Search results for: intonation

Authors: Inkeri Jääskeläinen

Abstract:

The purpose of this study is to shed light on what is it like to study in apprenticeship training using Finnish as second language. This study examines the stories and experiences of apprenticeship students learning and studying Finnish as part of their vocational studies. Also, this pilot study examines the effects of learning to pronounce Finnish through body motions and gestures. Many foreign students choose apprenticeships and start vocational training too early, while their language skills in Finnish are still very weak. Both duties at work and school assignments require reasonably good general language skills (B1.1) and, especially at work, language skills are also a safety issue. At work students should be able to simultaneously learn Finnish and do vocational studies in a noisy, demanding, and stressing environment. Learning and understanding new things is very challenging under these circumstances and sometimes students get exhausted and experience a lot of stress - which makes learning even more difficult. Students are different from each other and so are their ways to learn. Thereafter, one of the most important features of apprenticeship training and second language learning is good understanding of adult learners and their needs. Kinaesthetic methods are an effective way to support adult students’ cognitive skills and make learning more relaxing and fun. Empirical findings show that language learning can indeed be supported physical ways, by body motions and gestures. The method used here, named TFFL (Touch and Feel Foreign Languages), was designed to support adult language learning, to correct or prevent language fossilization and to help the student to manage emotions. Finnish is considered as a difficult language to learn, mostly because it is so different from nearly all other languages. Many learners complain that they are lost or confused and there is a need to find a way to simultaneously learn the language and to handle negative emotion which come from Finnish language and the learning process itself. Due to the nature of Finnish language good pronunciation skills are needed just to understand the way the language work. Movements (body movements etc.) are a natural part of many cultures but not Finnish – In Finland students have traditionally been expected to stay still and that is not a natural way for many foreign students. However, kinaesthetic TFFL method proved out to be a useful way to help some L2 students to feel phonemes, rhythm and intonation, to improve their Finnish and, thereby, also to successfully complete their vocational studies.

Keywords: Finnish, fossilization, interference, kinaesthetic method

Procedia PDF Downloads 80

Authors: Inkeri Jaaskelainen

Abstract:

The purpose of this study is to shed light on what it is like to study in apprenticeship training using Finnish as a second language. This study examines the stories and experiences of apprenticeship students learning and studying Finnish as part of their vocational studies. Also, this pilot study examines the effects of learning to pronounce Finnish through body motions and gestures. Many foreign students choose apprenticeships and start vocational training too early, while their language skills in Finnish are still very weak. Both duties at work and school assignments require reasonably good general language skills (B1.1), and, especially at work, language skills are also a safety issue. At work, students should be able to simultaneously learn Finnish and do vocational studies in a noisy, demanding, and stressful environment. Learning and understanding new things is very challenging under these circumstances and sometimes students get exhausted and experience a lot of stress - which makes learning even more difficult. Students are different from each other and so are their ways to learn. Thereafter, one of the most important features of apprenticeship training and second language learning is a good understanding of adult learners and their needs. Kinaesthetic methods are an effective way to support adult students’ cognitive skills and make learning more relaxing and fun. Empirical findings show that language learning can indeed be supported in physical ways, by body motions and gestures. The method used here, named TFFL (Touch and Feel Foreign Languages), was designed to support adult language learning, to correct or prevent language fossilization, and to help the student to manage emotions. Finnish is considered as a difficult language to learn, mostly because it is so different from nearly all other languages. Many learners complain that they are lost or confused and there is a need to find a way to simultaneously learn the language and to handle negative emotion that comes from the Finnish language and the learning process itself. Due to the nature of the Finnish language, good pronunciation skills are needed just to understand the way the language work. Movements (body movements etc.) are a natural part of many cultures, but not Finnish. In Finland, students have traditionally been expected to stay still, and that is not a natural way for many foreign students. However, the kinaesthetic TFFL method proved out to be a useful way to help some L2 students to feel phonemes, rhythm, and intonation, to improve their Finnish, and, thereby, also to successfully complete their vocational studies.

Keywords: Finnish, fossilization, interference, kinaesthetic method

Procedia PDF Downloads 105

Authors: Adriana De Serio, Adrian Korek

Abstract:

Aims: This experiential research work presents a Group-MusicTherapy-Theatre-Plan (MusThePlan) the authors have carried out to support the actors. The MusicTherapy gives rise to individual psychophysical feedback and influences the emotional centres of the brain and the subconsciousness. Therefore, the authors underline the effectiveness of the preventive, educational, and training goals of the MusThePlan to lead theatre students and actors to deal with anxiety and to overcome psychophysical weaknesses, shyness, emotional stress in stage performances, to increase flexibility, awareness of one's identity and resources for a positive self-development and psychophysical health, to develop and strengthen social bonds, increasing a network of subjects working for social inclusion and reduction of stigma. Materials-Methods: Thirty students from the University Theatre Faculty participated in weekly music therapy sessions for two months; each session lasted 120 minutes. MusThePlan: Each session began with a free group rhythmic-sonorous-musical-production by body-percussion, voice-canto, instruments, to stimulate communication. Then, a synchronized-structured bodily-rhythmic-sonorous-musical production also involved acting, dances, movements of hands and arms, hearing, and more sensorial perceptions and speech to balance motor skills and the muscular tone. Each student could be the director-leader of the group indicating a story to inspire the group's musical production. The third step involved the students in rhythmic speech and singing drills and in vocal exercises focusing on the musical pitch to improve the intonation and on the diction to improve the articulation and lead up it to an increased intelligibility. At the end of each musictherapy session and of the two months, the Musictherapy Assessment Document was drawn up by analysis of observation protocols and two Indices by the authors: Patient-Environment-Music-Index (time to - tn) to estimate the behavior evolution, Somatic Pattern Index to monitor subject’s eye and mouth and limb motility, perspiration, before, during and after musictherapy sessions. Results: After the first month, the students (non musicians) learned to play percussion instruments and formed a musical band that played classical/modern music on the percussion instruments with the musictherapist/pianist/conductor in a public concert. At the end of the second month, the students performed a public musical theatre show, acting, dancing, singing, and playing percussion instruments. The students highlighted the importance of the playful aspects of the group musical production in order to achieve emotional contact and harmony within the group. The students said they had improved kinetic and vocal and all the skills useful for acting activity and the nourishment of the bodily and emotional balance. Conclusions: The MusThePlan makes use of some specific MusicTherapy methodological models, techniques, and strategies useful for the actors. The MusThePlan can destroy the individual "mask" and can be useful when the verbal language is unable to undermine the defense mechanisms of the subject. The MusThePlan improves actor’s psychophysical activation, motivation, gratification, knowledge of one's own possibilities, and the quality of life. Therefore, the MusThePlan could be useful to carry out targeted interventions for the actors with characteristics of repeatability, objectivity, and predictability of results. Furthermore, it would be useful to plan a University course/master in “MusicTherapy for the Theatre”.

Keywords: musictherapy, sonorous-musical energy, quality of life, theatre

Procedia PDF Downloads 36