CSD+350+Motor-Based+Approaches_part+I.pptx

1. Part One: Fish Out of Water Chapter One I may have been born a creature of the land, but my heart belongs to the sea. In that first, shocking instant, when my head breaks the surface of the cool water and my entire body is suddenly submersed in this weightless world, I feel like I could live here, among the fish and eels and coral, and just leave my real life behind. And for a few minutes I can, but then my lungs betray me and force me back to that place of harsh sunlight, and back-breaking labor, and the Hunger Games. My father tells my sister Natare and I every night, as we lay down on the scrubbed wooden deck of our little fishing ship staring at the stars that we're lucky to have been born in District 4. Our district is in charge of everything to do with the sea, which basically means we're all fishermen. "You think knotting lines and hauling nets is hard work?" father says. "Imagine mining for coal hundreds of feet underground, or dragging a plow across a twenty mile-long field in the mid-day heat. What we have, my children, is paradise, or as near as someone from the districts can get." And for the most part, he's right. School is technically compulsory, but attendance is only enforced when kids, like Natare and I, are on land. When we're out on father's fishing boat – which is most of the time – he is our teacher, the sea our classroom. Natare and I dangle our feet off the edges of the dinghy, making elaborately knotted rope nets with our dexterous fingers, while father steers us to our destination. When we reach the fishing grounds it is hard work – casting the nets and baiting the lures – but once all the prep is done, we can swim and play until the sun sinks into the water and the moon becomes our lantern in the sky. But today my little family and I aren't on our fishing boat, trawling the waters for tonight's dinner and, ultimately, a decent-sized haul to sell at the market, so we can keep our boat in good repair and continue our relatively carefree lifestyle. We're ashore, in the small, thatched-roof cottage my mother so painstakingly decorated before she died of a plague that cut a swath through our section of the district two years ago. Natare is standing in front of the vanity – a simple wooden table attached to a large, relatively flat shell that has been polished until you can see yourself in its shiny surface. Father is helping her twine her long bronze hair into dozens of braids, which is our traditional way of doing a girl's hair for formal events. This is something that mother used to help Natare with, and we can all feel her absence more keenly on a day like today. "Brush your hair," father snaps at me. "The Capitol is watching us on Reaping Day. We have an image to maintain, especially you." Especially me. Because Natare is only nine years old, whereas I'm fourteen. And that means that when Pompey Birch, the official District 4 spokesman for the yearly Hunger Games, sticks his hand in that big plastic ball and pulls out

1. Motor-Based Treatment Approaches CSD 350

2. Phonetic vs. Phonemic Approach Motor-Based (phonetic, articulation) Inability to produce complex motor skills required for articulation Teaching a motor behavior Linguistic (Phonemic, Phonologic) Have not learned certain phonologic rules Rules that contrast sounds Can’t sort out how sounds are used to contrast meaning Teaching

3. Important!

4. Motor vs. Linguistic Degree to which they emphasize either motor or linguistic aspects of speech sound learning.

5. What’s the Difference: Generalization, Transfer, Carry-over, Maintenance?

6. Traditional Motor Approach (Secord, 1989: Van Riper and Erickson, 1996) Phonetic Placement Sound Modification

7. generalization

8. Motor learning Principles A learned motor skill results from 2 different levels of performance demonstrated during 2 different phases: Acquisition and learning phase: establishing ability to execute the skill Product of practice Retention and transfer phase: level of learning that is considered the permanent change in ability to demonstrate the skill completed.

9. Principles of Practice Shorter, more frequent sessions Variety of conditions (different rates, different intonation patterns, etc.) Random presentation of targets rather than the same target over and over Focus on correct productions rather than individual articulator movements Entire speech target better than repeating tiny pieces (i.e. sticking tongue in and out of mouth without making sound)

10. Principles of practice

11. Optimize Learning (Hitchcock and McAllister Byun, 2015a)

12. Principles of feedback

13. In-class activity KoR or KoP For each trial hold up card to indicate what type of feedback was given Practice with a partner

14. Intervention sequence

15. Sensory-Perceptual Training/Ear Training Appropriate for clients that Fail to produce sound/not stimulable Produce sound in limited phonetic contexts Fail to perceive sound in minimal pairs Produce sound on demand but not in syllabic unit Old enough for the metacognitive skills required

16. Sensory-Perceptual Training/Ear Training General teaching procedures Discrimination/perceptual training → production First step in traditional motor approach Moves from judgment of clinician productions to self productions “Tell me if these are the same or different: rake-wake” Methodology for Ear Training Identification Isolation Stimulation: bombardment - change rates, loudness, speakers Auditory Discrimination

17. Perceptual Training

18. Phase 1: Identification

19. Phase 2: Isolation

20. Phase 3 Stimulation

21. Phase 4 Discrimination

22. Production Training : Sound Establishment

23. Strategies for eliciting correct production of a target sound Imitation Simultaneous or choral imitation -child and clinician produce the target at the same time Mimed imitation –clinician silently mouth the target and the child produces the target out loud Immediate imitation- child produces target immediately following clinician model Delayed imitation -child produces target several seconds after the clinician provides that model

24. Strategies for eliciting correct production of a target sound

25. Strategies for eliciting correct production of a target sound

26. Strategies for eliciting correct production of a target sound

27. Strategies for eliciting correct production of a target sound

28. Production Training: Sound stabilization

29. Traditional therapy objective Charlotte will produce the phoneme /k/ in the final word position at the word level in response to pictures with 80% accuracy across 3 consecutive sessions.

30. Stimulus Presentation and Feedback ABC With a partner, practice teaching the /r/ sound. What was A? What was B? What was C?

31. Motor Approach Example https://www.youtube.com/watch?v=4z9V9bPj7fM&t=39s