Pronunciation and Music

Susan Bergman Miyake

1.

Introduction
In this paper I would like to take the opportunity to discuss theuses of music in teaching pronunciation, in particular the whys andthe hows of using music to introduce connected speech patterns(especially reduced speech, contractions and elisions) and to introduce students to ”Global Englishes” (e.g. different varieties of English). I will discuss first what is reduced speech, why it should betaught, and then finally what music has to offer in this regard.

2.

The Importance of Introducing Reduced Speech
One major challenge in pronunciation for speakers of Japaneseand other “syllable-timed” languages (where the length of an utterance depends on the number of syllables which all take similarstress) is that English is a “stressed-timed” language-that is, English
has a rhythmic beat which moves from stress to stress, regardless of
how many syllables are in between.
The following example is a good way to demonstrate what thismeans to students. Give the following sentences, one at a time, andclap out the stressed beats. The number of beats will remain thesame regardless of how many syllables are added to the sentence.
(adapted from Celce-Murcia, 1996, p. 152)

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CATS

CHASE

MICE

The CATS

CHASE

MICE

The CATS

CHASE

the MICE

The CATS

could CHASE

the MICE

The CATS

could have CHASed

the MICE

The CATS

could have been CHASing

the MICE

The CATS

couldn’t have been CHASing

the MICE

Students will see how the content words (in this case, “cats”,“chase”, “mice”) take the stress and the function words here (the,could, not, have, been), get progressively reduced or “swallowed up”(e.g. couldina been for “couldn’t have been”).

The kinds of pronunciation changes that occur in connectedspeech (reductions, contractions, and assimilations) due to the stresstimed nature of English present ongoing challenges for non-nativespeakers. Assimilation (for example, have  to  hafta; going  to gonna) is often misunderstood as “lazy”, “casual” or “sloppy”. However, it is actually an important feature of English. This is demonstrated in Nina Weinstein’s research. Using recordings of unscripted, educated native speakers, she identifies three levels of
reduced speech (Weinstein, 2001, p. 119):

Level 1: What do you, what do (we / they), what are you

Level 2: whadda you; wha do (we /they); what’re ya

Level 3: whaddaya; whadda; whaddaya

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Level one speech occurred a mere eight times, level two reductions 47 times, and level three reductions occurred 258 times Thisstrongly indicates that reduced speech forms are the rule rather
than the exception among educated native speakers.

3.

Student Interest
It can be clearly seen, therefore, that it is important to introducereduced speech patterns to students because they are an importantfeature of English. Another compelling reason is that students
themselves are very interested. Recent investigations of language
learners’ demands in the field of Teaching English as a Foreign
Language have shown that pronunciation is one of the highestranking aspects of student interest in many different countries(Willing, 1988). Surveys of Japanese students have also shown ahigh interest in learning pronunciation. “According to a survey ofthe attitudes of Japanese university students, they.... are more interested in pronunciation training than in learning foreign culture or
foreign literature” (Makarova & Ryan, 2000). Informal surveys thatI have conducted at five junior colleges and universities in theKanto area also reveal a very high interest in learning pronunciation.
Moreover, not only is there a high demand for learning pronunciation in general, students are also interested in reduced speechforms in particular. In surveys conducted at the beginning of theyear, students frequently mention a desire to understand the speechof native speakers, and to sound like native speakers themselves. In
light of Weinstein’s research on frequency of reduced speech of 75 

native speakers, combined with the fact that most students are nottaught about them, I believe reduced speech to be an importantfactor in addressing these desires. Students also consistently mention wanting to learn “slang”, which I strongly suspect may also tie
into the reduced speech question, since students also mention on
end-of-the-term course evaluations that they liked learning reduced
speech and want to learn more.

4.

Teaching Reduced Speech
One way to introduce reduced speech is through listening exer-cises where students listen to conversations containing reducedforms. Although they practice listening to reduced speech, theywrite in standard spelling in order to stress the fact that standard
written form is different from oral English. In the example below,
the student would hear a conversation between two people in a
restaurant. A: “Whaddaya gonna have” B: “Let’s see. I wanna try achicken sandwich. “ A: ”I wanna have a cheeseburger and some fries.
Whadda you wanna drink” While listening, they would fill in as
below:A:have(Writes: What are you going to)

B:Let’s see. I

try a chicken sandwich.

(Writes: Want to)

A: I

have a cheeseburger and some fries.
drink

(writes: want to, what do you want to) 76 

(Adapted from Weinstein, 2001, p. 22)

5.

Using Music in Pronunciation Teaching
In addition, I have found using music in pronunciation can also

be a great way to look at reductions. There are several reasons to
use music in pronunciation class. Pronunciation has been called theCinderella of ELT (being locked away and out of sight). One of thecriticisms of pronunciation teaching is that it is thought to beboring. Perhaps this is due to the dominant image of audio-lingual
methods drilling minimal pairs. Another complaint by some teachers has been that pronunciation is “imperialistic”, or imposes amonolithic and unreachable North American (sometimes British)“standard” on the rest of the world. Music, on the other hand, canaddress both of these concerns. Music can offer a wide range ofdifferent kinds of English. “Standard” as well as regional Americanand British popular music is, of course, readily available as arereggae, gospel or many other varieties of English from around theworld. Yet another compelling rational for using music in class isthe fact that it is deeply enjoyable (by college students in particular)
is relaxing, and holds students’ interest and attention. Since students often express anxiety about their pronunciation and can,consequently, contribute to a fear of speaking, music can be aneffective tool for lowering their affective filter (e.g. reduce stress andanxiety) and facilitating learning. In short, music offers a fun,non-drill based way to introduce varieties of authentic English.
Music also offers a great way to look at reductions and elisions
in connected speech. One way to use music in class is to create cloze
exercises with the target language (function words, reduced speech,

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contractions, assimilations) blanked out. Students often seem tofind these exercises both enjoyable and challenging. Students canbe asked to write in standard spelling in order to emphasize thedifference between the correct written form and spoken English.
Usable material is rife in many songs, as can be seen in the examples
are excerpted below:

This Little Light of Mine (American Gospel)
This little light of mine,I’m(gonna/going to) let it shine. (x3)

Ev’ry day, ev’ry day, ev’ry day, ev’ry day(gonna / going to) let my little light shine

Blowing in the Wind (Bob Dylan)Yes(’n /and) How many roads must a man walk down,

before they call him a manYes

How many seas must a white dove sail,before it sleeps in the sandYes

How many times must a cannonball fly,

before they are forever bannedThe answer, my friend is blowing in the wind,
the answer is blowing in the wind.

Aimee (Pure Prairie league)(chorus)
Aimee(whatchyu/ what do you)(wanna/want to) doI think I could stay with you, for a while, maybe longer if I do.

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Tears in Heaven (Eric Clapton) (chorus)(wouldjyu/ would you) know my name,if I saw you in heaven(wouldjyu/would you) feel the same,if I saw you in heaven
I must be strong, and carry on, cause I know I don’t belong,here in heaven.

Comes a Time (Neil Young)It’s(gonna/going to) take(alotta/a lot of) love
To change the way things are.
It’s(gonna/going to) take(alotta/a lot of) love
Or we won’t get too far.

6.

Conclusion
Music is a great method of introducing reduced speech forms ofconnected English. It has the potential to address students’ ongoing
concerns about wanting to understand native speakers and wanting
to sound more like native speakers. It also offers a way to lower
their anxiety about pronunciation in particular, and speaking ingeneral, by providing a non-threatening, enjoyable context. Musiccan also address the concerns of some teachers about pronunciation
being too boring or imperialistic by providing lively and authentic
context in which the possibilities for variety are unlimited.

7.

Bibliography
Celce-Murcia, M.; Brinton, D.; Goodwin, J. (1996). Teaching Pro- 79 

nunciation; a Reference for Teachers of English to Speakers of OtherLanguages; Cambridge University Press

Makarova, V. & Ryan, S. (2000). Language teaching attitudes fromlearners’ perspectives: a cross-cultural approach. Speech Communication Education, Vol. 23, pp. 135-165.

Weinstein, N. (2001). Whaddaya Say; Guided Practice in RelaxedSpeech, Longman, p. 119.

Willing, K. (1988). Learning styles in adult migrant education, Adelaide: National Curriculum Resource Centre.

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