye.

LISTENING AND PROBLEM SOLVING

Directions.

Script.

36

Listen to the following problem andcomplete it as directed.

Figure the total cost for each of thefour books. Put the total for eachbook on the correct line at the rightside of the order blank. Then figurethe Grand Total for the order and putit on the correct line.

*

36

B. LISTENING FOR INFORMATIONINVOLVING LETTERS, SOUNDS,SPELLING, AND ABBREVIATIONS

The goal of the activities for practice inlistening to and using information involving letters,sounds, spelling, and abbreviations is to give stu-dents practice in (1) instant recognition of orallyspelled words, abbreviations, acronyms, etc. incontext, (2) instant production of orally spelledwords, abbreviations, acronyms, etc., (3) listen-ing to and responding to vocabulary and phrasesused in discussing letters and sounds, etc., and(4) rapid manipulation of information of this kind.

37

37


EXAMPLE I. ABBREVIATIONS USED IN RADIOAND TELEVISION NEWS BROADCASTS



Worksheet Radio and television broadcasts oftenand use abbreviated forms that are madeScript. up of the initials of a longer name.

Initials are just the first letter ofeach word. For example, the threemajor television networks in the(USA) are: (NBC) . which stands forRat anal Branming Company; (ABC) .which stands for American Broadcast-ing Company; and (CBS), whichstands for Columbia BroadcastingSystem. Many large companies alsohave abbreviated names: (GMC),which stands for General Me ElicWCor-poration; (IBM), which stands forInternational-Fisiness Machines; and(GE) , which stands for General Elec-tric. Several international organiza-tions also have abbreviated names:(UN), which stands for UnitedNations), and (OAS). which standsfor the Organization AmericanStates.


Directions. Listen and then write the answers tothe questions as they are given. Usethe information you have writtenabove.

38

38

Worksheet 1.endScript.

2.

3.

4.

(Whet does OAS stand for?)

(What is the abbreviation forGeneral Electric?)

(What do the initials ABC standfor?)

(What is the abbreviation forinternational Business Machines?)

39

3)

CONVERSATIONAL DICTATION: PRACTICE INCONTEXT

EXAMPLE I. TELEPHONE MESSAGE: STUDENTSREFERRED FOR SPECIAL ENGLISH


Directions. Listen to the following conversation.Fill in the information in the classlist. Check your answer key as youfinish each section.

Worksheet.SUPPLEMENTARY CLASS LIST:

ENGLISH 101Name Country

A. English Department.B. Hello. This is Betty Anderson

from the Foreign Student Admis-sions Office and I'd like to addfour students to the class listfor English Composition 101.

A. All right. I can take those namesfor you and give them to theComposition Advisor.

B. Thank you. The fire name isNicolettithat's spelled--N-I-C-0-L-E-T-T-Iand the firstriiitiaT is It 'Fie next name isWatenabe:-that's spelledW-A-T-E-N-A-B-E and the firstinitial is K. The third name isRodriguezthat's spelled--

4 0

B.

R-0 D-R-I-G-11-E-Z--and the firstitiai is R. fhe last name is

A kkuozthat's spelledA- K- K- O- O- Z - -and the firstinitiar is S.

A. Do you want to give me thecountry for each student?

B. Sure. Miss Nicoletti is from Italy. . . Mr. Watenabe is from Japan. . . Mrs. Rodriguez is fromMexico . . and Mr. Akkooz isfrom Saudi Arabia.

A. How do you spell Saudi Arabia?B. That's -- capital S-a-u-d-i. capita?

A-r-a-b-i-a.A. 'thanks. Any more students?B. No. that's all for now. We might

have one or two more tomorrow.A. Welt, just give us a call if you

have any more.B. Thanks, I wit!. 'Bye.A. 'Bye.


Directions.

Script.


Put the four names in alphabeticalorder according to the last name.

41

41

C. LISTENING FOR DIRECTIONAL ANDSPATIAL INFORMATION

The goal of the listening activities for prac-tice in listening to and using directional and spatialinformation is to give students practice in (1) in-stant recognition and production of directional andspatial information in context , (2) listening to andresponding to directional and spatial vocabularyand phrases, and (3) rapid manipulation of direc-tional and spatial information.

42

42


EXAMPLE 1. GEOGRAPHY INFORMATION: THEWESTERN UNITED STATES


Directions. Listen and fill in the names of the 11western states. Check your answerkey as you finish each section.

Worksheet.

M2zona

Cati6oAnia

Cotofutho

Idaho

Montana

Nevada

New Mexico

OtegOn

Utah

Waahington

Wyoming

Script. Eleven western states of the continen-tal U.S. make up more than a third ofthe land area. The largest westernstate is California, which lies alongthe Pacific Ocean. . . . Just aboveCalifornia is Oregon . . . and just

43

43

above Oregon is Washington. Thepopulation growth in these three west-ernmost states has been very rapid inrecent years. The state just to theeast of California is Nevada. Nevadais well-known for its gambling casinos.The state of Idaho Nes to the east ofWashington and Oregon and is northof Nevada. Idaho is famous for itsdelicious potatoes. Two states are tothe east of Idaho--the larger is Mon-tana--and the smaller is Wyoming.Both Montana and Wyoming are beauti-ful mountainous states. Utah lies be-low Wyoming, a little to the west,while Colorado lies below Wyoming, alittle to the east. Colorado is famousfor its beautiful scenery and Utah isfamous for its Great Salt Lake.Finally, New Mexico is south ofColorado . . . and Arizona is southof Utah. Many Indian reservationsare located in New Mexico and Arizona.All eleven western states are favoritevacation spots with a wide variety ofnatural and man-made attractions.


Directions. Listen to each statement. Consult themap. If the answer is TRUE, circleT. If the answer is FALSE, circle F.rNumber I is done for you.)

Worksheet I. Tand (The three westernmost states areScript. New Mexico, Utah, and Montana.)

2.(The two northwest states areWashington and Oregon.)

3.(Idaho lies to the east of Montanaand Wyoming.)

44

44

4. T F(The four states of Colorado, Utah,New Mexico, and Arizona touch eachother at one point.)

5. T F(The three westernmost states areCalifornia, Oregon, and Washing-ton.)

45

43

CONVERSATIOCONTEXT

NAL DICTATION: PRACTICE IN

EXAMPLE 1. TELEPHONDIAGRAM

E MESSAGE: BUILDING


Directions. Listen to the following conversFill in the information on the diagrCheck your answer key as you finisheach section.

Worksheet.

Script.

46

ation.aril .

BUILDING DIAGRAM FOR THEEASTGATE SHOPPING CENTER

3 610

.,-.

(( (

( S.

-.0-, e-s1 9) \n I

2 5

I

... ,. - _--

8 7 4

bakerybankbeauty shopcandy storedepartment store

A. Good morning.

gardengrocery storerestaurantsports shoptheater

Richfield Archi-tectural Consultants.

B. Good morning. Is Bob Richfieldin, please?

C. Yes he is. Who shall I say iscalling?

46

B. This is Jim Kennedy. (pause)C. Jim, hi! This is Bob.B. Hi, Bob. Sorry to bother you so

early but I'm kind of puzzled bythe diagram you sent me for thenew shopping center project.

C. Puzzled? What's the matter?B. Well--the diagram's blank!C. Blank! You're kidding!B. Nope. It's as blank as can be.C. I'm sorry, Jim. We sent you the

wrong one. I'll send a new oneright away.

B. No, that's O.K. Just fill me inon what's what and I'll write it onthis blank one.

C. Well, 0.K.--but we'll send anotherone over, pronto. Now, if youstart on the left-hand side, theshop just to the left of Gate Oneis the candy shop. . . . Just be-hind the candy shop is the bank. . . and the department store isbehind the bank. Then on theright side, the building to theright of Gate Three is the bakery

and the building in back ofthe bakery is the beauty shop

and the grocery store isbehind the beauty shop. Thebuilding on the right side ofGate Two is the sports shop . . .

the building to the left of themiddle gate is the restaurant.There's a big garden directlybehind the sports shop and therestaurant. Finally, the bigbuilding behind the garden is thetheater.

B. I think I got all of them, but letme repeat. (repeats)

C. Right. You got them all.

47

47

B.

B.

C.B.

C.B.

I'll look this over and call youback tomorrow about the plans.Good. Sorry we slipped up.That's O.K. No harm done. I'lltalk to you tomorrow then.Fine, goodbye, Jim.Goodbye, Bob.


Directions.

Script.


List the three largest buildings. Thenlist the four smallest ones. Finally,list the two middle-size buildings.

D. LISTENING FOR TIME ANDTEMPORAL INFORMATION

The goal of the listening activities for practicein listening to and using time and temporal infor-mation is to give students practice in (1) instantrecognition and production of time and temporalinformation in context, (2) listening to and respond-ing to time and temporal vocabulary and phrases,and (3) rapid manipulation of time and temporal in-formation.

48

48


EXAMPLE 1. INTERNATIONAL TIME ZONES


Directions. Listen and write the name of the cityabove the appropriate cock. Checkyour answer key as you finish eachsection.

Worksheet.

Script.

)

The Trans-world Travel Agency willopen next week in the NorthgateShopping Mall. On Monday the work-men installed six big clocks for themain office of the agency. The travelagents consulted their maps and setthe clocks as follows. They set theclock for Tokyo at 10:00 p.m. Thenthey set the clock for Calcutta at atime four hours earlier than Tokyotime. Next, the Cairo clock was setat a time three hours earlier than thetime in Calcutta. The Hawaii clockwas set at 2:00 a.m. Then the NewYork clock was set for a time six hourslater than Hawaii time. Finally, the

49

49

clock for London was set for a timefive hours later than New York time.

B. LISTENING AND ANSWERING QUESTIONS:MULTIPLE CHOICE

Directions. Listen to each question. Consult thesix clocks. Circle the letter of thecorrect answer, a, b, or c. (Number1 is done for you.)

Worksheet Bob arrived at London airport atand 2:30 p.m. He decided to telephoneScript. his family in New York immediately.

What time was it in New York when itwas 2: 30 p.m. in London?

1. a. It was 1:30 p.m.b. It was 12:00 midnight.0 It was 9:30 a. m.

Bill wants to call his friend in Hawaiiat 11:00 a.m. New York time. Whattime will it be in Hawaii when it is11:00 a.m. in New York?

2. a. It will be 5:00 a.m.b. It will be 10:00 a.m.c. The time will be the same.

The students left Tokyo at 10:00 p.m.on a plane to Calcutta. The flighttook two hour;:. What time was it inCalcutta when they arrived?

3. a. It was 10:00 p.m.b. It was 11:00 p.m.c. It was 8:00 p.m.

50

50


EXAMPLE I. TELEPHONE INFORMATION:BUS SCHEDULE


Directions. Listen to the following conversation.Fill in the information on the BusSchedule. Check your answer keyas you finish each section.

Worksheet.

Script.

BUS SCHEDULE

Departures to Chicago

A.M. P.M.

A.B.

Good afternoon. Greyhound.Is this the Greyhound bus termi-nal?

A. Yes, Ma'am.B. I'd like some information. please.A. O.K. What can I do for you?B. We ll--I need to know the bus

schedule to Chicago.A. O.K. The next mein be leaving

here at 11: 30--that's a. m. --then1: 10 p. m. , 1:40, 3: 25, 3: SO, 5: 15,6:25, 8:15, and 10:10 tonight.

B. Could you give me those again soI can write them down?

51

51

A. Sure. 11:30 (a.m.), then 1:10,1:40. 3:25, 3:50. 5:15, 6:25.8: 15. and 10: 10 tonight.

B. Thanks. I got them all writtendown. Are there any busesearlier in the morning?

A. Oh, sure! At 6:30that's a.m.--then 8:15, and then 30:05.

B. Thanks very much for your help.'Bye.

A. You're welcome. 'Bye.

B. LISTENING AND PROBLEM SOLVING

Directions. Listen to the following problem andcomplete it as directed.

Script. Bill and Bob arc both from Chicago.They plan to go home to Chicago thisweekend as soon as their classes areover. Bill's last class is over at 1:45and Bob's last class is over at 4:15.The bus station is only five minutesfrom the campus. What bus can Billcatch? What bus can Bob catch?

E. LISTENING FOR DATES ANDCHRONOLOGICAL INFORMATION

The goal of the listening activities for practicein listening to and using dates and chronologicalinformation is to give students practice in (I) in-stant recognition and production of dates andchronological information in context, (2) listeningto and responding to dates and chronological vocabu-lary and phrases, and (3) rapid manipulation ofdates and chronological information.

52

52


EXAMPLE 1. CHRONOLOGICAL REVIEW OF WORLDPOPULATION



Worksheet The date (6000 B.C.) is the date thatand experts use as a beginning point forScript. the 'Dawn of Civilization.' The total

population at that time was probablyaround (8 million) people. By theyear COO A.D.) it is estimated thatthe population had increased to afigure of approximately (150 million)people. In the year (MOO) the popu-lation had risen to a igrnire of (SOOmillion) people. By the year (Igo)the population of the world had hitthe (1 billion) mark. In (2900) thepopulation was around (1i billion)and had risen to (2 billion) by theyear (1930). In (19751 the populationfigure was over ( 1:711-11on) people. Itis now estimated that the populationof the world will climb to (6 billion)people by the year (2000). Whoknows what the population will be inanother hundred years!


Directions. Listen and then write the answers tothe questions as they are given. Usethe information you have writtenabove.

53

53

Worksheet 1.And (In what year did the worldScript. population reach I billion?)

54

2.

3.

(What was the population increasebetween the years 1600 and 1900?)

4.

(now many years between theworld population of I billion and2 billion?)

(How many years between theworld population of 2 billion and3 billion?)

54

si


EXAMPLE 1. TELEPHONE INFORMATION:COLLEGE REGISTRATIONINFORMATION FOR NEWSPAPERPUBLICITY


Directions. Listen to the following conversation.Fill in the information on the news-paper Announcements Data Sheet.Check your answer key as you finisheach section.

Worksheet.

Script.

ANNOUNCEMENTS DATA SHEET:THE DAILY CITY JOURNAL

Event:

Dates and times:

Place:

Additional information:

Contact person and telephonenumber:

A. Good morning. Daily CityJournal.

B. Hi. I'm calling for RichlandCommunity College and I have

5 zi

55

56

some information about ourspring/summer registration.

A. All right. Let me give you theAnnouncements desk.

B. Thanks.C. Announcements desk.B. This is Jane Dixon in the regis-

trar's office at Richland Commun-ity College with some informationon our spring/summer registra-tion. Could we get it in Satur-day's paper?

C. Sure. No problem. Shoot.B. O.K. Registration at Richland

Community College for spring andsummer classes will begin onTuesday, April 12 and continuethrough Friday, April 29. Dailyhours are from 8:00 a.m. to 5:00p.m., Monday through Friday.Special night registration hourswill be on April 13, 15, 17, 19,and 28 from 6: 30 to 8: 30 p.m.Spring classes will begin on Mon-day, May 2 and end on Friday,June 17, and summer classes willbegin on Monday, June 20 andend on Friday, August 5. Regis-tration will be possible at twolocations: the Student Center onthe Richland Community Collegecampus and Richland Nigh School.Tuition for all classes must bepaid in full at the time of regis-tration. Tuition is $24 dollarsper credit hour. Visa, AmericanExpress, or Master Card will beaccepted. That's all.

C. All right. Could 1 have yourname and telephone numberplease?

B. Jane Dixon--254-6668.

56

C. Thanks. Let me read the infor-mation over to you for any mis-takes. (repeat)

B. No mistakes. You might add thattime schedules and course descrip-tions are available any time at theRichland Community College Stu-dent Center.

C. Right. That'll be in Saturday'spaper, then.

B. Thanks very much.C. You're welcome.B. Goodbye.C. Goodbye.

B. LISTENING AND PROBLEM SOLVING

Directions. Listen to the following problem andcomplete it as directed.

Script. Jim works from 9:00 a.m. to 4:00 p.m.Monday through Friday. and his wifeNancy works in the evenings from7:30 to 10:30 p.m. When can eachof them register for classes at Rich-land Community College? When canthe two of them go together toregister?

* .

F. LISTENING FOR MEASUREMENTS ANDAMOUNTS INFORMATION

The goal of the activities for practice inlistening to and using measurements and amountsinformation is to give students practice in (1)instant recognition and production of measurementsand amounts information in context, (2) listeningto and responding to measurements and amountsvocabulary and phrases, and (3) rapid manipu-lation of information related to measurements andamounts--both quantities and qualities.

57

57


EXAMPLE 1. WEIGHTS AND MEASURESCONVERSION INFORMATION


Directions. Listen and write the information aboutcomparative measurements and amounts.Check your answer key as you finisheach section.

Worksheet.A VISITOR'S GUIDE TO U.S.

WEIGHTS AND MEASURES

1. Length:2. Length:3. Weight:4. Weight:5. Liquid:6. Liquid:7. Distance:8. Temperature:

Script. Many countries of the world use themetric system of weights and measure-ments. However, the United Statesuses quite a different system of weightsand measurements. Visitors to the U.S.often are confused by the new systemthey find. The following eight itemsare the ones that are used the most.The conversion guide for these eightitems is: In LENGTH: (1) one yard,in U.S. measurement, is equal to .91meters and (2) one inch, in U.S.measurement, is equal to 2.54 centi-meters. In WEIGHT: (3) one ounce,in U.S. measurement, is equal to28.35 grams, and (4) one pound, inU.S. measurement, is equal to .45kilograms. In LIQUID: (5) one quart,

58

5

in U.S. measurements, is equal to .96liters and (6) one gallon, in U.S.measurement, is equal to 3.78 liters.In DISTANCE: (7) one mile, in U.S.measurement, is equal to 1.6 kilometers.Finally, in the measurement of TEM-PERATURE: (8) the freezing point-32 degrees in the Fahrenheit measure-ment used in the U.S. -is equal tozero degrees, Centigrade.

B. LISTENING AND ANSWERING QUESTIONS:TRUE/FALSE

Directions. Listen to each statement. Consult theVisitor's Guide to U.S. Weights andMeasures. If the answer is TRUE,circle T. If the answer is FALSE,circle F. (Number 1 is done for you.)

Worksheet 1. Fand (One meter is slightly longer thanScript. one yard.)

2. T F(An inch is longer than a centi-meter.)

3. T F(One kilogram is equal to about 2and 1/10 pounds.)

4.(One gallon is about equal to 3 andthree-quarters liters.)

5.(Forty degrees Fahrenheit is warmerthan 40 degrees Centigrade.)

5L

59

LECTURE DICTATION: PRACTICE IN CONTEXT

EXAMPLE 1. INFORMATION IN A PUBLICLECTURE: ROCKETS


Directions. Listen to the following excerpt from apublic lecture delivered by Wernhervon Braun. In this excerpt, vonBraun is describing some slides of theSaturn 5 rocket used in the launch ofthe Apollo 11 mission to the moon.Take notes of each of the measure-ments given in this portion of thelecture. Check your answer key.

Worksheet.MEASUREMENT NOTES ON THE

SATURN 5 ROCKET

1. (length)

2. (weight)

3. (total engines)

4. (engines to "push it up")

5. (pounds of thrust)

. (horse wer)

7. (horse wer converted into noise)

8. (attendance)

Script. Dr. von Braun: Now 1 brought a fewslides along . . . for my lecture heretonight . . . that 1 propose to showyou . . . but 1 couldn't resist thetemptation . . . to first show you a

60

60

few slides about Apollo, itself, andthen I will go on and meet my promisedtalk to you about the space programafter Apollo, which I am convinced isfull of interesting promises. So can Ihave the first slide. (pause) 'n youfocus that a little better? Focus . . .

please. (laughter from the audience)Oh. Ah . . . Mm . . . This, ofcourse, is the Saturn 5 at takeoff.And now a few statistics . . . inter-esting about this rocket . . . it is360 feet long . . . and weighs approxi-mately 3000 tons at takeoff. That'sabout the weight of a light navalcruiser . . . needs six engines . . .

and at least five engines that push it upwith a thrust of seven and a half millionpounds . . . uh . . . produce abouta hundred sixty million ( 160, 000, 000)horsepower in this process. It is saidthat about one million horsepower isconverted into noise. (laughter fromaudience) The Cape . . . ah . . .

Cape Kennedy--seems to be the onlyarea in the world where people appreci-ate noise, because most of our launcheswere attended by approximately amillion people.

B. LISTENING PROBLEM SOLVING

Directions. Write a brief but complete summary ofthe measurement information given inthe lecture. When you have finished,check your answer key.

61

61

11.3 Situational/Functional/InformationalListening Practice

Situational/functional/informational listening isanother facet of functional listeninv and vocabularybuilding. In some ways, the activities describedin this section are similar to those presented in thenotional/informational section. That is, the listen-ing focus continues to be on the language message,not language form. Again, students can be encour-aged to be seiTcTive in their listening (i.e., some-thing like 'skim' listening), to concentrate on listen-ing in order to cope with the specific listening taskat hand, and to tolerate parts of the informationthat may not be 'understood.'

The listening activities in this section differfrom the ones in the previous section in the follow-ing ways:

(1) They are organized around selected lan-guage settings and situations of differenttypes (including listening to recordedtelephone messages, telephone businessconversations, in-person business conver-sations, interviews, demonstration-discussions, and 'semi-serious' mini-lectures).

(2) They are concerned with analyzing someof the special functions of the languageused in the different settings and situ-ations (including the social context, the

62

63

roles of the participants, and the purposesof the communication).

(3) They ask students to turn some of theirlistening attention to the nature and theintent of the whole message--and/or par-ticular parts of itand encourage 'read-ing between the lines' of aural texts.

(4) They include attention to the kinds ofstrategies used by speakers to deal withmisunderstandings and to keep conver-sations going.

Again, it is important to stress that this kindof listening practice is concerned not just with re-ceiving information but also with doing somethingpurposeful with the information.

A. RECORDED TELEPHONE MESSAGES

Recorded messages are an example of a veryrestricted form of one-way communication. Ordi-narily they are for business purposes and theirprimary language function is the giving of infor-mationincluding factual data, descriptions, instruc-tions, explanations, etc. Often the message is re-peated so that the caller can listen as many timesas necessary to get the information. In most casesthe caller can redial the telephone number to listenmore than once.

The examples of recorded telephone messagesin this section range from easy--a very short amountof simple information (i.e., a recorded time report)- -to longer, more detailed, and more complex infor-mation (i.e. , a recorded instructional message froma passport office).

The students are asked to listen for two kindsof information: (1) the factual content of the mes-sage and (2) other features of the message such asthe nature, the intent, the quality, the social con-text, the attitude and level of formality of the

64

63

speaker, etc. Analysis of this type helps studentsbegin to become aware of the importance of socialcontexts and purposes of communicvtion that 'gobeyond' the words and are often essential in helpinginterpret the 'real' meaning of a message. That is,it helps students begin to 'read between the lines'of an aural text.

Students can be encouraged to replay the tapeas many times as necessary to get the information.Answer keys should be provided so that they maycheck their answers immediately upon completion ofthe lesson. Students should feel free to ask theteacher/monitor for help if they have any questions.

65

64

RECORDED TELEPHONE MESSAGES

EXAMPLE 1. TIME CHECK

A. INTRODUCTION (recorded on the tape preced-ing the telephone message)

You will hear a series of recorded time re-ports. The exact time will be given every tenseconds, that is, at ten-second intervals.

B. LISTENING TASK (also recorded on the tapepreceding the telephone message)

Listen and write the missing words on thelines. Replay the tape as many times as youwish. Ask the teacher for help if you haveany questions. Check your answer key asyou finish each section.

Worksheet At the tone the (time) will be 3:50and and (ten) seconds.Script. (BEEP)

At the tone the (time) will be 3:50and (twenty) seconds.(BEEP)At the tone the (time) will be (3:50)and (thirty) seconds.(BEEP)At the (tone) the time will be ( 3: 50)and (forty) (seconds).(BEEP)At the (tone) the (time) will be 3:50and (fifty) (seconds).(BEEP)At the tone the time will be (3:51)exactly.(BEEP)At the tone the time will be (.:51)and (ten) (seconds).(BEEP)

66

6,5

C. INFORMATION QUESTIONS (may be presentedaurally on the tape, visually on the worksheet,or both)

Directions. Answer the following questions. Usethe information you have just written.

1. Now many times was the timegiven?

2. What was the first time given?

3. What was the last time given?

D. ANALYSIS QUESTIONS (may be presentedaurally on the tape, visually on the worksheet,or both)

Directions. Circle the letter of the answer youthink is the correct one. More thanone answer may be circled if you wish.

I. Now many voices did you hear?a. threeb. twoc. one

2. Now would you describe thevoice?a. very friendlyb. very tiredc. very mechanical

66

67

EXAMPLE 2. THEATRE MESSAGE

A. INTRODUCTION (recorded on the tape pre-ceding the telephone message)

You will hear a voice say, "This is a recordedmessage from your Northgate Movies locatednext to J.C. Penney's in the Northgate Shop-ping Center. Our feature today in Theatre 1and Theatre 3 is a re-run of Cleopatra."The voice then gives six show times and otherinformation.

B. LISTENING TASK (recorded on the tape pre-ceding the telephone message)

Listen and get the location, the show timesand prices, and the names of the movie stars.Replay the tape as many times as you wish toget the information. Ask the teacher for helpif you have any questions. Check your answerkey as you finish each section.

C. INFORMATION QUESTIONS

1. Where is the Northgate movie theatre loca-ted? (two prepositional phrases of place)

2. What are the six show times?

3. What is the price for adults?

for children under twelve?

4. Write the names of the two movie stars.

D. ANALYSIS QUESTIONS

1. What information is given in the firstfive words?

68

6/

2. Do you think the voice was that of ayoung person or an older person?

3. Was the voice clear and easy to under-stand?

4. Was the voice friendly?

5. Write one additional question that youmight ask; write the answer.

Script. This is a recorded message from yourNorthgate Movies located next to .7. C.Penney's in the Northgate ShoppingCenter. Our feature today in Theatre1 and Theatre 3 is a re-run ofCleopatra, starring Elizabeth Taylorand Richard Burton. Show times areat 1:20, 3:20, 4:45, 6:45, 9:15, and11:15. All seats are $4.50 for adultsand $2. 00 for children under twelve.If you have any further questions.please call 568-7878. Thank you forcalling your United Artists.

68

69

EXAMPLE 3. WEATHER AND ROAD CONDITIONREPORT


You will hear an information bulletin from theHighway Patrol Office of a large state in thewestern United States. The voice gives infor-mation about road conditions and weatherconditions.


Listen and get the information needed toanswer the questions on the worksheet.Replay the tape as necessary. Ask theteacher for help if you have any questions.Check your answer key as you finish eachsection.


1. What is the name of the large westernstate?

2. What is the name of the county?(Hint: It's also a color.)

3. What is the weather report for thecounty?

4. What is the date of the report?

5. For what city is rain predicted?


70

1. What two kinds of identifying informationare given in the opening line?

69

2. Identify the two parts of the conversationclosing given in the last two lines.

3. Was the voice a man's voice or a woman'svoice?

4. Do you think the person was a realmember of the Highway Patrol or do youthink the person was a trained radioannouncer? Why?

Script. This is a weather information and roadbulletin from the California HighwayPatrol Office . . . March 8th, at fivep.m. All major freeways in OrangeCounty are open and traffic is normalfor this time of day. The weatherfor Orange County is cloudy and over-cast. Heavy rain is predicted tonightfor the city of San Diego. Tempera-tures tonight will be in the low six-ties. This concludes your road andweather report. Thank you for call-ing. Drive carefully.

70

71

EXAMPLE 4. DIAL-A-DATE MESSAGE


You will hear a voice say,Trustworthy Dial-A-Date.right now, but I'd like toaddress." The voice goesaddress and a descriptionalso gives instructions forname and number.

"Hi there. This isWe're not open

give you ouron to give the

of the location. Itleaving a person's


Listen and get the address, the location, thehours, and the final closing line of the mes-sage. Replay the tape as necessary. Ask theteacher for help if you have any questions.Check your answer key as you finish eachsection.


1. What is the street address of TrustworthyDial-A-Date?

2. What is the location?

3. What hours is Trustworthy Dial-A-Dateopen?

4. Write the closing line of the message.


72

1. How would you describe the greeting atthe beginning of the telephone message?(formal or informal; friendly or unfriendly;etc.)

71

2. Can you suggest other greetings thatmight be used?

3. What is the intent of the message?a. To encourage the caller to call back?

b. To discourage the caller from callingback?

Why did you choose (a) or (b)?

4. How would you describe the closingstatement of the message? (friendly orunfriendly; inviting or not inviting; etc.)

5. Do you think this kind of message isgood advertisement for Trustworthy Dial-A-Date? Why?

Script. Hi there! This is your TrustworthyDial-A-Date. We're not open rightnow . . . but I'd like to give you ouraddress. Got a pencil handy? . . .

Ready? Here we go. Our address is946 Main Street in downtown Miami.Got that? 946 Main Street. We'reon the corner of Main Street andBroadway . . . and we're right nextto the Bank of America. Just come onin any time! We're open from 10: 30a.m. until midnight. If you'd like usto return your call, just leave yourname and your number at the tone.We promise to call you first thing inthe morning. Thanks for calling andI hope to meet you soon! (BEEP)

73

72

EXAMPLE 5. PASSPORT OFFICE INFORMATION(easy version)


You will hear a message from the passportoffice in the Federal Building. The speakergives information about the items that a pass-port applicant must bring to the office inorder to get a passport.


Listen carefully. Answer the following ques-tions. Write down the four items that thepassport applicant must bring. Replay thetape as many times as you wish. Ask theteacher for help if necessary. Check youranswer key as you finish each section.


1. What hours and days is the passportoffice open?

2. Where is the passport office located?

3. List the four items that a passport appli-cant must bring.(1)(2)(3)(4)

4. How soon will the passport be ready?


74

1. Was the voice a man's voice or a woman'svoice?

73

2. Was the voice easy to understand or hardto understand? Explain.

3. What were the last two sentences spokento close the message? Were they polite?

4. What were the first two sentences spokento open the message? Were they polite?

Script. Good afternoon! This is a recordedtelephone message. The passportoffice is open from 8:45 a.m. to5:30 p.m., Monday through Friday.It is located in the Federal Building,Room 442. Applicants must come inperson and present the followingitems:

One: Photographs. Two duplicatephotographs taken within five or sixmonths of the date of application.These must be full face of the appli-cant. Color photographs are accept-able. Snapshots and vending machinephotographs are not acceptable.Two: Proof of citizenship. This maybe a certified record of birth, aprevious passport, or a naturalizationcertificate.Three: Personal identification. Thismay be a driver's license, a recentlyexpired passport, or a governmentI.D. card.Four: Fees. There is a federal feeOTT10. 00. You must also pay $4. 50in cash, for local fees.Your passport will be ready in four orfive weeks. For further information,please call 884-3415 between 10:00 a.m.and 4:00 p.m. Thank you for calling.Have a good trip!

74

75

* * *

B. TELEPHONE CONVERSATIONS:BUSINESS CALLS

Telephone conversations for business purposesusually are an informational exchange in which oneperson asks for information and the other persongives the information. The primary language func-tion is the giving and the receiving of information- -including factual data, descriptions, explanations,directions, instructions, etc. The person receivingthe information may ask a number of different kindsof questions as the exchange proceeds. These mayinclude requests for repetitions, clarification, veri-fication, amplification, etc.

The examples of business telephone calls inthis section range from a very short and simplekind of exchange (e.g., wrong number or numberchange) to longer, more involved exchanges (e.g.,information about an airline reservation).

Again, the students are asked to listen fortwo kinds of information: (1) the factual contentof the message and (2) other features of the mes-sage such as the nature of the exchange, the socialcontext, the level of formality, and the kinds ofstrategies used by the speakers to deal with mis-understandings and keeping the conversation going.

76

7,-)

EXAMPLE 1. NEW TELEPHONE NUMBER

A. INTRODUCTION (recorded on the tape pre-ceding the telephone conversation)

You will hear the telephone operator say,"May I have the number you're dialing?"The caller gives the number and the operatorthen gives the caller the new number.

B. LISTENING TASK (recorded on the tape pre-ceding the telephone conversation)

Listen carefully. Write the two numbers, theold one and the new one. Check your answerswith the answer key.


1. What was the old number?

2. What was the new number?


1. Draw a circle around each item belowwhich, in your opinion, correctly describesthe voice of the telephone operator.a. friendlyb. unfriendlyc. easy to understandd. hard to understande. a woman's voicef. a man's voice

Script. A. May 1 have the number you'redialing?

B. Yes. 554-1039.A. 554-1039?B. Yes. That's right.A. The number has been changed.

The new number is 554-2026.

77

B. 559-2025?A. No. 559-2026.B. Thank you.A. You're welcome.B. 'Bye.

78

77



You will hear the telephone operator say,"What number are you dialing?" The callergives the number and the operator then givesthe caller the new number.


Listen carefully. Write the two numbers, theold one and the new one. Check youranswers with the answer key as you finisheach section.





1. Draw a circle around each item belowwhich, in your opinion, correctly describesthe voice of the telephone operator and thequality of the answer.a. helpfulb. not very helpfulc. easy to understandd. hard to understande. a young voicef. an older voice

2. Listen to EXAMPLE 1 again. Compare thequalities of the voices of the two telephoneoperators and answer these questions:a. Which one was more friendly and

helpful?

78

79

b. Which one was younger?

c. Which one had the voice which waseasier to understand?

3. Listen to each of these two conversationsagain and answer the following questions.Ask the teacher/monitor for help ifnecessary.a. Write the first line spoken by the

operator in each conversation.#1#2

b. In your judgment, which questionform is more polite? Why?

c. Write the fifth line spoken by theoperator in each conversation.#1#2

d. In your judgment, which voice soundsmore sincere? Why?

Script. A. What number are you dialing?B. 556-8061.A. 556-8061?B. Yes.A. It's been changed to 449-5080.B. What was that again?A. 449-5080.B. . . . 5080. Thank you.A. You're welcome.B. 'Bye.

80

79



You will hear the telephone operator say,"What number are you dialing, please?" Thecaller gives the number and the operator thengives the caller the new number.


Listen carefully. Write the answers to thefollowing questions. Check your answerswith the answer key.




3. What company did the caller want to call?


1. What polite word did the operator use inline #1?

2. What two polite words did the caller usein the next-to-the-last line?

3. What polite phrase is used by the opera-tor at the end of the conversation in allthree examples of NEW TELEPHONENUMBER?

81

Script. A. What number are you dialing,please?

B. 773-9201.A. The number's been changed to

884-6200.B. 884-6200. Is that the Main Street

Auto Repair?A. I'm not really sure about that.B. OK. Thank you.A. You're welcome,

82

81

EXAMPLE 4. WRONG NUMBER


You will hear a three-line conversation.


Listen carefully. Write the entire conversationon the lines below. Check your answers withthe answer key.

Line 41Line 42Line 43


1. What is the name of the store?

2. What time of day was this call made?


1. What polite phrase does the caller use?

2. What polite phrase does the other partyuse?

Script. A. Good morning. Broadway Drug-store.

B. Oh! I'm sorry. I've dialed thewrong number.

A. That's all right.

83

82

EXAMPLE 5. WRONG NUMBER


You will hear a short conversation involvinga wrong number. The person who answersthe telephone is especially helpful.


Listen carefully. Answer the following ques-tions. Check your answers with the answerkey.


1. What was the name of the store thatanswered the call?

2. What information was the caller trying toget?

3. What was the number of the bookstore?

4. What was the number the caller needed?


1. Why does the bookstore get wrong numbercalls for the weather report?

2. How would you describe the bookstoreclerk who answered the telephone?

Script.

84

A. Good morning. Broadway Book-store.

B. Oh! I'm sorry. I have the wrongnumber.

A. That's OK. Were you calling forthe weather?

8)0

B. Yeah.A. I can give you the number. It's

469-2040.B. Gee. Thanks.A. That's OK. We get u lot of wrong

numbers on that. Our number is468-2040 and the weather reportnumber is 469-2040.

B. Thanks very much.A. That's OK. 'Bye.B. 'Bye.

8,1

85

EXAMPLE 6. BUS SCHEDULE


You will hear a brief telephone conversation.The customer asks the bus station clerk forinformation about the bus schedule to Boston.


Listen carefully. Answer the following ques-tions about the name of the bus company andthe afternoon, evening, and morning hours ofthe bus schedule to Boston. Replay the tapeas many times as you wish. Check youranswer key.


1. What is the name of the bus company?

2. What is the first time the clerk gives?

3. What is the latest time given for 'tonight'?

4. What three times are given for the morn-ing buses?


86

1. How many voices did you hear?

2. How many were women's voices? men'svoices?

3. What socially 'polite' word did the customeruse?

4. Did the clerk add any extra 'polite'words?

8 5

5. Was the clerk especially helpful? Explain.

Script. A. Good morning. Holiday.B. Is this the Holiday Bus Terminal?A. Yes, Ma'am.B. I'd like some information, please.

What is the bus schedule to Boston?A. Next one'll be leaving here at 11:30,

then 1:10, 1:40, 3:25, 3:50, 5:15,6: 25, 8: 15, and 10:10 tonight.

B. What about . . . uh . . . earlierin the morning?

A. 6: 30, 8: 15, and 10: 05.B. T hank you.A . Mm-hm.

87

8 6

EXAMPLE 7. AIRLINE RESERVATIONS

A. INTRODUCTION (recorder' on the tape pre-ceding the telephone conversation)

You will hear a telephone conversation in whicha customer calls an airline to make a travelreservation.


Listen carefully. Answer the following ques-tions about dates, times, and the name of theairline. Replay the tape as many times as youwish. Check your answer key.

C INFORMATION QUESTIONS

1. Dates:Going to Grand Rapids (day and month)

Returning to Detroit (day and month)

2. Name of the airline

3. Flight times going to Grand Rapids:Leaving Detroit at (time)

Arriving Grand Rapids at (time)

4. Flight times returning from Grand Rapids:Leaving Grand Rapids at (time)

Arriving Detroit at (time)


88


2. How many were women's voices? men'svoices?

8

.vimimormil

3. Do you think they both spoke the samedialect of American English? Explain.

4. What socially 'polite' word did the custo-mer use in the beginning of the conver-sation?

5. Which person sounded more polite andhelpful? Why?

Script. S. (Secretary)Good afternoon. Midwest Airlines.

C. (Customer)Hello, I'd like to make a reserva-tion, please.

S. Okay.C. Going to Grand Rapids . . . on

the twenty-eighth.S. Of April?C. Yes.S. Okay.C. And . . . ah . . . returning on

the twenty-ninth.S. All right.C. Now on the twenty-eighth, I'd

like something that would arrive. . . after 2:00 p.m. in GrandRapids.

S. Okay . . . North Central has aflight that will leave at 1:40. . . and arrive at 2: 14.

C. Leaves Detroit at 1:40 . . .

And arrives at two . . .

S. Fourteen.C. Fourteen. All right. That would

be fine.S. All right.C. And then I'd like to return . . .

something leaving Grand Rapidsafter ten o'clock.

89

S. A.M.?C. Yes.S. TherPill be one at 10: 30,

getting in at 11:30.C. Okay. That's fine.

* * *

C. IN-PERSON BUSINESSCONVERSATIONS

In-person business conversations usually in-volve informational exchange. Often one personasks for information, and the other person givesthe information. As with the telephone businessconversations in Section B, a primary languagefunction of in-person business conversations is thegiving and receiving of information -- includingfactual data, descriptions, explanations, directior.s,instructions, etc. The person receiving the infor-mation may ask a number of different kinds ofquestions as the exchange proceeds. These mayinclude requests for repetitions, verification, ampli-fication, and so forth.

90

89

EXAMPLE I. CONVERSATION IN A FLOWER SHOP

A. INTRODUCTION (recorded on the tape pre-ceding the conversation)

You will hear a short conversation in a localflower shop. Information is requested by acustomer and is given by a clerk. The infor-mation concerns the prices of certain flowersand the colors available.

B. LISTENING TASK (recorded on the tape pre-ceding the conversation)

Listen carefully and answer the followingquestions. The questions in Part C are 'fact'questions. The questions in Part D are 'judg-ment' questions in which you are asked tomake some judgments about the speakers.These questions ask you to direct your atten-tion to vocal qualities, attitudes, and featuresof speech. Replay the tape as many times asyou wish to get the information. Ask theteacher for help if you have any questions.Check your answer key as you finish eachsection.


I. How much do long-stemmed red roses costper dozen? boxed? arranged?

2. What charges are sometimes madein addition to the price of theflowers?

3. How much do the sweetheart roses (i.e.,the baby roses) cost per dozen? boxed?arranged?

4. What three colors do the baby roses comein?

JO

91

5. How much are the carnations per dozen?boxed? arranged?

6. What five colors do the carnations comein?

7. How much are the small orchids (i.e.,the cymbidium orchids) each?


I. How many voices did you hear?

2. Do you think the two speakers werespeaking the same dialect of AmericanEnglish?

3. What kind of background noise did youhear?

4. Did the clerk give the customer enoughtime to write? Explain.

5. What polite question did the customer askat the beginning of the conversation?

6. What was the clerk's polite answer?

Script. A. (Clerk)Good morning.

B. (Customer)Good morning.

A. May I help you?B. Yes. Is this a bad time to ask for

some information on prices?A. No, I don't think so. What would

you like to know and we'll try tofind out for you.

B. All right. I wondered if you couldgive me some prices on cut flowers.First of all, how much are yourlong-stemmed red roses?

92

91

A. Did you want those to be boxed orarranged, or what?

B. Well. What do the prices run forthem boxed?

A. Boxed, they are $31.50 for a dozen. . . (pausing as customer writes)

B. . . . $31.50 . . . and arranged?(writes information)

A. . . . arranged is $39. 00 . . . and. . . plus tax and delivery ifapplicable. (pausing as customerwrites)

B. All right. And what about sweet-hearts? The baby roses?

A. The sweetheart roses? Again,boxed or arranged or . . . ?

B. Both.A. OK. Well, boxed will be $19.00 a

dozen and arranged will be $21.00.B. OK. (writing) And what colors

do the baby roses come in?A. The sweethearts? . . . in yellow,

red, pink, primarily.B. OK. (writing) And what about

carnations? What are the priceson carnations?

A. OK. Carnations are $13.50 boxed. . . and $15. 00 arranged . . .

for a dozen . . . plus tax anddelivery in all cases, of course.

B. (writing) And what colors do thecarnations come in?

A. Red, pink, white, yellow, orange,. . . a number of colors, depend-ing on what we have at the giventime.

B. OK. And . . . let's see, just onemore thing. Could you tell meabout the small orchids? Thecymbidiumorchids 1 think they'recalled.

A. Cymbidium orchids . . . yeah.B. And what do they run?

93

9 )4,

94

A. Did you want those arranged .

or what?B. Well. Do they come as singles or

. . . .

A. Usually as singles . . . a singleflower.

B. And how much are they a singleflower?

A. Well. They're $7. 50 just as is.If you want it arranged, you'dhave to pay a little bit more.

B. All right. I think that's all I needto know just now. Thanks verymuch for your help. 'Bye.

A. You're very welcome. Bye-bye.B. 'Bye.

93

EXAMPLE 2. ANSWERING A NEWSPAPER WANT AD

A. INTRODUCTION (recorded on the tape pre-ceding the conversation)

You will hear a short conversation in whichinformation is requested and received.Speaker B rings the doorbell and Speaker Aanswers. Speaker B has come to ask about anewspaper ad that advertised a set of En-cyclopedia Britannica, a popular set of refer-ence books. Speaker A wants to sell thebooks and Speaker B may want to buy thebooks if they are not too expensive and ifthey are in good condition.

B. LISTENING TASK (recorded on the tape pre-ceding the conversation)

Listen carefully and answer the followingquestions. Some of the questions are 'fact'questions and some are 'judgment' questions.Replay the tape as many times as you wishto get the information. Check your answerkey as you finish each section.


1. When did the customer (Speaker B) seethe ad in the newspaper?

2. What was the date?

3. What was the year in which the Encyclo-pedia was published?

4. How many volumes?

5. What price is the seller (Speaker A)asking for the set?

94

95

6. How much did the seller (Speaker A) payfor the set?

7. What is the retail value?

8. What kind of condition is the set in?


1. How many speakers did you hear?

2. How many were men's voices? women'svoices?

3. Was the seller (Speaker A) helpful or nothelpful? Explain.

4. Who dominated the conversation? Explain.

Script. A. Hello.B. Hello. 1 saw an ad in the Dallas

Star last night.A. Mm . . . Hm . . .

B. Yesterday's . . . Tuesday. Janu-ary twentieth . . . for a set of. . . uh . Encyclopedia Bri-tannica.

A. Yes.B. Could you tell me . . . have you

sold it?A. No. I have not sold it yet.B. Uh . . . could I have some infor-

mation?A. Uh . . . yeah . . . well . . . it's

a nineteen . . .

B. What . . . what year is it?A. It's the eighty-two. It's the latest

edition.B. 1 see. And how many volumes is

that?A. That's thirty volumes.

96

95

B. Thirty. And what are you asking?A. Four fifty. I paid six fifty for it.

I've had it for about a year.B. I see . . . that's four hundred

and fifty.A. Mm . . hm.B. . . . And new its six hundred?A. Well . . . I paid six fifty for it.

. . . I guess the retail value isseven ninety-eight.

B. Mm . . . hm. Okay . . . andwhat kind of condition is it in?

A. It's in new condition . . . Ithasn't really been used at all.

B. Can I see it?A. Sure. Come in.

D. INTERVIEWS (VIDEO OR AUDIO)

The term 'interview' can be broadly defined.It can include samples that range from very simpleinformal question-and-answer exchanges that couldqualify as 'informal' interviews to more sophisticatedformal interviews that involve prominent people.

Some of the features that can be controlledand/or adjusted in order to create variety as wellas levels of difficulty include the following:

(1) Short or long interviews(2) Simple or complex interviews(3) 'Heavy' and serious or 'light' and humor-

ous nterviews(4) Rei -ir staged interviews(5) Fac to-face or telephone interviews(6) Exc rpts of interviews recorded from

other sources (i.e. , radio or televisioninterviews)

(7) Timely interviews (which have s shortlanguage laboratory 'shelf-life') or inter-views with enduring qualities

97

96

Putting together a series of self-access/self-study listening activities using interviews as thelanguage setting can be a challenging but reward-ing enterprise. Several teachers can work togetheras a taping or filming crew. Students in advancedlevels can be included in both the planning and theanalysis of the interview and the preparation of theworksheets for self-study lessons.

Some of the interviews for listening packetscan be original ones that are (I) locally relevant,(2) program-specific, and (3) personalized to in-clude staff, students, and community contacts.

As in business conversations in Sections B andC, a primary language function of an interview isthe requesting and providing of information. Informal interviews, the questions may be limited tocertain subjects or aspects of certain subjects.Some formal interviews are preplanned, so thatboth the interviewer and the interviewee knowexactly what questions will be asked. In informalinterviews, there may be no such limitations.

As in the preceding sections, the students areagain asked to listen for two kinds of information.The first kind of information is factual content.The other involves features of the interview ex-change, including the social context, the level offormality, the kinds of strategies used by thespeakers to deal with misunderstandings, ways tokeep the interview going, etc.

Especially with interview tapes, studentsshould be encouraged to replay the video or audiotape as many times as necessary and to ask theteacher/monitor for help if they have any questions.

98

EXAMPLE 1. TELEVISION INTERVIEW WITH THEDIRECTOR OF AN ENGLISHLANGUAGE INSTITUTE

A. INTRODUCTION (recorded on the tape pre-ceding the interview)

The scene is in the Student Lounge of theEnglish Language Institute. A television crewhas come to film an interview with the directorof the institute. The topic of the interviewis international students studying in the UnitedStates.

B. LISTENING TASK (recorded on the tape pre-ceding the interview)

You will hear a two-minute interview. Listencarefully and take notes.


(Note: You may want to give these questionsto students to use as they listen to the inter-view or you may want them to take notesbefore they see the questions. Studentsshould be encouraged to replay the tape asmany times as they wish.)

1. How many students were studying in theUnited States thirty years ago?

2. Approximately how many students arestudying in the United States today?

3. Are most of the students graduate stu-dents or undergraduate students?

4. What are four of the eight most popularfields of study?

99

96

5. Do most cf the students speak Englishwhen they come or do they learn it afterthey get here?


1. Describe the attitude of the interviewer(i.e., friendly, helpful, unfriendly, tired,etc.).

2. Describe the attitude of the ir.:Lrviewee(i.e., friendly, helpful, unfriendly, angry,happy, etc.).

3. Do you think that the questions for theinterview were planned in advance? Why?

Script. A. (Interviewer)Good afternoon, Mr. Jensen. Wel-come to Two-minute News andInterviews.

B. (Interviewee)Thank you. I'm very pleased tobe here. Welcome to our EnglishLanguage Institute!

A. Thank you. Thank you. We'dlike to find out a little bit aboutthe international students studyingin the United States.

B. What would you like to know?A. First of all, how many students

come to study in the United Statesevery year?

B. Well, that's a difficult question toanswer. Some schools are slow inreporting . . . and some schoolsforget to report at all.

A. Could you give us an estimate?B. Well, thirty years ago, the answer

would have been around seventeenor eighteen thousand. Today,however, the figure is probably

100

9 9

in the neighborhood of threehundred and fifty thousand.

A. Mm . . . That's a lot of students.Are most of them undergraduatestudents?

B. No. No. Most of them are gradu-ate students.

A. I see. What are the most popularfields of study?

B. Well, our two top fields are engi-neering and business administration. . . and the next six fields arelaw, medicine, dentistry, physics,chemistry, and teacher training.

A. Do most of the students speakEnglish when they come . . . ordo they learn it after they gethere?

B. That depends. Some of themspeak only a little English whenthey come . . . but others arequite fluent already.

A. Thank you very much. Mr. Jensen.B. You're quite welcome.A. Tune in tomorrow at this same time

for Two-minute News and Inter-views.

* * *

E. DEMONSTRATION AND GROUPDISCUSSION (VIDEO OR AUDIO)

Like the term 'interview' in Section D, theterm 'demonstration' can be broadly defined. Itcan include very simple instructions given in a verycarefully organized way with step-by-step informa-tion about 'how to do' something (such as how tounlock a door, how to turn on and adjust a radioor television, how to change a tire, how to make ahamburger, how to start a car, etc.). On a moresophisticated level, it might include procedures for

101

100

conducting an interview survey or preparing ascientific experiment.

Some of the features that can be controlledand/or adjusted in order to create variety as wellas levels of difficulty are those listed at the begin-ning of Section D.

A special feature of the listening activities inthis section is the use of one central speaker who isgiving the demonstration and two or three 'listen-ers' who become 'speakers' as they interact withthe central speaker. They may repeat directions,rephrase the speaker's statements, ask and answerquestions, and summarize for each other and for thespeaker.

These listening lessons can give studentspractical experience in learning to attend to morethan one speaker at a time, and yet at the sametime following the main line of instructions. Insimple activities of this kind, students can be askedto ignore all irrelevant remarks and make a simplelist of the 'steps' of the process. This kind oflistening experience gives students practice in cop-ing with 'over-talk,' masking, interruptions, incom-plete statements, false starts, hesitations, and avariety of kinds of conversational repair.

As with the interviews, putting together aseries of self-access/self-study lessons usingdemonstration-discussions as the language settingcan be a challenging but rewarding enterprise.Several teachers can work together as a taping orfilming crew. Students in advanced levels can beincluded in planning the demonstrations, analyzingthe results, and preparing the student worksheetsfor the packets.

102

101

EXAMPLE 1. VIDEO DEMONSTRATION-DISCUSSIONOF 'HOW TO RUN A FILMPROJECTOR'

A. INTRODUCTION (recorded on the tape pre-ceding the demonstration)

You will hear a two-minute demonstration of'how to run a movie projector.' One majorspeaker will give the instructions, which in-clude just eight basic steps. The speakerwill be interrupted by three 'listeners' whowill ask and answer questions, repeat direc-tions, and rephrase.

B. LISTENING TASK (recorded on the tape pre-ceding the demonstration)

Listen carefully. Take notes. Write down-in a list--only the eight steps needed to run afilm projector. Ignore extra information.Then listen again and answer the informationand analysis questions on the worksheet.Replay the tape as many times as you wish.Check your answer key.

C. INFORMATION QUESTION

1. List the main steps necessary in order torun a film projector.



2. Do you feel the instructions for running afilm projector were explained clearly?Why or why not?

3. Which one of the 'listeners' spoke themost?

103

102

4. Which one of the 'listeners' spoke theleast?

5. Was the demonstration-discussion easy foryou to understand? Why or why not?

6. Haw many of the eight steps given in thedemonstration-discussion did you under-stand?

Script. T = Teacher; B = Bob; M = Mary;J = Jim.

T. OK. Is everybody here? No.We're missing . . . uh . . . Mary. . . and . . . uh . . . Mark.

B. No. No, Mary has a class . . .

he can't be here this hour. . . .

M. . . . and I think Mark's prepar-(overtalk) ing for his class at four o'clock.

B. . . . but he wasn't very busy. . . he had it all ready.

J. Should I go 'n' get him?T. No, no. Thanks, Jim. It's getting

too late. We'd better get started.I can catch them later . . . ormaybe you can help them tomorrow.OK?

M. I can do that.T. OK. We start. . . . The first

thing we do is take off the cover.Now, I guess we could have figuredthat out. The thing to rememberis that it does stick sometimes. . . so you really have to punchthe metal piece hard to get thecover off.

B. &M. OK.T. Next step . . . check to see that

the power button is eff before youM. Off?

(overtalk) T. . . . plug it in. Yes, some peopleleave it on when they finish using

104

103

the machine but it should beturned off.

(overtalk) B. . . . every time?T. Every time. Now, the next thing

you do is take out the cord. . . .

M. From the back?T. . . . from the back here . and

plug it in. Now you knowyou may need an adapter. .

(overtalk) M. Adapter?T. Right. . . . Anybody know what

an adapter is?M. Yeah . . . you mean a . . .

B. Oh. It's one of those thingsM. . . . piece that has

(overtalk) B. . . . one of those plugs that hasjust two prongs.

M. . . . only two prongs.M.& B. Right.

T. Right. All right. Now the nextthing you do is move the two armsup . . . into position for the reels.

M. Two arms?T. Two arms. The front one moves

up one click . . .

M. . . . that's for the film . . .

T. . . . the back one moves up oneclick . . . and then up to asecond click.

M & B. . . . that's for the empty reel

M. Did you have to release it . . . orsomething . . . for the secondclick?

T. Yes. Right. You release it bypushing it in. Question, Jim?

J. Yeah. Will it go up a third click?T. Yes . . . and that's the rewind

position. We'll get to that later.J. OK.T. Now the next thing you do is turn

the power on.(long pause)

105

104

T. The next thing we do is put thefilm on the front arm.(long pause)

T. And the next thing we do is putthe empty reel on the back arm.

. .

* *

F. 'SEMI-SERIOUS' MINILECTURES

'Semi-serious' minilectures are intendedespecially for elementary and low-intermediate stu-dents. The purpose is to give students experiencewith lecture-style listening, but on a very simpleand very focused subject. The lecturer takes aparagraph of 'straight' expository writing (eveninformation from an encyclopedia, almanac, orsimilar publication), and 'dresses it up' and de-livers it in a true lecture-style format. Thelecturer is especially careful to use a very largeamount of redundancy--saying the same thing overseveral times with slight rephrasing or changes inphrase structure in order to use alternative butrelatively equal ways to say the same thing. Thelecturer also uses pause, stress, variations inrhythm, and variations in intonation to make themeaning explicit. In addition the lecturer writesnotes on the board as the lecture proceeds anddraws diagrams or pictures as needed.

Some of the features that can be controlledand/or adjusted in order to create variety as wellas levels of difficulty are those listed at the begin-ning of Section D.

These 'semi-serious' minilectures can give stu-dents practical experience in lecture-style listening;yet they are presented in a format that enables themto cope with the information flow.

As with the interviews and demonstrationsdescribed in Sections D and E, putting together aseries of self-access/self-study lessons using 'semi-serious' minilectures can be a challenging but

106

105

rewarding enterprise. Again, several teachers canwork together as a taping or filming crew and taketurns being lecturers. Students in advanced levelscan be included in lecturing, as well as in planning,in analyzing the results, and in preparing the stu-dent worksheets for the packets.

The narrative passages on pages 32, 38, 43,53. 58, and 60 in Part Two of this book could beadapted and used as 'semi-serious' minilectures.

107

100

EXAMPLE 1. 'SEMI- SERIOUS' MINILECTURE ONTHE ENGLISH DICTIONARY

A. INTRODUCTION (recorded on the tape pre-ceding the lecture)

You will hear a five-minute minilecture on 'TheEnglish Dictionary.' The lecturer will repeatand rephrase information several times so thatyou can take notes. He will write some itemson the blackboard.

B. LISTENING TASK (recorded on the tape pre-ceding the lecture)

Listen carefully. Take complete notes of anthe important points of information. Thenanswer the questions on the worksheet.Replay the tape as many times as you wish.Check your answer key.


108

1. How many words were there in the Englishdictionary in 1806? In 1822?

2. How many words are there in a completeand exhaustive English dictionary today?

3. What does the last answer depend on?

4. How many words do most people use?

5. What is the name of the dictionary?

6. How many pages of entries are there forthe letter S?

7. What are the two least common letters tobegin words?

8. How many entries are there for X?

10 /


1. Describe the lecturer. (Was he happy/unhappy; serious/silly; helpful/not help-ful?)

2. Was the lecture easy for you to under-stand? Why or why not?

3. How much of the lecture did you under-stand? (Circle the answer you think bestdescribes your understanding of the lec-ture.) 251 50% 75% 85% 95%

Script.

(writes onthe board)




The lecture today is on The EnglishDictionary. . . The English Diction-ary. Now then . . . what do we wantto know . . about the English diction-aryTTh fact . . what do we want toknow about the words . in theEnglish dictionary? Most of you havean English dictionary right here inclass with you . . . right now. Whatabout the words in that English diction-ary?

Well, let's start with the year 1806- -that's the year 1806. Write that downas the first date we want to talk about--1806. Now, in 1806, if someone hadasked the question, Now many wordsare there in the English dictionary?what do you suppose the answer wouldbe? Well. PH tell you. The answerwould have been twenty - eight -- that'stwenty-eight--thousand words. Thatis, in 1806 . . . there were about. . . twenty-eight thousand words. . . in a standard English dictionary.But . . by 1822 that's 1822-- diction-aries had grown . . . and by 1822there were Seventy thousand words inthe English dic:ionary. 1822. . .

about seventy thousand words. Now

109

108

. . . if you ask today . . . how manywords there are in the English diction-ary . . . you have to say that theanswer . . . depends on the kind ofdictionary. If you . . . had a com-plete . . . exhaustive dictionary . . .

of the English language of today . . .

there would probably be six hundredfifty thousand words in it. That is. . . today . . . today . . . an Eng-

(writes on lish dictionary . . . a really completethe board) English dictionary . . . would have

about six hundred fifty thousandwords. Now that's a lot of words!But don't worry! Most people don'tuse six hundred firi7Thousand words.

(writes on Wit people use only about sixtythe board) thousand words. Most people today

. . . have a vocabulary of about . . .

sixty thousand words . . . so youdon't have to iearn six hundred fiftythousand words to be like a nativespeaker of English. A recent collegeedition of Webster's New World Diction-ary--a very common dictionary--thecollege edition of Webster's New WorldDictionalp, . . . contained one hundredforty-two thousand entries . . . one

(writes on hundred forty-two thousand entries.the board) Now entries are not the same thing as

separate words. Not every entry isnecessarily a separate word. Entriesalso . . . have things like . . . pre-

(writes on fixes . . . or abbreviations . . . allthe board) those are separate entries . . . even

though they're not really separatewords. So when I say that a recentcollege edition of Webster's New WorldDictionary has a hundred and forty-twothousand entries . . . it doesn't reallymean it has that many wo. ds.

110

109

viiIirli

What is the most common letter in Eng-lish . . . do you think for a word tobegin with? If you think of all thewords in English . . . what lettermost commonly begins those words?Well, in Webster's . . . college editionof the New World Dictionary . . . themost . . . common letter . . . to be-

(writes on gin a word . . . is S. S . . . hasthe board) two hundred pages of entries! . . .

in Webster's New World Dictionary . .

that's two hundred pages for S.That's a lot of pages! The secondmost common letter for beginnings ofwords . . . is C . . . and the C's inthe dictionary . . . take one hundredsixty-seven pages. The /east common. . . the least common . . . the twoleast common . . . letters to beginwords in English are . . . X and Z.You probably guessed that. Thesecond least common is Z. There areonly six . . . pages of Z's. So . . .

only . . . only six pages of Z's is notvery many. The lowest number . . .

the lowest number . . . in the diction-ary . . . is X. X has only . . . oneand a half pages . . . just one and ahalf pages in the dictionary for X.And on those one and a half pages. . . are just eighty-one entries.You know you could learn . . . allthe entries in the dictionary thatbegin with X. How long do you thinkit would take you? That's the end oftoday's lecture. See you tomorrow. 1

'Adapted from Morley (1972) by Robert Bley-Vroman as part of a series in collaboration withJohn Haugen and Virginia Samuda.

110

111

11.4 Discrimination-Oriented Listening Practice

Discrimination-oriented listening practice is onefacet of structural analysis listening and is an in-structional activity that is familiar to second lan-guage teachers. The kinds of self-study materialssuggested here for discrimination-oriented listeningpractice focus on two different views of spoken lan-guage: (1) the individual aspects, with particularattention to selected features of stress, rhythm,and intonation as well as vowel sounds, consonantsounds, and consonant clusters and (2) the globalpatterning of spoken English--the rhythmic flow ofthe stream of speech.

* * *

A. FEATURES OF STRESS, RHYTHM,AND INTONATION

Listening practice that directs conscious atten-tion to selected features of stress, rhythm, and in-tonation can help learners develop an essential-aware-ness that spoken language is not just a series ofisolated words. It is especially important to intro-duce listening practice with these features early insecond language instruction in order to help learn-ers acquire a sense of the dynamic nature of spokenlanguage.

113

111

In spoken language, words are connected toeach other in groups that 'follow' grammar withpause points between groups of words, not aftereach individual word. Moreover, the words in theword groups are linked together in flowing patternsof stress, rhythm, and intonation. Focusing learn-ers' listening attention on these aspects of speechcan enhance both auditory discrimination abilitiesand aural comprehension skills, as well as thelearners' use of spoken English.

A.1 Listening Practice for Stressed Syllablesin Words

English words of two or more syllables haveone rather heavily stressed syllable. In many lan-guages of the world, syllable stress is not as heavyas it is in English. The following general descrip-tion of a stressed syllable, although overgeneralized,may be helpful for students:

(1) The vowel in the stressed syllable is alittle longer.

(2) The stressed syllable is a little louder.(3) The stressed syllable often is a little

higher in tone.

The following diagram I may help students whohave difficulty in hearing syllable stress. Noticethat it makes use of high, mid, and low levels ofthe intonation of English. This intonation diagram,which shows a higher tone for the stressed syllable,can be used to show stress on single words whenpronounced in isolation. In the connected speechof a whole sentence, however, it is likely that thestressed syllable will be a little loner and a littlelouder, but not necessarily higher m tone.

114

'Adapted from Morley (1979b).

112

PART A PART B

First or Second SyUable Last Syllable AccentedAccented

hdpital ti her !flit t .trys., . afte1 2 3 1 2 1 2 3 1 2 1 2 1 2 3

Notice a difference between 'step-down' inPart A of the diagram and 'glide-down' in Part B.The pattern is a 'step-down' if the syllable stressis on the next-to-the-last syllable (or earlier) inthe word. The pattern is a 'glide-down' if thesyllable stress is on the last syllable in the word.

115

113

EXAMPLE 1. SYLLABLE RECOGNITION:TWO OR THREE?

A. DISCRIMINATION TASK

The recognition of two- versus three-syllablewords.

B. INSTRUCTIONS AND TEXT

Listen as each group of three words is read.TWO of the words have two syllables. ONE ofthe words has three syllables. Circle thenumber of the word that has three syllables.The answers will be given immediately. Checkyour work.

Examples:

beforedozen

afternoonbroken

Answeraftertomorrow

1

(D2

20)

3

Group1 yesterday sandwich brother 1 2 32 expensive English kitchen 1 2 33 window vacation dinner 1 2 34 number lesson arrangement 1 2 35 classes musician believe 1 2 36 apple president longer 1 2 3

EXAMPLE 2. IDENTIFYING STRESSED SYLLABLESIN STORY CONTEXTS


The identification of stressed syllables inlarger contexts.

116

114


1. Two-syllable Words

Listen to the following story. Listen againand mark the stressed syllable in each two-syllable word.

Our teacher was late to class. He arrivedat a quarter past the hour. He explainedthat he had been delayed in the mainoffice. Someone had lost the key to thebookroom.

Now write each word in the correct column(first syllable accented or second syllableaccented). Check your answer key as youfinish each section

2. Three-syllable Words

Listen as the teacher reads the followingstory. Listen again and mark the stressedsyllable in each three-syllable word.

The director of the institute called anassembly Monday afternoon. The stu-dents took their seats as quiet aspossible. The new assistant director wasintroduced. Then the orchestra playedseveral selections. Afterwards we wereinvited to have refreshments.

Now write each word in the correct column(first syllable accented, second syllableaccented, or third syllable accented).Check your answer key as you finish eachsection.

117

115

EXAMPLE 3. MATCHING SYLLABLE STRESSPATTERNS


The matching of syllable stress patterns ingroups of words.


118

1. Two-syllable Words

Listen as each group of words is read.Put an accent mark over the first vowelletter in the stressed syllable. Two ofthe words will have the SAME stress pat-tern. One will be DIFFERENT. Draw acircle around the one which is DIFFERENT.Check your answer key as you finish eachsection.

Examples:

decide afraidnover Cforket) always

Group1 perhaps complete science2 prepare visit artist3 teacher asleep suggest4 escape expense social5 Tuesday alarm August6 enjoy lovely alive

2. Three-syllable Words

Listen as each group of words is read.Put an accent mark over the first vowelletter in the stressed syllable. Three ofthe words will have the SAME stress pat-tern. One will be DIFFERENT. Draw acircle around the one which is DIFFERENT.

116

Examples :

& al hospitalunderphid disap in a ernoon

Group1 regular popular adventure terrible2 tomorrow engineer disappear understand3 accident idea medicine company4 department example capital tomato5 underpaid reduction important arrangement6 vacation musician overcoat discover

A.2 Listening Practice for Reduced Syllablesin Words

The following explanation may be helpful forstudents. A reduced syllable in an English wordis an unstressed syllable in which the 'spelled'vowel is pronounced with a sound something like'uh,' the vowel sound in such words as 'us,''cup,' or 'run.' This 'reduced' or 'neutral' vowelsound sometimes is called 'schwa,' which comes froma German word meaning 'neutral.'

In the following words, the 'spelled' vowel inthe unstressed syllables has been reduced to thesound of schwa, la 1. We can describe the schwasound as an alternative pronunciation for each ofthe five spelled vowels a, e, i, o, and u.

A E 1 0 U

agree sp6ken holiday connect success+ + + +

la/ /a/ / a/ /a/ i a /

Vowel reduction is one of the most importantfeatures of spoken English and thus is an importantfeature of discrimination/comprehension of English.As a number of languages do not have vowel re-duction, this is a new concept for many studentsof English as a second language.

It is very important to introduce students toreduced syllables early in their language learningfor the following reasons:

119

117

(1) It can help students to make an auralcomprehension 'breakthrough' as theylisten to native speakers who use re-ductions as a normal part of theirnatural conversational speech.

(2) It can help students in their study ofEnglish sound/spelling correspondences.

(3) It can help students to understand thatvowel reduction is natural in speech,not carelessness or 'bad' speech.

The following vowel chart may be useful inhelping students visualize the reduction (orneutralization) of a vowel sound. It may be help-ful to note that the schwa is called neutral or cen-tral because it is in the center of the vowel pro-nunciation area--not front, not back, not high, notlow, but centralized. The underlined letters in thewords are pronounced as the unstressed reducedvowel la/.

holiday

htIppen

120

i --I..

e -4' lal

,,-4- 0

t

arrive

spp6se

police

118

EXAMPLE 1. WHICH ONE? IDENTIFICATION OFREDUCED SYLLABLES IN WORDCONTEXT


The identification of the reduced syllable (i.e.,a reduced vowel /a/) in words of two syllables.


Listen as each word is given. On the lineafter the word write #1 if the reduced syllableis the first syllable in the word. Write #2 ifthe redriFed syllable is the second syllable inthe word. Then put an accent mark over thestressed syllable. Check your answer key.

Examples:

afraid #1 (first syllable reduced to11, the schwa sound)/ a/

payment #2 (second syllable reduced+ to the schwa sound)/ a/

breakfast #2 (second syllable reduced

/a/to the schwa sound)

1. purpose 9. surface2. police 10. tonight3. movement 11. arrive4. happen 12. compare5. careful 13. human6. subtract 14. against7. famous 15. connect8. Christmas

121

11 9

EXAMPLE 2. WHICH ONE? IDENTIFICATION OFREDUCED SYLLABLES IN SENTENCECONTEXT


The identification of the reduced syllable(i.e., a reduced vowel /a/) in words of twoor more syllables in a sentence context.


Listen io the following sentences. Listenagain and put this mark (G) under the reducedsyllable in each two- or three-syllable word.Check your answer key.

Example:

He was asleep.

/a/

1. I was afraid we would arrive late.2. He'll cgriis today or tomorrow.3. I suppose we should support the chancellor.4. He was a terrible president.5. telephone you at seven.

A.3 Listening Practice for Sentence Stressesin the Rhythm of Spoken English

The strong versus weak comparisons used instudying syllables in words can also be used indiscussing stronger and weaker parts of sentences.The following description may be helpful ?or--7alti-dents.

Sentences have parts that are strong; theseare called sentence stresses. Sentences also haveparts that are weak; these are called sentencereductions.

122

120

We can draw a line under the sentence stressesto show that they are the strong parts in therhythm of a sentence as shown below:

I'm going to Chicago on Monday.We'll ask Bob to come to the party.

Notice that sometimes a one-syllable word hasa sentence stress, as in 'Bob' and 'come,' and thatin words of two or more syllables the sentencestress will be on the stressed syllable of the word,as in ieing,"Chicsigo."M6nday.' and ypirty.'

We can draw a line through the sentencereductions to show that they are the weak parts inthe rhythm of a sentence, as shown below:

I'm going to Chicago on Monday.We'll ask Bob to come to the party.

Notice that the words 'I'm,' we'll.' and 'ask'are simply unstressed; that is. they are neitherstressed nor reduced.

123

121

EXAMPLE I. IDENTIFYING STRESS IN SIMPLENOUN PHRASES


The identification of the part of the nounphrase that receives the stress.


You will hear some noun phrases. Thestressed part is in the last word, the noun.niters and draw a line under the stressedpart. Follow the examples. Check youranswer key.

Examples:

. . the telephone .. . . some money . .

. a movie .

1. . some candy . .2. . . . the teacher . .3. . . . my notebook . . .1. . . this afternoon .5. . . . a lesson . .G. . . . art exercise . . .7. . . . her mother . . .

8. . . . some money . . .9. . . . the classroom .

10. . . . my vacation . . .11. . . this morning . . .12. . . . a pencil . . .

33. . . an apple . . .14. . . . his cousin . . .

124

122

EXAMPLE 2. IDENTIFYING STRESS IN SIMPLEPREPOSITIONAL PHRASES


The identification of the part of the preposi-tional phrase that receives the stress.


You will hear some prepositional phrases.Each phrase has one stressed part. Listenand put a line under the stressed part.Notice that the stressed part falls on the lastword in the prepositional phrase, the noun.Follow the examples. Check your answer key.

Examples:

When? (adverbials of time). . . in the evening . . .. . . for his birthday . . .

Where? (adverbials of place). . . into the car . . .. . . in the kit7Fen . .

When?1. . . . after the movie . . .2. . . . in a minute . . .3. . . . before the concert . . .

How Long?1. . . . for a minute . . .2. . . . until seven thirty . .3. . . . about an hour . . .

Where?1. . . . behind the door . . .2. . . . through the window .3. . . . under the tree . . .4. . . . in front of the desk .

123

125

EXAMPLE 3. IDENTIFYING STRESS IN ADJECTIVE+ NOUN PHRASES


The identification of the part of the adjective+ noun phrase that receives the stress.


You will hear some adjective + noun phrases.They may have an article, one or two adjec-tives, and a noun. Each phrase has onestressed part. Listen and put a line underthe stressed part. Notice that the stressedpart falls on the final word of the phrase,the noun. Follow the examples. Checkyour answer key.

Examples:

. . a summer vacation . .. . . a friendly neighbor . .. . . a beautiful lake . . .

. . a brand new house . .

1. . . an exciting movie . .2. . . . some new friends . .

3.- . . . an angry old lady . .4. . . . some extra money . .

5. . . . an ugly old fence . .

6. . . . a broken window . . .7. . . . an interesting lecture .

8. . . . the evening news . . .9. . . . a famous president . .

10. . . . the tallest building .

Similar exercises can be created contrasting com-pound noun phrases and adjective + noun phrasesin isolation and in story contexts. Students shouldlearn that compound nouns are given 'left-handstress,' whereas in adjective + noun phrases, thenoun is stressed ('right-hand' stress).

126

124

A.4 Listening Practice for Reduced Words inthe Rhythm of Spoken English

As shown in the examples below, reduced partscan be single-syllable words or they can be un-accented syllables of words with two or more sylla-bles. The following information may be helpful forstudents. A double line (==) is placed below asentence stress and a dot (.) is placed below areduction. This gives us a kind of visual pictureE f 7 he rhy t hm of an English sentence.

The students were waiting for the bus.

The children were dancing and singing.

In the rhythm of spoken English, the amountof time between the stressed parts tends to beequalized. That is, the syllables of the words be-tween the stressed parts are shortened or length-ened a bit to fit into the pattern. Thus, somewords (or parts of words) are longer and strongerand some words (or parts of words) are shorterand weaker. The following example illustrates thiskind of shortening and lengthening:

The students are going to the lab.

The lab opens at ten.

The following list of familiar words containsover sixty words that make up more than 50 per-cent of the spoken English in daily use. Each ofthese words has a strong form when pronouncedin isolation. This form sometimes is called the'dictionary' or 'citation' form. However, each ofthese words also has a weak form. This form isthe 'short' form, which is used every day in the

127

125

natural rhythm of the 'fast speech' of conversation.These 'short' forms are the 'reduced' forms.

a am did had and asan are do has but atsome be does have if bythe been or for

is just fromwas until inwere of

ontothanwith

can hers he her hercould his I his himmay its it its itmight mine she my memust ours they our themshall theirs we theirs usshould yours you your youwillwould

EXAMPLE 1. IDENTIFYING REDUCED WORDS


The identification of the reduced words in asentence.

B. INSTRUCTIONS AND TASK

128

Read each sentence as you listen to it. Drawa line through the words that are reduced(i.e. , shortened) in form. Listen again andcheck your work. The number of reduced

126

words is given in parentheses. Follow theexamples. Check your answer key.

Examples:

I was late to class. (2)I ears come at ten. (2)

1. He was hungry and thirsty. (2)2. The students are going to the lab. (4)3. Can you come to the party? (4)4. Jim and Bob are from Miami. (3)

EXAMPLE 2. IDENTIFYING REDUCED WORDS ANDWRITING THE FULL FORMS


The identification and writing of reduced forms.


Read each sentence as you listen to it. Writethe full form of the reduced word on the line.Listen again and check your work. Follow theexamples. Check your answer key.

Examples:

(The) students (are) going (to) (the) lab.Mary (and) John (are) (from) Ohio.

1. (The) students (are) coming on Monday.2. (The) tests (will) be given (at) eight.3. Let's give (them) (a) tour (of) (the)

campus (at) ten.4. Lunch (can) be served (at) (a) quarter

(of) twelve.

129

127

EXAMPLE 3. IDENTIFYING AND WRITINGCONTRACTED FORMS


The identification and writing of contractions.


Read each sentence as you listen to it. Writethe contraction on the line. Listen again andcheck your work. Check your answer key.

Examples:

(We've) finished our work.(I'm) hungry.

1. She told me (he'd) gone to New York.2. (We're) coming over at ten.3. They (weren't) at the restaurant.4. I (haven't) seen them since yesterday.5. She (won't) be back until five.6. He (can't) come until Thursday.

EXAMPLE 4. HEARING ONE-WORD CONTRACTIONS:WRITING FULL FORMS


The identification of one-word contractions.


130

Read each sentence as you listen to it. Thenrewrite each sentence using the full form ofeach word. Follow the examples. Check youranswer key.

128

Examples:

Where're y' from?Where are you from?'t's time Pr lunch.It is time for lunch.

1. Juan 'n' Maria 'r' fr'm Mexico.Juan and Maria are from Mexico.

2. I'd like s'm cake 'n' s'm ice cream.I would like some cake and some ice cream.

3. Is 'e fr'm Italy 'r fr'm Greece?Is he from Italy or from Greece?

9. Is 'e drinking a cup o' coffee 'r a cupo' tea?Is he drinking a cup of coffee or a cupof tea?

Similar exercises can be created for assimilated forms(e.g., 'jever' for 'did you ever').

A.5 Listening Practice for Intonation*C.

The following information may be helpful forstudents.

Intonation is the pattern of rising..., andfalling/-at voice tones. The speaker uses intonationto help the listener get the sense (or meaning) ofthe sentence. Some of the meaning of spoken Eng-lish is shown in the intonation pattern that thespeaker uses. Intonation shows the relationshipsof words within sentences and between sentences.Intonation also gives information about the feelingsof the speaker. In listening to intonation we arelistening not only to what the speaker is sayingbut how it is said.

stressed syllables, reduced syllables, sentencestresses, reduced parts of sentences, sentencerhythm, elisions (deleting sounds and syllables),and assimilations all work together within the pat-terns of the rising and falling tones of the voice.

Two simple exercises for the identification offinal rising-falling and final rising intonation aregiven below.

131

129

EXAMPLE 1. IDENTIFYING FINAL RISING/FALLINGINTONATION


The identification of final rising/fallingintonation (statements, single short answers,requests, and WH-questions).


Listen as each sentence is given. Draw theintonation lines. Listen again and check youranswer. Follow the examples.

Examples: (Note: (1) If the speaker raises thetone of voice from TONE 2 to TONE 3,but ends the sentence with a final fallof the voice to TONE 1, the listenerknows that the speaker has finished thesentence. The same applies to a shortanswer, a request, or a WH-question.)

132

2What would you

21'd like a1

2Where's he314,n?

I

2He's from3 9nark.

1

Now listen and mark the following sentences.Check your answer key.

I. How long did you have to wait?2. Almost three and a half hours.3. What time is the meeting?4. It's tomorrow at ten.5. How much money did you lose?6. Over thirty dollars.

130

EXAMPLE 2. IDENTIFYING FINAL RISINGINTONATION

A. DISCRIMINATION TASK.

The identification of final rising intonation(yes/no questions).


Listen as each sentence is given. Draw theintonation lines. Listen again and check youranswer. Follow the examples. Check youranswer key.

Examples: (Note: If the speaker raises the toneorToice from TONE 2 to TONE 3 andends there, the listener knows it is aspecial English question form that asksfor an IMMEDIATE ANSWER OF YES ORNO. This is called the YES/NO Taim-ation pattern.

2Are you Note

3

2Can you it

2Did he call y51

Now listen and mark the following sentences.

1. Was it crowded?2. Are we on time?3. Can you come to the party?4. Do you think he'll call later?5. Didn't he leave his number?6. Shouldn't we wait for Bob?

131

133

B. VOWEL AND CONSONANT SOUNDS

Following are some general guidelines for con-structing and recording vowel and consonant dis-crimination exercises for analysis-oriented listeningpractice.

1. Directions. Directions and instructionsshould be clear and simple. They should focusstudents' attention on what to listen for, when tolisten, and where to listen.

2. Practice materials. Vowel and consonantlistening work should be presented in phrase, sen-tence, and paragraph contexts. Practice with indi-vidual words should be done rarely, and only ifstudents have particular difficulty with a discrimi-nation. Presentation in phrase, sentence, and para-graph contexts provides listening practice with thetarget items in stressed and unstressed positionsin a variety of natural phonetic environments.

3. Active student response. Each exerciseshould require active student responses--markingappropriate items, writing from dictation, etc.

4. Answers and immediate feedback. Theanswers for e n in g discrimination exercises shouldbe given to students immediately--in the self-studypacket or from the teacher-monitor--so that theymay monitor their work. Providing the answersfor immediate self-checking is especially importantin order to foster self-involvement and encourageresponsibility.

5. Presentation and speed. Each listeningexercise should be relatively short and should bepresented at a natural, brisk, yet comfortablepace.

6. Avoidance of overuse. Students should becounseled to stop using vowel and consonant dis-crimination exercises when they can respond quicklyand accurately. Continuing such exercises whenstudents no longer need them is a waste of timeand boring.

134

132

7. Suggestions for recording vowel andconsonant discrimination exercises. In readingpairs (or triplets) of sentences, phrases, or wordsfor listening discrimination practice, it is importantthat each of the two or three items in the group beread with exactly the same stress, rhythm, andintonation pattern. For example, a pair of itemsfor SAME /DIFFERENT discrimination practice mustbe read so that each member of the pair has itsown intonation pattern. The two items must beabsolutely identical so that the only difference- -the minimal difference -- between the two items inthe pair is the target vowel or consonant sounds.

Example:

It's a s It's a 4. (SAME)... some ay... ...some bk ... (DIFFER-

ENT)

All three items for ONE-OUT-OF-THREE discrimi-nation practice should also be read with carefulcontrol of the total stress, rhythm, and intonationpattern.

Example:

He sold us the 4e\?. He sold us the He sold us thesits. (TWO)It fell on my b k. lea orsiiti ',kW. It fell on my p . (ONE)

In providing listening practice of this kind, anormal, comfortable speed is recommended. Anoverall slight slowing of speech may be useful forlower-level students but not to the point of speechdistortion. A useful rule of thumb is to give anitem (or contrasting items) several times at normalspeed, rather than to give it (them) once at anabnormally slow and distorted speed. Presenttarget practice items first in stressed positions inthe phrase or sentence, then in unstressed posi-tions. Examples of three kinds of exercises fordiscrimination-oriented listening practice with vowelsand consonants are described in this section.

135

133

EXAMPLE 1. SAME/DIFFERENT


The recognition of the same or different soundsin the auditory pattern.


Listen to the pairs of sentences or phrasesand decide whether they are the SAME orDIFFERENT. Circle S on your answer sheetfor SAME and D for DIFFERENT. Check youranswer key.

Examples: Answer

It's a sheep.It's a shims. S e. . . some beans . . .

. . some beans . . . © D1. When did he leave here?

When did he live here?2. The baby's sleeping.

The baby's slipping.3. He bought a sheep.

He bought a ship.4. . . . some beans . . .

. . . some brits . .

5. . . . a big feast . .. . . a big ifil . .

6. . a big meal . . .. a big miff . . .

11n the sentences in these examples, the targetwords are in a stressed position; that is, the targetword is the last stressed syllable in the sentenceand receives the heaviest sentence stress, making itvnier to hear (i.e., a bit longer, a bit louder, and

it higher in pitch).

1

136

134

EXAMPLE 2. ONE-OUT-OF-THREE


The recognition of similarity or difference andthe identification of the item that is different.


Listen to the three items, decide whic!s one isdifferent . and circle 1, 2, or 3 on your answersheet to indicate the number of the item thatis DIFFERENT. Check your answer key.

Examples: Answer

. . . a big bat. a big vat

. . . a big vat . . .

He's voting.He's boating.He's voting.

I. Is that your best?Is that your vest?Is that your best?

2. Where's the second base?Where's the second vase?Where's the second vase?

3. The sisters took a bow.The sisters took a vow.The sisters took a vow.

4. . . . a big bat .a big vat .. . .

. . a big bat . . .

5. . . ten .boats. . . ten votes .. . . ten votes .

6. . . . a hundred bolts . . .. . . a hundred volts . . .

. a hundred bolts . .. .

023

103

13?

135

EXAMPLE 3. RHYMING


The recognition of similarity or difference andidentification of the item that is different.

B. INSTRUCTION AND TEXT

Listen to and compare the five items in eachgroup of words. All the words rhyme in eachgroup, except one. Circle on your answersheet the word in each group that does notrhyme. Check your answer key.

LIST I LIST 2

I. pool I. shook2. fo-cl 2. look3. rule 3. spook4. pull 4. book5. cool 5. took

LIST 3 LIST 4

I. could I. wool2. food 2. far3. would 3. 6-1 i 1 i

4. should 4. pull5. stood 5. tool

Similar (although more difficult) exercises canbe created that ask students to identify whichone of two sounds in a given pair is heaal rTa phrase or sentence, and which of a specificsubgroup of several sounds is heard in a word,phrase, or sentence.

138

136

C. CONSONANT CLUSTERS

In many languages very few words begin orend with more than one consonant sound. In Eng-lish, many words begin with two or three conso-nants, and many words end with two, three, oreven four consonants. Both hearing and producingEnglish consonant cluster combinations is difficultfor many ESL students.

Examples of exercises for discrimination-oriented listening practice with consonant clustersare described in this section.

EXAMPLE 1. SAME/DIFFERENT IN WORD CONTEXT


The recognition of single consonants vs.consonant clusters in initial and final positions.


Listen to the pairs of words and decide whetherthey are the SAME or DIFFERENT. Circle Sfor SAME or D for DIFFERENT on your answersheet. The answer can be SAME (1) if bothwords begin with only one consonant, or727if both words begin witViwo consonants. Theanswer is DIFFERENT if one word begins withone consonant and one wo-Td begins with twoconsonants. Check your answer key.

( 1) INITIAL consonants ONE versus TWO

One Consonant Two Consonants

1. pinsin

2. toresore

3. kinsin

>

>

>

1. spinspin

2. storestore

3. skinskin

139

137

4. backlack

5. paylay

6. backrake

7. payray

8. tinwin

9. dellwell

10. sellwell

>

>

>

>

>

>

4. blackblack

5. playplay

6. brakebrake

7. praypray

8. twintwin

9. dwelldwell

10. swellswell

(2) INITIAL consonants - TWO versus THREE

140

In the following items, the answer can beSAME (1) if both words begin with two conso-nants or (2) if both words begin with threeconsonants. The answer is DIFFERENT if oneword begins with two consonants and one wordbegins with three consonants.

Two Consonants Three Consonants

1. tray 1. stray2. train 2. strain3. cream 3. scream4. cram 4. scram5. pray 5. spray6. platter 6. splatter7. quad 7. squad8. choir 8. squire

138

(3) FINAL consonants - ONE versus TWO

In the following items, the answer can beSAME (1) if both words end with one conso-nant or (2) iTToth words end with two conso-nants. The answer is DIFFERENT irTneword ends with one consonant and one wordends with two consonants.

One Consonant Two Consonants

>

>

>

>

1. mittmiss

2. betBess

3. writerice

4. likelice

1. mistmist

2. bestbest

3. writeswrites

4. likeslikes

(4) FINAL consonants - TWO versus THREE

1

In the following items, the answer can beSAME (1) if both words end with two conso-nants or (2)1TTDoth words end with threeconsonants. The answer is DIFFERENT ifone word ends with two consonants and oneword ends with three consonants.

Two Consonants Three Consonants

1. list 1. lists2. fist 2. fists3. test 3. tests4. desk 4. desks5. risk 5. risks6. ask 6. asks7. lisp 7. lisps8. grasp 8. grasps

141

139

9. find 9. finds10. end 10. endsII. rent 11. rents12. cent 12. cents13. lamp 13. lamps14. limp 14. limps

Students can also decide which one out of twoor three items is different in word and sen-tence contexts, using material similar to thatsuggested in the previous examples.

Examples:

It was a terrible fight.It was a terrible Flight .

He studied the arts.He studied the arch.

Reversals (e.g., 'best' vs. 'bets ,"tacks'vs. 'task') are also useful for discriminationpractice.

Examples:

We found the nets. It was a terrible tax.We found the nest. It was a terrible task.

Additional work with initial consonant clustersversus syllabic consonants is useful (e.g.,'The train was dusty' vs. 'The terrain wasdusty/7Fls well as final consonant c-TuTtersversus extra syllables (e.g., 'He joined thecourse last week' vs. 'He joined the chorusli 1.veek').

* *

142

140

D. PLURALS AND PAST TENSE

Several grammatical suffixes used in Englishpresent especially difficult perception and produc-tion problems for many students learning English asa second language. In English, the plural forms ofregular nouns are pronounced in three differentways--/s/, /z/, or /Iz/--depending upon the lastsound in the noun. Possessive forms and thirdperson singular verb forms follow this same pro-nunciation rule. The past tense forms of regularverbs also are pronounced in three different ways--It!, /d/, or /Id/--depending upon the last soundin the verb. Many students need specific listeningpractice to help them understand and produce theseforms.

The listening activities of SAME/DIFFERENT,ONE-OUT-OF-THREE, and WHICH ONE? can be usedhere, following the procedures described in SectionsB and C. Sample lists of practice material are pre-sented below. Many of the consonant clusters ofEnglish involve plural and past tense forms.

D.1 Plurals

Notice that in these controlled examples the keyword in each sentence is followed by a word thatbegins with a vowel sound. This makes it easierfor students tohtr the plural suffix in the wordthat follows.

Plural Forms--Voiceless Clusters

RULE 1. The plural form is /s/ after any voice-less consonant except sibilants /s/ andIII and affricate RP.

1.a. We took the test on Monday. (singular /st/)b. We took the tests on Monday. (plural /sts/)

2.a. They put the new desk in the office.(singular /sk/)

b. They put the new desks in the office.(plural /sks/)

143

141

Plural Forms--Voiced Clusters

RULE 2. The plural form is /z/ after any vowelor any voiced consonant except sibilants/z/ and /3/ and affricate /d3/.

1.a. We watched the film at noon. (singular /1m/)b. We watched the rains at noon. (plural /lmz /)

2.a. We met the student at the lab. (singular int')b. We met the students at the lab. (plural ints/)

Plural Forms--Extra Syllable

RULE 3 The plural form is an extra syllable, /1z/,after sibilant sounds /s/, /z/, /j/, /3/and affricate sounds hi/ and /d3/.

l.a. He bought the watch on the counter.(singular /tj /)

b. He bought the watches on the counter.(plural /tjlz)

2.a. She put the dish in the box. (singular /j/)b. She put the Ug Fes in the box. (plural /jIz)/

D.2 Past Tense

Notice that in these controlled examples the keyword in each sentence is followed by a word thatbegins with a vowel sound. This makes it easierfor students to hear the past tense suffix, /t/,/d/, or /Id/ in the word that follows.

Past Tense Forms--Voiceless Clusters

RULE 1. The past tense form is /t/ after anyvoiceless consonant except the voicelesstongue-tip toothridge sound /t/.

l.a. They often ask us to come./sk/)

144

(present tense

142

b. They often asked us to come. (past tense/skt /) (The 7W-Tri not fully exploded.)

2.8. We talk a lot. (present tense /k/)b. We tacked a lot. (past tense /kt/) (The

/k/ is not fully exploded.)

Past Tense Forms--Voiced Clusters

RULE 2. The past tense form is /d/ after anyvowel or any voiced consonant exceptthe voiced tongue-tip toothridge sound/d/.

l.a. They serve a meal at twelve-thirty.(present tense /arv/)

b. They served a meal at twelve-thirty.(past tense /arvd/)

2.a. We earn a lot of money. (present tense/ arii7F

b. We earned a lot of money. (past tense/ arn-a7T

Past Tense Forms--Extra Syllable

RULE 3. The past tense form is an extra syllable,/1d/, after the voiceless and voicedtongue-tip toothridge sounds /t/ and/d/.

l.a. We want a new car. (present tense Anb. We wanted a new car. (past tense /tId/)

2.a. We need your help. (present tense /d!)b. We needed your help. (past tense /did')

* * *

143

145

E. GLOBAL LISTENING

The purpose of the practices suggested in thissection is to give students listening experiences inwhich they do not attend to any specific pronunci-ation points but concentrate on the total rhythmicflow of the language. They are asked to attend tothe whole pattern of the stream of speech.

EXAMPLE 1. LISTENING AND 'SILENT' READ-ALONG

This kind of listening activity is especiallywell suited to a self- access /self -study format.Students choose a reading, a poem, a story,a news report, etc. They check out thepacket that includes the script, which ismarked with pause points. Students mayreplay the tape as many times as they wish;they may replay segments at will. Theirtask is simply to listen, to read alongsilently, and to let the sound of the streamof speech of spoken English flow over themand around them.

EXAMPLE 2. LISTENING AND VOCAL READ-ALONG

146

This practice is nearly the same as theprevious one. The difference is that studentsare asked to read along vocally with the voiceon the audio or video tape. Again, they checkout the packet that includes the script, whichis marked with pause points. As they listenand read along, students are asked to make aspecial effort to 'pattern-match' the voice, asclosely as possible--but in only two aspects:(1) pausing where the voice pauses, and (2)matching the rising and the falling intonationalpatterning of the voice between the pausepoint s .

144

EXAMPLE 3. VOCAL ECHOING

This practice is an adaptation of tracking,devised by Pike (1947). In echoing, the stu-dents track with their voice the words of thespeaker, with a delay of one tone group.That is, the echoer begins speaking the firstpart of the first tone group as soon as thespeaker starts the first part of the secondtone group. Practice with echoing is excellentfor building student awareness of Englishintonation. It is especially useful in helpingstudents attend to the stress, rhythm, andintonation patterning of English and themeanings conveyed by these prosodic ele-ments.

EXAMPLE 4. SING-ALONG: ROUNDS AND OTHERSONGS

Another listening practice that is enjoyed bystudents is listening/sing-aking activities thatmake use of rounds such as "Row, Row, RowYour Boat," "Three Blind Mice," "White CoralBells," "Are You Sleeping, Brother John,"etc. The purpose is to try to 'match' thesound of the rhythm and the melody with thevoice. The packet contains a sing-along tapeso that the student can join in and sing withthe chorus. An old-fashioned sing-along for-mat that was popularized by orchestra con-ductor and musician Mitch Miller also workswell. The words for each line are providedin the packet. Sometimes a voice 'reads' theline quickly just before the music for the lineis played.

147

145

11.5 Sound/Spelling Listening Practice

The purpose of the sound/spelling listeningactivities in this section is.

, to give students system-atic practice in relating t',.. spoken forms of lan-guage (i.e., the sounds) to the written forms oflanguage (i.e., the letters). Students of Englishas a second language can profit from specific workwith sound-to-spelling correspondences andspelling-to-sound correspondences.

Students whose languages use writing systemsdifferent from the Roman alphabet of English willneed to learn new written symbols and their corre-sponding sounds. Students whose first languagesuse the Roman alphabet will need to learn newsound values for familiar written symbols. Forexample, the letter i in many languages is pro-nounced /i/ as in 'green.' In English, however.it is rarely pronounced /i/ except in a few words,such as 'machine.' In English the letter i is pro-nounced /1/, as in 'bit.' in some environments.and /ai/ as in 'bite' in other environments. Stu-dents who read the letter i as the sound /i/, asin 'green.' cannot be expected to change theirspelling/sound interpretations overnight. Theyneed special work to help them with this part oftheir study of English.

The listening activities in this section include(1) listening/silent reading activities, (2) listening/writing activities, and (3) listening and correctingspelling errors.

*

149

146

A. LISTENING/SILENT READING

The listening/silent reading activities describedhere are designed to establish a bond between thewritten form, which the students read silently. andthe simultaneously spoken form, which they hear.Conscious attention Is directed to the spelling pat-terns for a target sound--vowel or consonant--andpractice is given with a task in which the studentsparticipate actively in relating sound to letter.

EXAMPLE 1. TEXT ANALYSIS: SOUND/SPELLINGIDENTIFICATION FOR ONE SOUND


The identification of a specific sound and itsspelling.


Listen to the following sentences while readingthem silently. Draw a line under the vowelsin each word where you hear the sound /i/, asin 'green.' The first sentence is done for you.1. He's leaving at three fifteen. (Find 4

examples of W.)2. The teacher gave us these books to read.

( 3)3. The leaves on the trees were shiny green.

(3)4. We need these keys. (4)

SPELLING PATTERNS FOR /i/(in this lesson)e ee ea sy__he's three leaving keysthese fifteen teacherwe trees leaves

green readneed

150

147

Now do the same for the sound /z/, as in'zoo.' Check your answer key.I. My cousin Isabel teaches music. (Find 4

examples of /z/.)2. She plays the xylophone and the piano.

(2)3. Her husband Ozzie is a jazz musician.

(5)

SPELLING PATTERNS FOR hi(in this lesson)s

cousin music play husbandIsabel musician teaches is

zz xOzzie xylophonejazz

The same type of exercises may be used for twosounds:

Mr. Green is sitting in the sixth seat in rowthree.(Find 3 examples of /i/ and 6 examples of/11.)The city zoo has a dozen new animals.(Find 1 example of /s/ and 4 examples oflz1.)

0

B. LISTENING/WRITING

The listening/writing activities described hereare designed to establish a bond between the spokenform and the corresponding written symbols for thespoken form. Conscious attern is directed tothespelling patterns for a given target sound or sounds.Practice is given in which the student sees the spell-ing pattern, hears a word, and writes th-Tword. Inthis task, the student participates actively in relat-ing letter to sound.

151

148

EXAMPLE I. SPELLING DICTATION: INTENSIVESPELLING PATTERN STUDY FOR ONESOUND


Students are asked to listen to short sets ofdictated words that provide examples of theprimary spelling patterns for the given sound.


Vowel sound he I, as in 'cat'Vowel sound het, as in 'cat,' sometimes iscalled the 'short s' sound in spelling books.Many dictionaries use this symbol I for thesound he/. Listen and then write the dic-tated words. Practice pronouncing the wordsas you write. Check your answer key.

The sound !s( is fourth in general usage inspoken English. The primary spelling patternfor het is the letter a which MUST be followedby one or two consonants. The sound he/ canNOT be the last sound in a word. It musthave a final consonant.

Group 1: aC (as in cat and bad)(sal) (glad) (map) (cab) (mad) (wrap)

Group 2: aCC (as in last and class)(glass) (battle) (apple) (add) (fact)

Consonant sound /IL as in 'shoe'

Consonant sound 1.17, as in 'shoe,' is spelledin several different ways as shown in theexamples below. Listen and pronounce aseach word is dictated. Find it in the Vocabu-lary List. Then write it in the column withthe corresponding spelling pattern: tion, sh,cial, clan, dent, ssion, ssure, ssue."--CheNyour answer key.

152

149

VOCABULARY LIST

action finish negrAiate pressurecommercial issue physician sessionEnglish location proficient Washington

EXAMPLE 2. SENTENCE DICTATION: INTENSIVESPELLING PATTERN STUDY FOR ONESOUND


Students are asked to listen and to writesentences from dictation. Each sentence hasseveral examples of the target sound.


Vowel sound hi, as in 'bust

Listen as each sentence is dictated. Repeatthe sentence and write it. The number atthe end of the line tells the number of exam-ples of /A/ in the sentence. Underline eachword with the sound /jt/. Check your answerkey.

1. (My uncle and my cousin are coming onSundiy.) (4)

2. (My mother and my brother are comingfor lunch.) (4)

The same type of exercise may be used for twosounds:

George left yesterday on his yearly trip toJapan.(Find 2 examples of /y/ and 2 examples of/(13/.)

153

150

EXAMPLE 3. FILL-IN DICTATION: ONE OR MORESOUNDS


Students are asked to listen and to write themissing word or words.


Back vowels /u/, as in 'blue,' /U/, as in 'book,'and /o/ as in 'no'

Listen as a line is dictated. Repeat the lineand write the missing word. Each missingword has a back vowel in it. Write (1) for/u/, (2) for /U/, and (3) for /o/. Checkyour answer key.

ROSES ARE RED

(Roses) are red.Violets are (blue)(Sugar) is sweet,And so are (you).

Similar types of exercises can be constructedfocusing on digraphs ('book' vs. 'food') , long vs.short vowels ('blue' vs. 'bus'), and several soundsin a subgroup such as sibilants vs. affricates(/s/ vs. /z /; /1/ vs. /3 /; hi/ vs. /d3/).

* * *

C. LISTENING AND CORRECTINGSPELLING 'ERRORS'

The purpose of exercises in listening/correct-ing spelling 'errors' is to develop students' abilityto hear the spoken form of language and to trans-late it immediately into the written form of languagethat they can see. Eventually the 'seeing' can takethe form of mental visualization. The exercises sug-gested here also help students to analyze sound/spelling correspondences.159

151

EXAMPLE 1. IDENTIFYING SPELLING/PRONUNCI-ATION DISCREPANCIES:CONSONANTS III and /tf/.

A. READING/LISTENING TASK

The identification of 'misspelled' words- -thatis, discrepancies between spelling and pro-nunciation.


There are nine 'misspelled' words in thefollowing story. Listen as each line of thestory is read aloud. Underline each 'mis-spelled' word--that is, each word that doesnot match the pronunciation that you hear.Notice that you are given the number of 'mis-spelled' words in parentheses at the end ofthe line. Listen and check your work as thestory is read a second time.My friend Sharlie is an Englich (2 errors)teasher. He teaches at the high school (1)by the chopping center. His wife Charon (2)is the Frensh teasher. They eat lunsh (3)together in the spechial teachers' staff (1)room.

EXAMPLE 2. IDENTIFYING SPELLING/PRONUNCI-ATION DISCREPANCIES:CONSONANTS /1/ AND /r/

A. READING/LISTENING TASK

See Exercise 1.


There are ten 'misspelled' words in the follow-ing story. Listen as each line of the story isread aloud. Underline each 'misspelled' word-that is, each word that does not match thepronunciation that you hear. Notice that youare given the number of 'misspelled' words in

155

152

156

parentheses at the end of the line. Listen andcheck your work as the story is read a secondtime.

My fliend Rucy is a gladuate student. (3 errors)She's majoling in Engrish Riterature. (3)She has thee crosses this semester. (2)She hopes to get her M.A. deglee in Jury. (2)

153

BIBLIOGRAPHY

Allen, Virginia F. 1971. Teaching intonation:From theory to practice. TESOL Quarterly5 (1).

Asher, James J. 1965. The strategy of the totalphysical response: An application to learningJapanese. IRAL 3 (4).

. 1969. The total physical responseapproach to second language learning. ModernLanguage Journal 53 (1).

. 1972. Clifldren's first language as amodel for second language learning. ModernLanguage Journal 56 (3).

1977 (1981). Learning another language-----Thiough actions: The complete teacher's

guidebook. Los Gatos, CA: Sky Oaks Pro-ductions.

, J. Kasudo and R. de la Torre. 1974.Learning a second language through commands:The second field test. Modern LanguageJournal 58 (1).

Bamford, Julian. 1982. Three out for two in:Use listening texts. JALT Newsletter 6 (4).

Belasco,. Simon. 1965. Nucleation and the audio-lingual approach. Modern Language Journal49 (8).

. 1967. The plateau or the case forcomprehension: The 'concept' approach.Modern Language Journal 51 (1).

157

154

Blair, Robert W. 1982. Innovative approaches tolanguage learning. Rowley, MA: NewburyHouse.

Brown, Gillian. 1977. Listening to Spoken Eng-lish. London: Longman/New York: HarcourtBrace Jovanovich.

Burling, Robbins. 1982. Sounding right--Anintroduction to comprehension-based languageinstruction. Rowley, MA: Newbury House.

Burt, Marina, and H. Du lay. 1981. Optimal lan-guage learning environments. In The secondlanguage classroom: Directions for theei hties, J. E. Alatis, H. B. Altman, andP. M. Alatis, eds. New York: Oxford Uni-versity Press.

Chastain, Kenneth. 1971 (1976). Developingsecond-language skills: Theory to practice.Chicago: Rand McNally.

Cronnell, Bruce. 1972. Spelling-sound relationsin ESL instruction. Language Learning 22 (2).

Diller, Carl. 1975. Some trends for applied lin-guistics and foreign language teaching in theUnited States. TESOL Quarterly 9 (1).

Gary, Judith 0. 1975. Delayed oral practice ininitial stages of second language learning. InNew directions in second language learning,teaching, and bilingual education: On TESOL1975, M. Burt and H. Dulay, eds. Washing-ton, D.C.: TESOL.

. 1981. Why speak if you don't need to?The case for a listening approach to beginningforeign language learning. IRAL 19 (1).

Krashen, Stephen D. 1981. Effective second lan-guage acquisition: Insights from research.In The second language classroom: Directionsfor the eighties, J. E. Alatis, H. B. Altman,and P. M. Alatis, eds. New York: OxfordUniversity Press.

Krause, Aleda C., and Bernard Susser. 1982. Abibliography of materials for teaching listen-ing comprehension. JALT Newsletter 6 (4).

158

155

Lado, Robert, and C. C. Fries. 1953 (1957).English pattern practices: Establishing thepatterns as habits. Ann Arbor: The Uni-versity of Michigan Press.

Morley, Joan. 1971. Using films in listening/speaking classes. Language Learning 22 (1).

1972. Improving aural comprehension.Ann Arbor: The University of MichiganPress.

. 1979a. Materials development: The newfrontier, not by chance, but by design. InThe learner in focus: On TESOL 1977, C.Yorio, K. Perkins, and J. Schachter, eds.Washington, D.C.: TESOL.

. 1979b. Improving spoken English -Apersonalized program in perception, pronunci-ation, practice in context. Ann Arbor:The University of Michigan Press.

. 1981. Active participation/purposefullistening in the language laboratory: Aspectsof theory and practice. SPEAQ Journal 4(3-4).

. 1983. Listening and language learning.CATESOL Occasional Papers 9 (1).

Newmark, Gerald, and Edward Diller. 1964.Emphasizing the audio in the audio-lingualapproach. Modern Language Journal 48 (1).

Nida, Eugene A. 1953. Selective listening.Language Learning 4 (1).

. 1954. Learning by listening. Reprintedin Innovative approaches to language learning,Robert W. Blair, ed., 1982. Rowley, MA:Newbury House.

Nord, James. 1975. A case for listening compre-hension. Philologia 7 (1).

. 1981. Three steps to listening fluency.In The comprehension approach to foreign lan-guage instruction, Harris Winitz, ed. Rowley,MA: Newbury House.

Oiler, John W., Jr., and S. Ziahosseiny. 1970.The contrastive analysis hypothesis and spell-ing errors. Language Learning 20 (1).

159

156

1

Palmer, Harold E. 1917. The pre-speech phase inlanguage learning. Reprinted in Innovativeapproaches to language learning, Robert W.Blair, ed., 1982. Rowley, MA: NewburyHouse.

Parent, Paul. 1976. Why listening and readingmust come before speaking and writing.Modern Language Journal 60 (1).

Pike, Kenneth L. 1947. Phonemics. Ann Arbor:The University of Michigan Press.

Plaister, Ted. 1976. Developing listening compre-hension for ESL students. Englewood Cliffs,NJ: Prentice-Hall.

Postovsky, Valerian. 1970. Effects of delay inoral practice at the beginning of secondlanguage learning. Ph.D. dissertation, Uni-versity of California at Berkeley. Also inModern Language Journal 58 (3).

. 1975. The priority of aural comprehen-sion in the language acquisition process.Proceedings: Fourth International Congressof Applied Linguistics. Stuttgart: AILA.

. 1977. Why not start speaking later?In Viewpoints on English as a second language,M. Burt, H. Du lay, and M. Finocchiaro, eds.New York: Regents.

Richards, Jack C. 1983. Listening comprehension:Approach, design, procedure. TESOLQuarterly 17 (2).

Rivers, Wi Iga. 1966. Listening comprehension.Modern Language Journal 50 (4).

. 1968. Teaching foreign-language skills.Chicago: University of Chicago Press.

Sittler, Edward. 1975. Theoretische anddidaktische Aspekte des Projekts Audioimmer-sion. Proceedings: Fourth InternationalCongress of Applied Linguistics. Stuttgart:AILA.

Stanley, John A. 1978. Teaching listening com-prehension. TESOL Quarterly 12 (3).

Terrell, Tracy. 1977. A natural approach to theacquisition and learning of a language. ModernLanguage Journal 61 (7).

160

15.?

I

Terrell, Tracy. 1983. The natural approach tolanguage teaching: An update. ModernLanguage Journal 66 (2).

Weaver, Carl H. 1972. Human listening: Processesand behavior. Indianapolis and New York:Bobbs-Merrill.

Winitz, Harris. 1975. Comprehension and problemsolving as strategies for language training.The Hague: Mouton.

. 1981. The comprehension approach toforeign language instruction. Rowley, MA:Newbury House.

and J. Reeds. 1973. Rapid acquisitionbra foreign language (German) by the

avoidance of speaking. IRAL 11 (4).Winitz, Harris, J. Reeds, and P. Garcia. 1975.

Natural language learning. Kansas City:General Linguistics Corporation.

161

158

Joan Morley is associate professor in the Depart-ment of Linguistics and deputy director of the Eng-lish Language Institute at the University of Michi-gan, where she has specialized in instructionalresearch and the development of materials andmethodology for learners of English as a secondlanguage. Her primary areas of interest are lan-guage learning and teaching theory, principles ofmaterials and methodology development, and appliedlinguistics. Professor Morley is a past second vice-president of TESOL, served on the TESOL execu-tive board for six years, and was convention chairfor TESOL 1977 in Miami. She also has served onthe NAFSA/ATESL board. Professor Morley hasbeen a guest lecturer, consultant, short-course in-structor, and workshop leader on ESL theory andmaterials development, methodology, and curriculumdesign for university, community college, govern-ment, public school, and private school programsin the United States and abroad. Her publicationsinclude Improving Aural Comprehension (The Uni-versity of Michigan Press, 1972); Films for EFLPractice: Listening/Speaking/Vocabulary Building(The University of Michigan English LanguageInstitute, 1973); Listening Dictation (The Universityof Michigan Press, 1976); Im_proviniSpoken English(The University of Michigan Press, 1979); Tech-niques in Teaching Pronunciation (Oxfordversity Press, 1984); and Consonants in SpokenEnglish (The University of Michigan Press, forth-coming 1985).

163

159

LANGUAGE IN EDUCATION :THEORY AND PRACTICE

ERIC (Educational Resources Information Center) isa nationwide network of information centers, eachresponsible for a given educational level or field ofstudy. ERIC is supported by the National Instituteof Education of the U.S. Department of Education.The basic objective of ERIC is to make current de-velopments in educational research, instruction, andpersonnel preparation more readily accessible to edu-cators and members of related professions.

ERIC/CLL. The ERIC Clearinghouse on Languagesand Linguistics (ERIC/CLL), one of the specializedclearinghouses in the ERIC system, is operated bythe Center for Applied Linguistics. ERIC/CLL isspecifically responsible for the collection and dis-semination of information in the general area ofresearch and application in languages, linguistics,and language teaching and learning.

LANGUAGE IN EDUCATION: THEORY AND PRAC-TICE. In addition to processing information, ERIC/=is also involved in information synthesis andanalysis. The Clearinghouse commissions recognizedauthorities in languages and linguistics to writeanalyses of the current issues in their areas ofspecialty. The resultant documents, intended foruse by educators and researchers, are publishedunder the title Language in Education: Theoryand Practice. The series includes practical guidesfor classroom teachers and extensive state-of-the-art papers.

This publication may be purchased directly fromHarcourt Brace Jovanovich International. It alsohas been announced in the ERIC monthly abstractjournal Resources in Education (RIE) and is avail-able from the ERIC Document Reproduction Service,Computer Microfilm International Corporation, 3900Wheeler Avenue, Alexandria, VA 22304. See RIEfor ordering information and ED number.

160

For further information on the ERIC system, ERIC/CLL, and Center/Clearinghouse publications, writeto ERIC Clearinghouse on Languages and Linguis-tics, Center for Applied Linguistics, 3520 ProspectStreet, N.W., Washington, D.C. 20007.

Sophia Behrens, editor, Language in Education

161

available from - education resources information … · one is functional listening and vocabulary...

Documents