- •Delivering a lecture
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Signposts.
- •1.3. Style forming factors.
- •1.5. Delimitation of Discourse
- •1.6. Samples for Study and Analysis. Sample a
- •Good morning!
- •Notions of Style
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •Score Mark
- •2.8. Reading Technique
- •III. Project work
- •Sample a Forms of Address in Great Britain
- •Sample b Apologizing and Making Excuses
- •Score level criteria
- •Module 2 making a political speech
- •I. Input materials.
- •Rhetoric strategy.
- •Style forming factors:
- •Tunes (melody contours)
- •Combined tunes
- •1.5. Samples for study and analysis
- •Part of a Political Speech
- •Part of a Political Speech
- •The Common Market Negotiations
- •II. Skills development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Making business presentations
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Style forming factors
- •1.4. Rhythm
- •1.5. Samples for Study and Analysis
- •The Director of the Milk Marketing Board giving a presentation about key trends
- •Public Ownership
- •II. Skills Development
- •2.7. Auditory Test
- •Analyse these combined tunes:
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Advertising
- •I. Input materials
- •1.1. Rhetoric strategy.
- •Ways of Advertising
- •1.2. Style forming factors
- •1.3. Questions for preliminary exercise
- •Informative? – persuasive? – amusing? – well-made? – artistic?
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Expressive means of English Intonation
- •Irregular pre-heads
- •Reading
- •1.6. Samples for Study and Analysis tv Commercials
- •Radio Commercials
- •Advertising Campaigns
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Hotel ‘Caliente’ Barcelona
- •Score level criteria
- •Peculiarities of the drama
- •I. Input materials.
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •Delivering a lecture Sample a s f s
- •Sample b s
- •Making a Political Speech Sample a
- •Sample b
- •Making Business Presentation Sample a
- •Sample b
- •Advertising Sample a
- •Sample b
- •1.5. Voice Volume
- •Delivering a Lecture
- •Making a Political Speech
- •Making Business Presentation
- •Advertising
- •Extract One
- •1.6. Samples for Study and Analysis
- •Dramatic Monologue One
- •Dramatic Monologue Two
- •The Metropolitan Playhouse Productions
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Score level criteria
- •Interviewing
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Using questions for control
- •1.3. Style forming factors
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Specifics of the Pre-nuclear Pitch Change (the Head)
- •1.6. Samples for Study and Analysis
- •Linguistic Gaps
- •II. Skills development
- •2.5. Auditory Test
- •Score level criteria
- •2.6. Reading Technique
- •III. Project Work
- •Interview with Carl Sagan
- •Interview with Nigel Dempster
- •Score level criteria
- •Everyday talks
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •1.4. Weakform Words
- •II. Samples for Study and Analysis
- •Extract from a Spy Story
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project Work
- •Finding Somewhere to Live
- •The Ladies’ Dress Department
- •Score level criteria
- •Fairy tale rhetoric and language teaching
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Invariant phonostylistic peculiarities
- •1.3. Pragmaphonetic modeling
- •1.4. Samples for study and analysis
- •Snow White and Rose Red
- •The Happy Prince
- •II. Skills Development
- •2.6. Auditory Test
- •Score level criteria
- •2.7. Reading Technique
- •III. Project work
- •3.1. Reading Technique
- •The Star-child
- •The Young King
- •3.2. Drama Technique
- •Goldilocks and the Three Bears
- •Little Red Riding Hood and the Wolf
- •Supplement Effective Presentation Technique
- •How we breathe
- •Types of Breathing
- •Diaphragmatic Breathing for Speech
- •Exercises for Diaphragmatic Breathing and Control
- •Exercises for Breath Control
- •Overcoming speech fright
- •Delivering the Speech
- •Using Your Body to Communicate
- •Dimensions of Nonverbal Communication
- •Adapting Nonverbal Behavior to Your Presentations
- •References
- •Contents
Supplement Effective Presentation Technique
A Breathing
How we breathe
The human breathing mechanism may be likened to a bellows which expands to admit air and contracts to expel it.
When we inhale, two things happen.
Muscles attached to the collarbone and shoulder bones pull upward and slightly outward.
Muscles in the abdominal wall relax, allowing the diaphragm – a sheet of muscle and tendon lying immediately below the lungs – to fall.
This permits the spongy, porous material of which the lungs consist to expand.
A vacuum is created.
Air rushes in.
When we exhale, two things happen also.
Gravity causes the rib cage to move downward.
Muscles in the abdominal wall contract, squeezing the diaphragm upward.
The space available to the lungs is thus reduced.
The lungs are squeezed.
Air is emitted.
Just as increasing the size of the bellows bag allows air to rush in, so increasing the space available to the lungs allows them to admit air.
Just as squeezing the bellows bag forces air out, so contracting the space the lungs can occupy forces air to be emitted.
Keep in mind that the proper development and use of breath are basic to good voice and speech – breath is the foundation of good voice and speech.
For humans, there are two functions of breathing. Whether we breathe for survival or for speech, the action of the muscles ought to be the same because breathing is a natural process.
In vegetative breathing the inhalation is active, whereas the exhalation is passive. In speech both inhalation and exhalation are strong and controlled and hence are active processes.
In vegetative breathing, exhalation and inhalation usually take about the same time for all breaths. However, in breathing for speech, inhalation is usually of relatively short duration, whereas the duration of exhalation depends on the thought being expressed. In addition, breathing for speech is usually much deeper than breathing to sustain life.
Types of Breathing
There are three major types of breathing: (1) diaphragmatic (abdominal), (2) clavicular, and (3) upper thoracic.
Diaphragmatic breathing (abdominal breathing) is recommended for career speech by most trained voice and speech specialists. In this type of breathing, a downward movement of the diaphragm is accompanied by an expansion of the lower ribs. This technique provides greater control over exhalation.
In clavicular breathing, the speaker raises the shoulders and collarbones (clavicles) while inhaling. This can be a very exhausting habit. Because it adds tension to the laryngeal area, the resulting voice is often harsh and high-pitched.
In upper thoracic breathing, the sternum (breastbone) is elevated during inhalation and often pulls in the lower rib cage.
Breathing for life is involuntary and is dictated by the individual’s brain stem. Inhalation is active, whereas exhalation is passive. The amount of air in each of a person’s vegetative inhalations is about the same. In speech, inhalations and controlled exhalations are active, voluntary, and dependent upon the desired message of the speaker. We voluntarily take in the amount of air necessary to speak a complete thought. Thus the depth of inhalation for shouting “Olé!” at a bullfight is significantly different from the amount of air necessary to impress friends with a lengthy tongue twister. This process is closely allied to the psychology of speech, which is a major subject in itself. Inhalation is basically involuntary. However, the professional communicator sometimes takes a deeper breath voluntarily to achieve a desired effect. It is important that the depth of a breath be sufficient to support the intent, thought, or emotion to be conveyed.