Listening

1. Listening

2. Listening to sound is a distributed process Left panel: the harmony condition activated the left side of the brain more than the right. It also activated inferior (or lower) regions of the temporal cortex as compared to the melody condition Center panel: the melody condition activated both sides of the area called the temporal cortex (which is known to represent sound) to a much greater extent than did the rhythm and harmony conditions. Right panel: much of the brain activation observed during the rhythm condition was in the cerebellum. PET scans by Lawrence Parsons, Peter Fox, and Donald Hodges Universty of Texas, San Antonio

3. The neuropsychology of Sound

4. Recognition Networks

5. How do you “read” a sound? • Loudness • Pitch • Duration • Location • Timbre

6. How do you “read” a sound? • Loudness • Pitch • Duration • Location • Timbre • Background Knowledge • Context

7. Strategic Networks

8. How do you “read” a sound? 2) Strategic Systems • Differential Attending • Rehearsing • Predicting • Questioning • Summarizing

9. Affective Networks

10. The Physics of Sound versus Light

11. The impact of sound

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15. How do you “read” a sound? 3) Affective Systems • Engagement • Affect and Emotion • Prosody • Emphasis

16. An Interlude: thinking about songs.

17. Why are sounds structured the way they are? Over the Rainbo Judy Program

18. How is a good lecture like a song?

19. Listening: Lectures How to make Lectures that are more universally designed.

20. Lectures: • What are the strengths of lectures: For what constructs? • What are the weaknesses of lectures? For what constructs? • What are the construct-irrelevant challenges they impose?

21. Lectures Strengths: Expressivity voice gesture facial Immediacy live interactive social Variety: image, sound body language

22. How many sources of information are in a lecture? • Content • Structure (play “Over the Rainbow”) OVer the rainbow • Context • Non-verbal language The non-verbal dictionary • 5) Body Language and gesture http://www.handspeak.com/index.html • Images, Power-point • Reading the audience and contagion

23. Media and Materials: Lectures Potential Barriers: Representational • Perceptual • Linguistic • Cognitive

24. Lectures: Potential Representational Barriers Construct: Relevant Irrelevant • Perceptual • Linguistic • Cognitive Visual Auditory Haptic Decoding Vocabulary Syntax Language Illustration Background knowledge Critical Features Information Processing Memory and Transfer

25. Lectures: Potential Strategic Barriers Construct: Relevant Irrelevant • Physical • Skill and Fluency • Executive Response Navigation AT devices Media for expression Tools available Scaffolds for practice Setting goals Planning strategies Managing information Monitoring progress

26. Lectures: Potential Engagement Barriers Construct: Relevant Irrelevant • Recruiting • Interest • Sustaining • Engagement • Self Regulation Choice Relevance Distractions, threats Maintain Salience of goal Adjust challenge/support Communicate/collaborate Mastery-oriented feedback Emotional goal setting Self-regulation scaffolds Self-reflection supports

27. Media and Materials: Lectures Potential Barriers: Representational • 1) Sensory/Perceptual • Requires excellent hearing, auditory processing, vision. • 2) Linguistic • Requires English fluency, relevant vocabulary, listening comprehension skills. • 3) Cognitive • Structure is implicit, information is impermanent, sequential, un-reviewable

28. Media and Materials: Lectures Potential Barriers: 2) Strategic • Physical and Motor • Requires physical mobility to attend, take notes, orient. • Skills and Media • Requires advanced listening skills, competent note-making • Executive Strategies • Requires goal-setting, monitoring progress, strategies for comprehension and remembering

29. Media and Materials: Lectures Potential Barriers: 3) Affective Inconsiderate Length Enforced Passivity Limited Content Maximized Distractions

30. Media and Materials: Lectures Reducing Barriers: Providing Multiple Representations 1) Sensory/Perceptual options audio amplification live ASL translation image projection, image description 2) Linguistic options captioned video alternative oral language 3) Cognitive explicit structure, concept maps, slide headers printed PowerPoint full video recording Notes PowerPoint Video

31. Media and Materials: Lectures Reducing Barriers: Providing Multiple Means of Interaction 1) Alternative modes of interaction 1) large class interaction 2) small group discussion (live and options) 3) online threaded discussions 4) networked blogs 2) “assigned” note-takers PowerPoint Video

32. Taking Notes, UDL style. Lecture Notes

33. Speechmaking: What the professionals say • Understand your audience • In what way? • Affect • Recognition • Strategic

34. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation • Length – 20 minutes! • How to get around the limit? Non-verbal languageThe non-verbal dictionary

35. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation • Length – 20 minutes! • Organization • POWER Non-verbal languageThe non-verbal dictionary

36. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Punch

37. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Punch • One theme

38. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Punch • One theme • Windows

39. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Punch • One theme • Windows • Ear - conversational

40. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Punch • One theme • Windows • Ear – conversational • Retention – Loop back

41. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Delivery • Overcoming fear • Start fast • Use silence • Use body language

42. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Delivery • Overcoming fear • Start fast • Use silence • Use body language • Using Images – be careful!

43. Speechmaking: What the professionals say • Understand your audience • Designing the Presentation – POWER • Delivery • Using Images – be careful! • Quotes from Ian Parker on PowerPoint

44. Speechmaking: What the professionals say • Death by PowerPoint • Never begin or end with slides • Don’t read word slides • Tell and show rather than show and tell • Higher up, less slides – remember The Pope! • Don’t turn lights off • Use blanks (like silences) • One image per concept • Graphics for good news, tables for bad • Never hand out copies in advance

45. Speechmaking: What the professionals say • 3) Delivery • Overcoming fear • Start fast • Use silence • Use body language • Use images carefully! • Don’t read • Make eye contact • Use memory aids

46. Provide Multiple Means of Representation Within-Modality alternatives Amplification Alternatives Rate-Adjusted Alternatives Language Translations Visual Augmentation Universal Design - Speech

47. Provide Multiple Means of Representation Within-Modality Alternatives Cross Modality Alternatives Speech to Text Speech to Sign Speech to tactile vibration Universal Design - Speech

48. Provide Multiple Means of Representation Within-Modality Alternatives Cross-Modality Alternatives Multi-Modal Enhancements Provide Background Knowledge Highlight Critical Features Provide multiple Examples Use Multiple media and formats Universal Design - Speech

49. Provide Multiple Means of Engagement A) Appealing to the Limbic System B) Eye contact, etc. Universal Design - Speech

50. The neuropsychology of Oral Language Oral language as multi-media – multiple representations to sharpen and clarify meaning.