Oral English For Secondary Schools

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1913 edition. Excerpt: ... formal elements in oral english Having analyzed good oral reading into its component elements, and compared them with the elements of good speech, the next step is to consider each of the elements in turn, that we may find out how it contributes to excellence in reading aloud and efficiency in speech, and how one may improve his reading and speech by strengthening that particular element. position Effect of Position upon Voice.--The position assumed in reading or speaking should always be considered, because it affects the voice, the speaker himself and his audience. The voice is a quick reporter of physical conditions: for a lifeless tone of voice results from taking a lazy position, a squeezed tone from cramping the chest and throat, and an animated tone from standing alert. By the poise of the head the tone is given general direction. Bow the head, and you aim the tone at the floor; raise the chin, and you send it toward the ceiling. A marksman aims his rifle in the direction he wishes the charge to travel. We should aim the voice where we wish it to go. Effect of Position upon the Reader or Speaker.--In a good position a reader (or speaker) is less likely to be selfconscious and ill at ease. He forgets that he has hands and feet, and feels stronger and more confident. With broadened chest, he gives his lungs an opportunity to breathe freely and easily, so that he can swing through a long sentence with no nervous gaspings for fresh supplies of air. From such a position, the speaker can easily make a transition to another position, or enforce his thought by gesture. If then reading or speaking is prolonged, he will be less fatigued at the close, than he would have been had he persisted in bad positions throughout his reading or...

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Excerpt from Fundamentals of Oral English: A Course for Secondary Schools The second principle follows from the first. A modifi cation oi vocal expression is made comparatively easy, if the mind Of the pupil can be fixed on the desired change. It is almost impossible to take the. Dullness and monotony out Of the voice of one who is totally deaf. It is likewise just about as difficult to improve the vocalization of a pupil who has no ear. The ear is the educator Of the muscles Of the throat and the other organs which control the voice. Let a teacher get his pupil into the habit of listening to his own vocaliza tion. Pu't each boy whose voice is hard and unpleasant, into the position of another person who is compelled to listen to that voice. Make him hear his Own defects; compel him to listen for improvement. Something can be done even with a pupil who cannot hear his own voice, even if not very much. With such a voice, the teacher's problem is much more dith cult. The best he can do is to suggest physical modifications in the position of the various parts Of the vocal apparatus, listen himself for improvement in the voice, and when he no tices that improvement, call the attention Of the pupil to the specific positions Of the organs which improve the tone. However, but few pupils will fail to recognize their own im provement Even if some make. No progress, the teacher must not be discouraged. Many a pupil who has no ear has been known to develop the power Of distinguishing between various notes, by careful attention to just such work as is outlined later in this manual. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Fundamentals of Oral English: A Course for Secondary Schools There is a growing demand among our secondary schools for systematic instruction in Oral English to supplement the work in literature and in composition. Appreciation of literary masterpieces and effectiveness in written communication are two great aims of all instruction in the mother tongue. However, the vernacular is primarily a spoken language and happily a realization is awakening that preparation for effective living demands the ability to speak well one's own native tongue; that this ability rests upon habits of body, of voice, and of mind which can be directed and cultivated; and that bad habits of speaking, if they are taken early enough, can be eradicated. In response to this increasing conviction, many secondary schools are attempting, in more or less random ways, to find some method of instruction in oral work; but there are as yet comparatively few attempts systematically to organize courses in Oral English which shall correlate with the general courses in English. Purposes of this Bulletin The purposes of this bulletin are: (1.) To develop proper habits of the body as the basis of effective speaking. This does not refer to gesticulation, a subject which has been omitted entirely. (2.) To eradicate the most obvious faults of vocalization by substituting for them correct habits. (3.) To furnish drill in articulation, enunciation, and pronunciation. (4.) To emphasize, primarily, vocalization, through constant oral practice in class and outside of it. (5) To give practice in the informal discussion of current topics. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.