Twenty things in twenty years part ten: the main point of focusing on pronunciation in class isn’t to improve pronunciation!
Pronunciation is quite possibly the most neglected area of language teaching. In many of the classes I’ve observed over the years, I’ve seen little or no attempt to work on pronunciation and where it IS focused on it’s often instinctive attempts at correcting mispronounced discrete phonemes of the kind we’re all so familiar with due to the phenomenal success of certain books that hone in one these areas.
Part of the problem, of course, is that after a certain (very formative) point, time spent on pronunciation reaps very scant reward, especially when compared to other areas of language that one could work on. Imagine the degree to which you might expect your communicative competence to be boosted if you were to spend a hundred hours studying, developing and revising vocabulary – and then compare and contrast to what you might expect to gain in communicative terms if you were spend those hundred hours working on your pronunciation. In all but a few rare cases, there’d be no comparison.
Partly this is because – unlike other areas of language skill (with the possible, arguable exception of writing, of course), pronunciation is essentially a motor skill, and ultimately develops as a result of practice, practice and practice. And then some more practice after that – in much the same way as a musician learns a song by going over and over and over the fingering and the strumming and the chords and the notes, drilling them into the muscle memory until they become second nature.
When it comes to discrete phonemes, there is often little we can really do in the limited time that we inevitably have with. If students are struggling, say, to produce a /v/ instead of a /b/ or a /r/ instead of a /l/ we can stop them when they err; point out what they’re saying and show with our own mouths and voices how we would do it differently. We can explain and demonstrate that a /v/ sound is voiced and requires the bottom lip to raise up and touch against the two front upper teeth, for instance, and we can encourage students to practise, pointing out when they’re still doing it wrong – and once they nail it, telling them and encouraging them to remember the feel in the mouth the sound makes and to practise it at home. We can correct it again next time we here it, but really after that they’re pretty much on their own.
Some people seem to have a much better ear for the degree to which what they’re producing resembles the output or models they’re exposed to, and there’s also surely some kind of sociocultural / psychological element involved which must affect the degree to which many speakers try – and deliberately don’t try – to accommodate themselves to particular kinds of native-speaker norms. I’ve often pondered how it is that the manager of my beloved football club, Arsene Wenger, can have lived in London for almost two decades and can have learned English to such a remarkable degree and yet all the while has clung to more or less exactly the same kind of French-inflected accent he first arrived with.
Well, part of the problems seems to be the fact that accents stick very early on, and once we’ve passed a certain point, changing this is incredibly hard to do. Research findings on this obviously vary, but there does seem to be a considerable body of evidence to suggest that we start being primed in our own first language from our very earliest moments here on earth, and this priming seems to last. This, coupled with the kind of lingering class-bound prejudices and perceptions that once led George Bernard Shaw to observe that “it is impossible for an Englishman to open his mouth without making some other Englishman hate or despise him”, might explain the proliferation of accent reduction courses that prey on the insecurities and fears of NATIVE speakers. Obviously, if your priming in L1 has led to the production of sounds radically different to English, then you may well have problems unless quite an intense focus on pronunciation is made a central part of your early experience of learning the language. Debate rages on about whether or not there actually is a cut-off point beyond which it’s all-but impossible to acquire native-like pronunciation, but there does seem to be a fair amount of evidence to suggest that by the early twenties accents in a foreign language are already pretty fixed. All of this may well go some way towards explaining why I’ve met only perhaps three or four non-natives who didn’t live in a native-speaking country until they were adults who could nevertheless be mistaken for natives (as well as why the vast majority of non-natives I know who do live in native English-speaking environments are easily identifiable as non-native – often to their great annoyance – despite speaking amazingly good English). It also accounts for the Chinese and Thai students I somehow teach whose learning thus far has been both almost entirely based on written sources and also very much in vain as the English they have acquired is rendered unintelligible by their accents, which are rooted very strongly in the tonalties of their mother tongues.
To add a further level of complexity to these obvious issues, recent discourse about ELF – and particular the work of Jennifer Jenkins, who has written at length about what she sees a phonological core of ELF that allows communication unimpeded by lapses in intelligibility without forcing strict adherence to the native-speaker RP construct (as she sees it) – has (and I’ll be gracious here and add unintentionally) led to a furthering of the Why bother? attitude to pronunciation. The vast majority of discrete phoneme mistakes don’t affect intelligibility; natives can’t even agree on how to pronounce grass and castle, while the Irish (allegedly!) say TREE TREES to describe these things:
We’ve all got accents, even native speakers . . . so what if my students sound French or Russian or what-have-you? That’s because they are. I can understand them all, why bother? And so the self-justification continues. Given all of this, you may yourself by now be thinking why bother. What’s the point of slogging on with something so unrewarding and that offers so few noticeable signs of improvement in return for such hard work on your part?
Well, on one level, the point is that even incredibly fluent students, like the Finnish woman Hanna who I recently taught on a Pronunciation & Presentation Skills course, still fret (in what may, to many native speakers seem like an unnecessary manner, but this does not detract from the reality of these emotions) about their accents and feel they could be improved – often by moving closer to some perceived idealised native speaker mode, which often means RP. Interestingly, actually, non-natives seem far more concerned about the finer details of pron than most natives for whom a diversity of options is a norm. I’ve lost count of the number of times after a talk I’ve done a non-native teacher has asked me whether I say ofTen or off-en, for instance.
So there’s that, but even this argument about student desires, persuasive though it may be, still actually misses the point.
Because the main issue here is that the REAL reason for persisting with pronunciation is NOT because it has that much of an impact on students’ own pronunciation.
It’s because it’s help students LISTEN better.
For students, listening is hard for one of two reasons: either they’re hearing language that’s simply unknown to them, and thus they fail to understand it in the same way as they would if they were to see it written down – or else they’re hearing language that they’d be able to deal with if they saw it written down, but cannot grasp as it comes out in the acoustic blur of normal speed speech. This is often because their main exposure to language has been the written form; and because listening – and more crucially the inter-relationship between listening and pronunciation – has been neglected during the early stages of their language learning experience.
If students cannot hear language that they are able to process when written down, it is rarely if ever because of issues with discrete phonemes. If it’s outside of the classroom, it may perhaps be because of a particularly unfamiliar or strong accent, though inside the classroom such accents are generally filtered out. This means that it’s down to what happens when we speak at speed: the use of weak forms, the elision of sounds at the beginning or end of words, the way words ending in consonants are linked to following words if they begin with vowels, the way we add in /w/ and /j/ sounds to link between vowels across words (as in the /j/ English or go /w/ ahead) and so on.
What this means is every time you take your time when modelling and drilling (both chorally and individually) the weak forms and linking and so on in a phrase like IT’S A BIT OF A NIGHTMARE or HOW AM I SUPPOSED TO KNOW, you’re helping the students get that little bit more used to how words sound when run together and said consecutively.
And while your efforts may or not impact positively on their own actual pronunciation, the chances are they’ll slowly contribute to your students being better able to distinguish language they have already studied when it comes at them think and fast in future listenings.