|Reflection upon the fact that we generally don't do speaking training in an integrated manner, as we may do with written genres.|
|Possible (though never definitive, nor exhaustive, nor always fixed, because language use.... ;) ) organisation of different speech genres along a cline.|
|The building block metaphor I propose to inform lexico-grammatical, sequential and intonational choices.|
|An example of a production task (which probably we have done in our lessons a million times!) that we can exploit to teach step-ups in pitch, and contrastive accent.|
|Examples of lexico-grammatical blocks in initial position that do anticipatory work. These have been found to be quite consistent in LEGO types of texts (the ordering and tone choice works differently in interactive texts)|
|Example of an outline for student production of short conversational stories that focus on grammatical choices and the preparatory (loop) or advancing (increment) contextualisation by rising or falling tones (respectively)|
|Example of ways in which we can contextualise reported speech through level tones and contrastive stress in TETRIS-like situations of language use (though also common, with direct speech, in speeches, or lectures, LEGO text types)|
|Examples of ways in which we can create opportunities for use of level tones in conversational lists (vs counting, or sequences of steps where lists may be found to have rising tones)|
All in all, this was a really enjoyable event, and very special for me, as I haven't been teaching for a year (starting this week again, yay!) and I spent this whole year trying to find an excuse to write down the principles and ideas that informed my integrative intonation teaching methods when I was lecturing in Buenos Aires. Hope they make sense to you!
(And now...back to my research. Enough productive procrastination!)
P.S.: this post somehow opened up a chest of memories for me, and I forgot to acknowledge another lecturer, Prof. Claudia Gabriele, who in her own way showed me that there are ways of "creating opportunities" for practice of intonation. I was her Lab assistant for a few years, and I was particularly inspired by her use of role plays and other speaking tasks for a more natural application of intonation patterns. Sorry about this unintentional omission in the original post.