CRITIQUE OF UNSUPPORTED PROCEDURAL DESCRIPTIONS
NOTE: To view the summary of the intervention, scroll about one-third of the way down this post.
KEY
C = clinician
NA = not applicable
P = patient or participant
pmh = Patricia Hargrove, blog developer
SLP = speech-language pathologist
\ = falling intonation
/ = rising intonation
| = phrase boundary
Source: Fairbanks, G. (1960, Ch. 14, Intonation) Voice and articulation drillbook. New York: Harper & Row. (pp. 155-159.)
Reviewer(s): pmh
Date: January 10, 2023
Overall Assigned Grade (because there are no supporting data, there is not a grade)
Level of Evidence: Expert Opinion, no supporting evidence for the effectiveness of the intervention although the author may provide secondary evidence supporting components of the intervention.
Take Away: This chapter of Fairbanks (1960) is concerned with intonation and stress. This review, however, is only concerned with selected aspects of intonation (terminal contour, nucleus, and pitch direction) and timing (intraturn pauses)
1. Was there a review of the literature supporting components of the intervention? No
2. Were the specific procedures/components of the intervention tied to the reviewed literature? Not Applicable (NA)
3. Was the intervention based on clinically sound clinical procedures? Yes
4. Did the author provide a rationale for components of the intervention? Variable
5. Description of outcome measures:
– Is an outcome measure suggested? Yes
• Outcome: Appropriate intonation (terminal contour, pitch direction) by modifying location and duration of pauses) for intended meaning
6. Was generalization addressed? No
7. Was maintenance addressed? No
SUMMARY OF INTERVENTION
PURPOSE: To produce appropriate selected aspects of intonation (terminal contour, nucleus, and pitch direction) and timing (intraturn pauses) appropriate to the intended message.
POPULATION: Adults
MODALITY TARGETED: production
ELEMENTS/FUNCTIONS OF PROSODY TARGETED: intonation (terminal contour, nucleus, and pitch direction) and timing (intraturn pauses)
ASPECTS OF PROSODY USED TO TREAT THE TARGET: pauses, pitch direction, nucleus, terminal contour
DOSAGE: NA
ADMINISTRATOR: The book is written so that a lay person could use it as a self-help book. Historically, I know of many speech-language pathologists who have used the techniques and the materials in their therapy sessions.
MAJOR COMPONENTS:
1. The clinician explains selected aspects of intonation that will be used in this treatment.
2. The clinician provides the client with a list of short sentences (Fairbanks, 1960, p. 155) with falling (\), or downwards, terminal contours and directs the client to read aloud each sentence with a falling terminal contour. For example:
• He didn’t see me \.
3. The client reads the sentences from #2 but this time using an exaggerated rising (/), or upwards, terminal contour (e.g., He didn’t see me /.) Attention is directed to the changing from a statement (in #2) to a question (in #3) as the result of the change to rising terminal contour.
4. The clinician notes that yes/no questions USUALLY are paired with rising terminal contours. The client reads sentences from a list of yes/no questions (Fairbanks, 1960, p. 156) using an exaggerated rising terminal contour (e.g., Did Jack say so / ?).
5. The client rereads aloud the sentences from #4 using an exaggerated falling terminal contour (e.g., Did Jack say so \?) The client and clinician discuss whether the pair of the falling terminal contour and an interrogative sentence change meaning. (Sometimes it can.)
6. The clinician provides a sentence list of WH questions and directs the client to read them aloud with an exaggerated falling intonation contour (e.g., When can you fix it \?). (These sentences with falling terminal contours tend to be perceived as questions requesting information.)
7. The client reread the sentences from #6 with a rising terminal contour (e.g., When can you fix it / ?). The client and the clinician discuss pairing of sentence structure and terminal contour. (The meaning can be perceived as signaling excitement, doubt, or irritability.)
8. The clinician provides pairs of tag questions (Fairbanks, 1960, p. 156-157). The client reads aloud each pair alternating between a falling and a rising terminal contour. For example:
– You are going to the country, aren’t you / ?
– You are going to the country, aren’t you \ ?
The client and the clinician note that meaning of tag questions can be changed solely by the terminal contour:
– rising terminal contours in tag questions are perceived as requests for information and
– falling terminal contours are requests for confirmation or denial.
9. The clinician provides a list of questions containing 2 alternatives (Fairbanks, 1960, p. 157) for the listener:
• If there is a rising terminal contour, the speaker is requesting a “yes” or “no” and
• If there is a falling terminal contour, the speaker is requesting a choice from the listener.
Moreover, the clinician points out that in this exercise
• When there are 2 or more pitch changes in the sentence, only the last pitch change (i.e., the terminal contour) is considered in the interpretation and t
– Are you going to the beach / or to the mountains / ?
– Are you going to the beach / or to the mountains \ ?
AND
– Does she wear green /, or blue /, or yellow /, or red / ?
– Does she wear green /, or blue /, or yellow /, or red \ ?
10. The clinician shares sample sentences with the client. Each sentence contains lists or a series (Fairbanks, 1960, p. 157). Each of the items on the list is followed by a rising contour except the final item which has a falling terminal contour. (The meaning of this pattern can be interpreted be that the speaker knows all the items he/she plans to list. The internal rising contours can signal the speaker is not finished the list.)
For example:
– He came /, he saw /, he conquered \.
– I will buy vegetables /, groceries /, and meat \.
11. The client reads the sentences from #10 but all the items are produced with a rising contour, including the terminal contour.
– He came /, he saw /, he conquered /.
– I will buy vegetables /, groceries /, and meat /.
The client and the clinician discuss the change in meaning. This can signal the speaker is questioning, uncertain, or the list is incomplete.
12. The client reads the sentences from #10 but all of the items are produced with a falling contour, including the terminal contour.
– He came \, he saw \, he conquered \.
– I will buy vegetables \, groceries \, and meat \.
The client and the clinician again discuss the change in meaning. This pattern can be used when the speaker is unsure how long the list will be and produces the internal as well as the ultimate terminal contour as falling. This allows the speaker to stop speaking when appropriate.
13. The clinician provides the client with a list of sentences consisting of 2 phrases each (Fairbanks, 1969, p. 158). The phrase boundaries are marked by vertical lines ( | ). The client reads each 2-phrase sentence with all rising, all falling, and rising then falling intonation patterns. For example, the sentence
| I am going to town, | but I expect to return. | would be read as
– | I am going to town / , | but I expect to return / . |
– | I am going to town \ , | but I expect to return \ . |
– | I am going to town / , | but I expect to return. \ |
–
14. The clinician gives the client a paragraph written in capital letters with no punctuation. The client rewrites the paragraph using traditional capitalization and punctuation. The clinician directs the client to read the paragraph silently to mark phrasing and intonation directions. Then, the client reads aloud the marked paragraph.
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