AnalyticalVisualizationforLearningForeignLanguageSounds AnalyticalVisualizationforLearningForeign LanguageSounds TOMITA Kaoru (FacultyofLiteratureandS

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2 AnalyticalVisualizationforLearningForeignLanguageSounds AnalyticalVisualizationforLearningForeign LanguageSounds TOMITA Kaoru (FacultyofLiteratureandSocialSciences) Abstract Thisstudyexploreshow visualinformationhelpsustolearnforeignlanguagepronunciation. Visualassistanceanditsefectforlearningforeignlanguagehavebeendiscussedwidely. Forexample,simplifiedilustrationsintextbooksareusedfortelinglearnerswhichpartof thearticulationorgansareusedforpronouncingsounds.vowelsareputintoachartthat depictsavowelspace.consonantsareputintoatablethatcontainstwoaxesofplaceand mannerofarticulation. When comparing a stilpicture and a moving picture for visualizing learners pronunciation,itbecomes clear thatthe former works beter than the later.the visualization ofvowelswasapplied toclassactivitiesin which nativeand non-native speakers Englishwascomparedandtheirfeedbackwascolected:thepositionsofsix vowelsbythelaterdidnotscaterasmuchastheywereexpectedtodo.specificaly,two vowelswerenotdiscriminatedandwerearrangedverycloseinthevowelspace. Itwas surprising for the author to find thatlearners liked analyzing their own pronunciationsbydrawingformantonesandtwosonasheetofpaperwithapencil.evena simplemethod workswelifitleadsthelearnerstothink abouttheirpronunciation analyticaly. 1.Introduction Visualinformationhelpsustolearnthingshappeningaroundus.Itisrepresentedinformsof asymbol,apictureoralanguage.thelinksbetweenpicturesandlanguagesarestrong.as isdescribedin[1],masteringlanguageisoneuniquecapacityofourspecies;anotherisuseof pictures.thepictureshaveexistedforlongerperiodsoftimethanwritenlanguages.the formerrepresentationsareabout40,000yearsoldandthelateroneshaveappearedmuch later. Whileobservinghistory,wecanfindstrongconnectionsbetweenspokenlanguagesand 89

3 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 writenones.reference[1]describesthat,foralongtime,picturesandspeecheswere completelyseparatedomains;around5,000yearsagoarevolutionaryinventioncameabout, themostimportantinthehistoryofmankind;peoplebeganproducingpicturesthatwere notsymbolsofcreaturesorthingsbutsymbolsofletersthatcouldbeorderedinsequence toimitatethestricttemporalsuccessionofthesoundsandwordsofspeech. Languagesandpicturesarebothusedforexplanationofobjectsorphenomenainmedia, suchasbooksandmagazines.languagesareaddedtopicturesfortheirexplanation,orthe laterareaddedtotheformertogivereaderssomeadditionalcuesforunderstandingof theseobjectsorphenomena.thisisthecasewhenaverydificultconceptisexplained.for example,[2]pointsoutthathard-to-understanddoctrinesaretobechangedintosimpler oneswhenadditionalstoriesorvisualizationareutilized. Thingshappeningaroundusareputintopictureswithatimefactor.Movingpicturesare usualycreatedwithtwenty-fourframespersecondandgiveusinformationthatchanges accordingtothetimeaxis.stilpictures,ontheotherhand,visualizeobjectsatacertain periodoftimespan.thereisnochangeoftheobjectsbasedonthetimeaxis.thetime factor,however,issometimeshiddeninthestilpictures.forexample,arolpaintinglists severalhistoricaleventsthathavebeenhappeningoveralongperiod.evenstandardtypes ofpicturescontainchronologicalfacts,andbylookingatit,wemayfeeladimensionofatime factor. Asisdescribedin[3],thephysicist ssymboltisadeceivinglysimplerepresentationof whatwemeanbytime. Asforconceptionsoftime,peopleinnationscanberesourcesfor findingdiferentapproachesonthebasisofdiferentcultures.reference[4]statesthatthe Indian conception oftimeisvery diferentfrom whatthewestern mind regardsas intuitivelyobvious,andinindianthought,time,likeotherphenomena,isconceivedstaticaly rather than dynamicaly.he also refers to Japanese Buddhism thatemphasizes the transienceofthephenomenalworld.he claimsthatthejapaneseatitudetowardthis transienceisverydiferentfrom theindian,andthejapanesedispositiontendstolaya greater emphasis upon sensible,concrete events,intuitively apprehended,than upon universals. Phenomenainnatureorhumanactivitiesarevisualizedandtheyalwayshavesomething todowiththetimefactor.somesituationsaredescribedinstilpicturesoftwoorthree dimensions.changesinthesesituationsarealsodescribedinmovingpicturesoftwoor threedimensions.inthesecases,thechangeofobjectsorphenomenaaccordingtothetime 90

4 AnalyticalVisualizationforLearningForeignLanguageSounds axisisvisualizedbyputingitintooneofthreeorfourdimensions.asispointedoutin[5],in dimensionalanalysis,wemaymixunitsofdistanceandthoseoftimetogetherinvarious ways,obtainingnew sortsofphysicalentities.wemayalsothinkofvelocityasbeingthe ratioofadistancetoaduration,andaccelerationastheratioofvelocitychangetoduration. Musicisplayedorsungonthetimeaxisanditpossessestemporalfeatures,suchastempi, rhythm and duration.itisdepicted in two dimensionswith the time factor.people understandvisualizedmusicandcanhearthesoundsthatcomefrom it.thisisbecause,as [6]refersto,musicisitselfknowledge,andinitsway,veryspecificknowledge.Musicianscan hearwhattheyarewriting. Withoutthedimensionofthetime,inaway,thingscannotbelookedatandsoundscannot beheard.theimportanceoftimeispointedoutin[7]:whenwetalkaboutvisualpaterns weconsideronly spatialdimensions,disregarding thedimension oftime.undermost circumstances,timedoesseem tobeirrelevant.yet,physiologicalprocessesdohavea temporaldimension,andevenintheprocessofseeing,whichstrikesusastakingplace instantaneously,timeplaysarole.theidentificationofsuchsimplefiguresastrianglesand circlesrequirestimeandconsequently,requirestemporalintegrationinthecentralnervous system. Music nourisheshuman talents.asispointed outin [8],listening to Mozartdoes temporarilyenhanceabstractspatialreasoning.thereseemstobeacriticalperiodfor perceivingfeaturesofmusic.forexample,asispointedoutin[8],infantsatsixmonthscan readilydetectalrhythmicvariations,butbytwelvemonthstheirrangehasnarrowed, albeitsharpened.featuresofmusicaredirectlyconnectedtobrainregions.reference[8] saysthattherearetwobasiccategoriesofmusicalperception,oneinvolvingtherecognition ofmelodies,theothertheperceptionofrhythm ortimeintervals,andimpairmentsof melodyusualygowithright-hemispherelesionsbutrepresentationofrhythm ismuchmore widespreadandrobustandinvolvesnotonlythelefthemisphere,butmanysubcortical systemsinthebasalganglia,thecerebelum,andotherareas. Perceptionofmusicandsoundhasastrongconnectionwithdimensions.Reference[8] introducesamusician scomment;whenwelistentomusic,weareactualyperceiving multipleatributesordimensions.amongtheseheincludestone,pitch,timbre,loudness, tempo,rhythm,andcontour. 91

5 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 2.Picturesandfiguresforlearninglanguagesound Visualassistanceanditsefectforlearninglanguagesoundshavebeendiscussedwidely. Multimodalspeech(e.g.,auditory,visual,haptic)istheprimarymodeofspeechperception [9].Forexample,averysimplifiedilustrationisusedfortelinglearnerswhichpartof articulationorgansareusedforpronouncingsoundsasislistedbelow: Figure1 How tomakeconsonants:quotedfrom [10] Vowelsandconsonantsareshownonchartsthataremadeupwithtwoaxes;oneisfor opening/closingofamouthandtheotherisforpositionsofatongue.forvowels,theformer isexactlytheopening/closingofthemouthandthelateristhepeakofthetongueshape. Forconsonants,theformercorrespondstomannersofsoundsthatarecreatedwiththe opening/closingoftwopartsoforgans,suchastwolips,atongueandpalatal,velar,pharynx orglotal,andthelatermatchestheplacesofarticulationthataredecidedbytwopartsof theseorgans. Itissaidthatmusicianshearnoteswhiletheyarewritingthem.Itisclaimedthat phonologyinfluencestherecognitionofprintedwords[11].similarly,iflanguagelearners hearwhattheylookat,suchas,phoneticalphabetsoralphabeticleters,theywouldgaina lotofphonologicalandphoneticknowledgeandbecomeagoodlistenerandspeakerofthat language. 92

6 AnalyticalVisualizationforLearningForeignLanguageSounds 2.1.Vowels Vowelsofworldlanguagescouldbemadeintocharts.Theyareusedfordocumentingthe learning characteristicsofa certain language vowelsorcomparing them with other languageones.numberofvowelsdifersamonglanguages.theirpositionsinavowelspace arediferentamonglanguages.anexampleofjapaneseonesdrawnbytheauthoronthe basisoftheinternationalphoneticassociationislistedbelow: Figure2 Japanesevowels An example ofamerican English onesdrawn by the authoron the basisofthe InternationalPhoneticAssociationislistedbelow: ε Λ α Figure3 AmericanEnglishvowels 93

7 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 Putingtoomuchinformationintoonechartdoesnotworkverywelinclasses.Using presentationsoftwareisrecommendedinthiscase.byshowingseveralchartsthatcontain vowelsofseverallanguages,diferentpositionsinthevowelspaceforthem canbeclearly shown. 2.2.Consonants Consonantsoflanguagesoftheworldcouldbemadeintotables.Itispossibletolearnthat somelanguagescontain,forexample,twoplosivesoundsthatarepronouncedbyusingtwo lipswhileotherlanguagescontainmoreorlessthanthat.an exampleofjapaneseand AmericanEnglishonesdrawn bytheauthoronthebasisoftheinternationalphonetic AssociationislistedinTable1. Table1 ConsonantsofJapaneseandAmericanEnglish p b k g m n n s z h J W ConsonantswhichhavethesamemannerandpositionofarticulationforEnglishandJapaneseare presentedinsmalletersandthosewhosemannerorpositiondifersinbigleters,withnon-italics forjapaneseanditalicsforenglish. Toshow diferentpositionsandmannersofconsonantsforjapaneseandamericanenglish, consonantsoftheselanguageshavebeenputintoonechart.puting,however,toomuch informationinonechartmaynotworkverywel.bypresentingconsonantspacesofseveral languages,itbecomesclearthateverylanguagehasdiferentconsonantsthatcanbedrawn intheconsonantspaces. 94

8 AnalyticalVisualizationforLearningForeignLanguageSounds 3.Visualizationforlearninglanguagesound Visualizationismadeuseofforacademictextbooks.Sciencetextbookscontaingraphs, tables,andpictures.historybooksholdchronologicallistsandpictures.languageoneshave ilustrationsandpictures.mediawhichcontainmovingpicturesandsoundsareusedfor variousfields.forlanguagelearners,afilm isanimportantmedium forlisteningtodialogs andspeechinnaturalspeed. Forlearningforeignlanguagepronunciations,stilormovingpicturescanbeused.Then, whichone,stilormoving,ortwo-orthree-dimensionsisbeterforlearningpronunciation? 3.1Stilormotionpicturesforlearninglanguagesounds Timeisanessentialfactorformotionpictures.Theycannotbecaledsowithoutatimeaxis. Audiencesalwaysperceivechangesthatarepresentedinfrontofthem.Stilpictures,onthe otherhand,donotrevealchangesthatshouldhavehappenedorwouldbehappening.a time factoris,inaway,hiddeninthem. Ittakesalongtimetolearnaforeignlanguageverywel.Italsotakestimetobeableto write,read,speakorlistentoforeignlanguages.writingmaytakemoretimethanreading, andspeakingmaytakealongertimethanlistening.inaddition,listeningneedsaspecialskil todealwithtimerestrictions.itisahardtaskforalistenertolistentoaspeakerwhen he/sheishastyinhis/herspeech. Forlanguagelearners,timesometimescouldbeahardshipthatputsarestrictiononfuly understandingofwhattheyarelisteningto.forlearningmeaningsoflanguages,atimeaxis istreatedindirectly.saussuredividesconceptsoflanguagesintotwo;form andsubstance. Form actsinastaticsituationandsubstanceactsasadynamicexistence. Staticanddynamicexperiencesaresometimesperceivedatthesametime.Theyare, however,putintodiferentmodulesinourmind.whatbrainscientiststelusisthata system dedicatedtodetectingmovementisinrealitydistinctfrom onesdetectingeither shapeorcolor[12]. 3.2Twodimensionsorthreedimensionsforpronunciationtraining Threedimensionsarepopularforphoneticstudies.Reference[13]recommendsthree dimensionsforgenerativetopographicmappingstudies.sinceinitialexperimentssuggested thatatwo-dimensionallatentspaceproducedtoolargeanoverlapbetweenconsonants,a three-dimensionalgenerativetopographicmappingwasconstructed. 95

9 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 Twodimensionsareusualyusedtolearnaboutlanguagesounds.Thismaybethebest waytolearnforeignlanguagepronunciations.speakingtakestime,andpositionsofsound productionarealwayschangingastimegoesby.speechorganschangequicklyanditisnot easytograspmovingorgansortheirpositions.thenthefactoroftimemaybebetertobe discarded. Textbooksforpronunciationtraininghavealonghistory.Theystartedwithexplanations, examples,ilustrationsandpictures.thentheyhavecometoincluderealsoundsoreven movingpictures.lastofaltheycometohavesoftwarewithwhichlearnerscancompare their own pronunciations with modelpronunciations by native speakers.there are, however,theonespublishedwithverysimpleilustrationsevennow [14]. Systemsforcreatingobjectsinthreedimensionshavebeeninvented,andtheyhavenow becomerathertrendytools.humanbeingsarelivingnotintwobutthreedimensionsand livingthingsandnaturalenvironmentaroundusalhavebodiesofthreedimensions.they, however,canbedepictedonasheetofpaperwithtwodimensionsbymakinguseofvisual perspectives.evenwhenthereisanecessitytomakeacopyofthesethings,theyarealways printedintwodimensions.ofcoursetherearecaseswherethingsaremadetolooklike havingbodiesofthreedimensionsbymakingfuluseofartificialtechniquesinperspectives. Objectsthatlooklikebeinginthreedimensionsaredrawnonasheetofpaper.Inaddition, pictures,ilustrationsorsometypesofshapesareeasilydepictedinperspective.weknow, forexample,how towriteashapeofboxintwodimensionswhichlookslikearealbox standinginthreedimensions. Graphsarealsowriteninwaysinwhichtheylooklikeexistinginaworldofthree dimensions.theaxesofx,y,zareusedandfactorsareputintoeachofthem.sometimes,a timefactorisputintooneofthem,inwhichchangesthathappenbasedonthetimeare presentedclearly. Traditionaly,twodimensionswereusedtodepictthingsorphenomenahappeningaround people.depictingsoundsstartedalongtimeagowithtwodimensions.asisintroducedin [15],the Arab tradition produced the firstknown vocaltractdiagram with a visual representationofspeechorgansbyappropriatearrangingofarabicleterstoarticulation placesforarabicspeechsoundsinthelate12thorearly13thcenturya.d Discussionandconclusion Thisisatrialtoappealtoalenthusiastsofseeingtheinvisible[16],inthefieldsofphonetics

10 AnalyticalVisualizationforLearningForeignLanguageSounds andtheirapplicationtolanguageeducation.throughoureyes,weseethingsandthrough ourearswehearsounds.thesetwotypesofchannelsareimportantforacquiringskils. Soundsareinvisiblebutthereshouldbewaystomakethem bevisible.picturesaresilent butthereshouldbewaystomakethem beheard. Peopleconnectsymbolstosoundsandtheseconnectionshaveanefectontheirdaily lives.itispossibleforpeopletoinferproductatributesthroughthephoneticsymbolism of thesesoundsinthesamewaytheydothatfrom thesoundofabrandname[17],[18]. Visualizationwouldhelppeopletolistentosound.Visualizationitself,however,maynot beaneasytask.asisdescribedin[19],itisalmostimpossibletovisualizeexactlywhatis happeningwhenanaudiblevibrationoccurs,becauseeverythingmovessofast. Supposingvisualizationhelpslearnerstolistentoforeignlanguagesoundsbeter,then how thishappenswouldbeanimportantissuetobeexplored.itmightbebetertostart withstudyingmechanismsthatarehappeninginthenativespeakers mind.oritmightbe moreusefultodirectlystudythoseinforeignlanguagelearning. Learningaboutlanguagesoundsandtheirvisualizationissimilartoaskingessential questions,suchas Whatissound? Afterreadingthefolowinglongpassageofquotation from [19],itmaybehelpfultothinkaboutasimilarquestion, Whatislanguagesound? : Pythagorasbelieved weshould try tounderstand musicin termsofarithmetic. GalileoandMersennearguedthatthearithmeticwasn timportantofitself,butwas merelyareflectionofthephysicalmotionsofsoundsources.thensauveurand Rameaushiftedatentionfrom thesemotionstothepropertiesofthesoundsthey gaveriseto,andarguedthatthereinwastobefoundanunderstandingofthe structureofmusic.lastly,helmholtzshowed,again,thatitwasn tthesounditself whichwasimportantbutthewayourearsrespondtothatsound.a lthetimethe centreofatentionisgetingclosertothehumanbrain. Thevisualizationofvowelshasbeenappliedtoclassactivitiesandlearners feedbackis quotedfrom [20]. Feedback1:Positionsofsixvowelsdidnotscaterasmuchastheywereexpectedto do.twovowelswerenotdiscriminatedandtheywerearrangedverycloseinthe vowelspace.pronunciationsproducedbymyselfwerenotasclearasexpected. 97

11 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 Feedback2:Itriedtoclosemymouthforuteringtheword heed andopenitalitle fortheword hid.theresultwas,however,viceversa.mymouthwasclosedto pronouncetheword hid.thiskindoftaskusualydidnotcometomesothiswas averyinterestingactivity. Feedback3:Itwasthoughtthatmy mouthwasalwaystightlyclosedorwidely openedwhenenglishwasspoken.afterlookingatthefigures,however,itwasfound thatitdidnotmoveasexpected.thosewhospokegoodenglishwouldopenorclose theirmouthsandmovedtheirtonguesmoreaccuratelythanwasbelieved. Feedback4:Thiswasthefirsttimeformetoanalyzemyownvowelpronunciation. Thatcausedmetobealitlenervous.Theresultshowedthatvowelsin heed and hid werediscriminatedverywel.thatmademehappy.vowelsin hood and hoodoo,however,didnotshow muchdiference.thatbroughtmeintoasorrow. Feedback5:Formantoneandformanttwovariedandamongsixvowels,twowere pronouncedwel,buttherestsweresoterrible.itmustbenecessarytodopractice forclearpronunciation. Samplesofthisfeedbackresultedfrom activitiesinwhichnativeandnon-nativespeakers Englishweremeasuredbysoundanalyzingsoftware.Formantoneandformanttwoof vowelsproducedbyjapanese-speakingenglishlearnerswerecomparedwiththenative speakers counterparts.feedbackfrom learnersaboutmethodsofpinpointingeachvowelin vowelspacesandcomparingthem withthenativespeakers oneswerecolectedand estimated. Formantone,whichisareflectionofopeningofamouth,andformanttwo,thatofa tongueshape,aremeasured.resultsshow thatevenuniversitystudentswhoseenglish skilsareexpectedtobehighdonotdiscriminatesomevowelsverywel. Alfeedbacksshow apositiveatitude,inwhichshe/hewilpayaspecialatentionto openingorclosingofmouthandshapesoftonguesfrom thenon.learnersseem toliketo visualizetheirownvowels. Itissurprisingfortheauthortofindthatlearnerslikeanalyzingtheirownpronunciation 98

12 AnalyticalVisualizationforLearningForeignLanguageSounds withconnectingformantonesandtwosonasheetofpaperwithapencil.evenasimple methodworksifitleadslearnerstothinkabouttheirpronunciationanalyticaly. Acknowledgements Muchappreciationgoestocoleagues,students,lovedonesfortheirsupportofmylanguage experiments.thisresearchispartialysupportedbyaprojectgrant-inaidforscientific ResearchbytheMinistryofEducation,Culture,Sports,ScienceandTechnology(BasisC , Applied study on ability ofanalyzing English sound with visualized vowel spaces"). References [1] Janson,T.(2012).The History oflanguages:an Introduction.Oxford:Oxford UniversityPress. [2] Komatsu,K.(2010).YoukaiEmaki:Nihon noikaiwonozoku (RolPaintingsof Specters:GazingintoJapaneseAlienWorld).Tokyo:HeibonshaCo.,Ltd. [3] Fraser,J.T.(1966).TheVoicesofTime.Amherst:TheUniversityofMassachusets Press. [4] Nakamura,H.(1966).TimeinIndianandJapanesethought.J.T.Fraser(Ed.)TheVoices oftime.amherst:theuniversityofmassachusetspress. [5] Clemence,G.M.(1966).Timemeasurementforscientificuse.J.T.Fraser(Ed.)TheVoices oftime.amherst:theuniversityofmassachusetspress. [6] Leppert,R.(2007).SoundJudgment.Hampshire:AshgatePublishingLimited. [7] Lenneberg,E.H.(1967).BiologicalFoundationsofLanguage.New York:Wiley& Sons. [8] Sacks,O.(2007).Mussicophilia.New York:VintageBooks. [9] Rosenblum,L.D.(2004).Primacyofmultimodalspeechperception.InD.B.Pisoniand R.E.Remez(Eds.),TheHandbookofSpeechPerception.M.A.:Blackwel. [10]Nicholson,T.(2005).PhonicsHandbook.London:WhurrPublishers. [11]Gaskel,G.(2007).OxfordHandbookofPsycholinguistics.Oxford:OxfordUniversity Press. [12]Mathews,P.H.(2003).Linguistics:A Very ShortIntroduction.Oxford:Oxford UniversityPress. [13]Lecumberri,M.L.G.,Gong,J.andCooke,M.(1995).Exploringtherepresentationof secondlanguagesoundsinfirstlanguagespace.journalofthephoneticsocietyof 99

13 山形大学紀要 ( 人文科学 ) 第 18 巻第 4 号 Japan.19:1, [14]Cravota,J.S.,Takagi,M.and Takeda,S.(1999).Eigo no Hatsuon (English Pronunciation).Tokyo:Eikosha. [15]Heselwood,B.,and Hassan,Z.M.Instrumental Studies in Arabic Phonetics. Philadelphia:JohnBenjaminsPublishingCompany. [16]Setles,G.S.(2001).SchilierenandShadowgraphTechniques:VisualizingPhenomena intransparentmedia.new York:Springer. [17]Yorkston,E.,andMenon,G.(2004).A soundidea:phoneticefectsofbrandnameson consumerjudgments.journalofconsumerresearch,31:1, [18]Elder,R.S.,Aydinoglu,N.Z.,Barger,V.,Caldara,C.,Chun,H.,Lee,C.J.,Mohr,G.S.,and Stamatogiannakis,A.(2010).A senseofthingstocome:futureresearchdirectionsin sensorymarketing.ina.krishna(ed.)sensorymarketing:researchonthesensuality ofproducts.new York:Routledge. [19]Johnston,I.(2002).MeasuredTones.New York:Taylor& Francis. [20]Tomita,K.(2016).VisualizationforLearningForeignSpeech.Buletin ofyamagata University(Humanities),18:3,

14 AnalyticalVisualizationforLearningForeignLanguageSounds AnalyticalVisualizationforLearningForeign LanguageSounds TOMITA Kaoru (FacultyofLiteratureandSocialSciences) Abstract Thisstudyexploreshow visualinformationhelpsustolearnforeignlanguagepronunciation. Visualassistanceanditsefectforlearningforeignlanguagehavebeendiscussedwidely. Forexample,simplifiedilustrationsintextbooksareusedfortelinglearnerswhichpartof thearticulationorgansareusedforpronouncingsounds.vowelsareputintoachartthat depictsavowelspace.consonantsareputintoatablethatcontainstwoaxesofplaceand mannerofarticulation. When comparing a stilpicture and a motion picture for visualizing learners pronunciation,itbecomes clear thatthe former works beter than the later.the visualization ofvowelswasapplied toclassactivitiesin which nativeand non-native speakers Englishwascomparedandtheirfeedbackwascolected:thepositionsofsix vowelsbythelaterdidnotscaterasmuchastheywereexpectedtodo.specificaly,two vowelswerenotdiscriminatedandwerearrangedverycloseintheirvowelspace. Itwas surprising for the author to find thatlearners liked analyzing their own pronunciationbydrawingformantonesandtwosonasheetofpaperwithapencil.evena simplemethod workswelifitleadsthelearnerstothink abouttheirpronunciations analyticaly. 101

(II) tikeya[at]shoin.ac.jp ayakutsuki[at]shoin.ac.jp Study of katakana for English Speakers Learning Japanese (II) IKEYA Tomoko KUTSUKI Aya Faculty of

(II) tikeya[at]shoin.ac.jp ayakutsuki[at]shoin.ac.jp Study of katakana for English Speakers Learning Japanese (II) IKEYA Tomoko KUTSUKI Aya Faculty of Letters Faculty of Human Sciences, Kobe Shoin Women