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This paper explores the new form of English that is frequently used by the youth in India today that

may be termed as General Variety of English. GVE is a perfect amalgamation of Hinglish, SMS,

Email language and other popular jargonisms. People use this new form in day to day communication

but without any prescriptive grammar, thereby leading to semantic gaps between encoder and decoder

at times.

This new variety has percolated into every field, from literature to journalism to ordinary speech.

This new variety experiments with grammatical variations with tenses often mixed, auxiliary verbs

missing from sentences and vowels missing from words. SMS and Email language have become

modes of linguistic behavior in India. The youth have informally created a structure and grammar for

SMS and Email shorthand which at times trespasses into multiple meanings thereby creating

ambiguities. This paper addresses the need to become linguistically competent in the linguistic

performance of GVE so that there is reduced communication gap.

Abstract

Dr Shree Deepa teaches at the English Language Teaching Centre, University of

Hyderabad. She has for over 14 years taught English language and literature at

various levels. Her main interests include Stylistics, Corporate training and ELT.

She has published widely in many areas of English Studies.

Keywords : General Variety of English, Hinglish, SMS language, Email Shorthand, Linguistic

Performance, Communicative Performance and Linguistic Competence.

Sing Songs and Learn Phonemes of English: A Report

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The students of the 5-year Integrated Masters' Programme in the University of Hyderabad study English for

two semesters(translates to 40 hours each semester, 80 hours in all). They join the course after completing

their 10+2 years of education and come from a variety of backgrounds and have studied through different

media. They do their masters degrees in sciences, social sciences and humanities. In this programme they are

expected to study through English medium. The expectations of the students and other stake holders from the

English classes are too many. Learning to speak 'perfect' English is the most important one on the agenda of

these students. The students' definition of 'perfect' English is to be able to speak fast and pronounce English

words 'perfectly'. But, it is not practically possible and feasible to teach spoken English alone in a University

when there are other more important and required skills such as study and referencing skills, reading and

writing to learn. The English taught on the programme is a general English course that balances

communication skills and LSRW, and vocabulary. In such a setup teaching spoken English is difficult for

reasons more than one. Teaching pronunciation in an interesting way is more difficult. A 'pure' structural

approach to teaching pronunciation is considered by the students as a 'boring' way of learning. Teaching

'interesting' pronunciation unconventionally is a challenge. Some sounds of English are very difficult to learn

for Indian speakers. The solution to the problem lies in using carefully selected songs to teach the sounds of

English and such a method can be used to highlight/cognitively fix the newly learnt skills.

This paper discusses my experiences of using two songs of Britney Spears and

to teach the production of some problematic sounds of English. The initial focus was on the

need to learn pronunciation followed by the production and practice of some of the problematic sounds of

English (keeping them in close approximation to globally intelligible English). Attention was primarily on

production of intelligible English sounds. Very little attention was paid to (the written form of) phonemic

transcription. It was an introduction to pronunciation.

1. To enable the students to understand that there is difference between spelling and pronunciation of words

in the English language.

2. To enable the students recognize and identify the sounds of English and attempt to produce them while

using a standard dictionary.

3. To enable the students to look up a dictionary and try to pronounce a word using the pronunciation key

printed in it.

The group of students were the Integrated Masters' Programme students that are in the age group of 17 to 20

years and are used as representative samples from various parts of India.

: 10 hours .

The students assumed that a few sessions on pronunciation would solve all their accent/ pronunciation

problems and make them masters of English speech.

(The teacher clarified that it is not possible to 'master' English pronunciation but they can improve their

spoken language with practice and continuous conscious effort.)

Choral singing.

When I Found You That's

where you take me

Objectives:

Students:

Time taken

StudentAssumptions:

Overall Method:

(2 hours x 7 teaching days)

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Materials:

Problems:

Assumed Solutions:

Pre-PracticeActivities:

Practice Activities

Black board, CD (with the selected songs) and player, Microphone, dictionaries (Oxford,

CambridgeAdvanced Learners' dictionaries), handouts etc.

1. Pronunciation is considered a 'dry subject' and may not be enthusiastically accepted by students learning

general English.

2. We do not have access to a language laboratory yet. The multimedia laboratories in the present setup were

not suitable as they are not yet sound proof and do not have noise-free recording facilities.

3. The class was large (40 students).

4. Songs in English are alien to the Indian Rural culture.

1. Differences in spelling and pronunciation of words in English, and the 44 sounds of intelligible English

will be discussed. This will create a need for learning pronunciation.

2. The focus will be on intelligible pronunciation.

3. The teacher will be a role model. In her absence the students will learn to consult a dictionary and use the

pronunciation key to learn to pronounce difficult words.

4. The teacher will focus on selected problematic sounds and will have a therapeutic interaction with

individual students.

5. Music can be used to highlight/cognitively fix the newly learnt skills. The text of the songs will interest the

students.

1. The song “ (appendix 1) by Britney Spears was played back three times. The students

were not given the text of the song and were asked to sing along if they could. They could not sing the song

in full the first time the song was played. Before the song was played for the second time they were asked

to 'capture' and mentally record words from the song and write them down. They were asked to add to their

list while they listened for the third time.

2. The differences in spelling and pronunciation in English were highlighted by asking them to do the task I.

This task clearly demonstrated to the students that the same letter in the English alphabet is pronounced in

many different ways as they occur in different words in different combination with other letters.

These activities set the background for the course and prepared the ground for better learning.

:

1. The song “ was played back two times and the students were given the text of the

song this time. They were gently encouraged to sing along while looking from the text of the song.

2. The students were made to repeat a list of words in English. This list contained all the sounds of

English in the initial, middle and final positions. The choice of words was simple (three or less than

three syllables) and emphasized both consonant and vowel sounds of English. The word list contained

the pronunciation key words from the dictionary and their corresponding symbols. The facilitator also

When I Found You”

When I Found You”

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focussed on the organs of speech in the production of each of these sounds where ever necessary. The

students were encouraged to produce the newly learnt words to the facilitator and to their peers taking

turns.

3. Another song by Britney Spears (appendix 2) was played back. The first

time they were made to listen without the text of the song in hand and instructed to write down words

from the song. They were able to write the words with greater ease. Then the second time they were

asked to add/ verify the list. The third time they were given the text (appendix 2) and instructed to sing

along. They were overjoyed as they found it easier to sing along and also because they were able to

draw up a bigger list than the earlier one. This time, they were asked to pay attention to the sounds and

the words. They found this method very useful and enjoyable in understanding the necessity of

learning pronunciation, because they found it easier than last time to 'capture' the words of the song.

“That's Where You Take Me”

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Process and Results:

Problems in the production of consonants:

/ f / and / v /.

/ / and / /

/ / and / /

/ w / and / v /

While doing the Practice activity 2 mentioned above it was discovered that 80% of the students had

problems with voiced and voiceless sounds and many of the fricatives, particularly the distinction

between The students had a problem distinguishing between the voiced and the voiceless

sounds. They found it difficult to position the teeth and the lips in the production of these labiodentals.

The facilitator had to demonstrate and literally make them place the upper teeth on the lips for a while

before the actual pulmonic egression in the production of these two labiodental fricatives. The students

would substitute the Indian sound / /.

The students had a major problem producing both of these sounds. They had to be given a detailed

demonstration of the position of the articulators and the continuous egressive mechanism in the

production of these sounds as they could not maintain the continuous flow of air nor were they able to

recognize it. And so they substituted the aspirated dentals with breaks in the flow of air. The teacher had

to demonstrate the continuous flow of air in the production of these sounds on the microphone that

amplified and clarified the process.

The first sound, voiced post alveolar fricative / / was unknown to the students and they substituted a

variety of non English sounds or / / instead of the original sound. They were given adequate

practice in the production of this sound.

90% of the students found it very difficult to distinguish between the rounded semivowel / w / and the

voiceless labiodental fricative / v /. The difference was highlighted by the facilitator by demonstrating

the differences in the position of the articulators in the production of these sounds. The rounded lips in the

case of the semi vowel / w / production was the key to their understanding the distinction.

v

ð

? d?

?

d?

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Problems in the production of diphthongs and vowels:

/ /

/ /

/ : /

/ : /

Music:

Result:

e?

e?

g ? / / g e? t /

/ p æ p ? r / or / p e p ? r / p e? p ? /

??

??

?

?

? r ? l d /.

in words like g te, p per

/ / in words like g te, p per, t ble, was difficult for the students to notice as they substituted the

(Indian English) vowel / e / or / e : / and produced the words:

/ e t instead of

instead of /

They were made to repeat the diphthong in isolation and then allowed them to use the sound in the word.

This solved the problem to an extent.

as in g lden

/ / as in g lden was very difficult for the students to produce. They would substitute / o / or / o : /

. They were given adequate practice and individual attention to be able to produce the sound.

as in g l and w ld.

as in g l and w ld was very difficult for many of these students to produce. It is interesting to

note that 99% of students educated in urban convents found it easier to produce this sound but the

students (80%) educated in the rural areas found it very difficult to produce this sound correctly. The

rurally educated students pronounced the word, world as /

The students were corrected and made to enunciate the correct sounds individually; the focus was on the

correct positions of the organs of speech and the articulators. These problem sounds were enunciated

allowing one to one practice and interaction with peers.

In all of the class hours both the songs were played at different times during the class. In order to

fix the problem sounds in a playful manner, the song “ and the song “

by Britney Spears were played. They were supplied with the text of the song. The

facilitator focussed (bold in the text of the song sheet) on many of the problem sounds mentioned earlier.

The participants were able to recognize the sounds and the facilitator demonstrated the correct positions

of the visible organs of speech and articulators' position (lips, teeth, tongue positions). The second time

the same songs were played back they were encouraged to sing along karaoke. They did it and were

surprised that they are able to sing chart busters like their regional songs. They were made to sing many

times. They participated enthusiastically because the monotony was broken and it was entertaining. The

song “ by Britney Spears was played again. The students sang full throated and with

full will. This set the mood for more of learning. They were given a few easy words and were taught the

use of a good dictionary in learning pronunciation. The focus was on the pronunciation key in the

dictionary. Their doubts were addressed individually and collectively. The last two hours were earmarked

for clarification by the students.

The students found this method useful, entertaining and it helped them learn the problematic

sounds of English easily. It was easier to learn when compared to the conventional drill. Music was used

a a

a a a

o

o

ir or

ir or

r

v

When I Found You” This is Where

You Take Me”

When I Found You”

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therapeutically to reduce anxiety, monotony and teach/ highlight/ fix the learnt skills. The students were

made to listen and encouraged to sing along karaoke. The reason for choosing these two songs is simple.

Both are fairly slow songs with a lot of clarity in terms of pronunciation and rhythm. They are easy to

follow and sing along karaoke. The background music is not too loud and is soothing.

Later they were given a model reading and then were allowed a couple of minutes to read aloud the texts

they studied in their classes. They were corrected wherever necessary.

Written feedback was sought from each student. The students reported an improvement in their skills and

demanded follow up classes. They acknowledged that they thoroughly enjoyed the interactive sessions

contrary to their initial uneasiness. This course was recognized as successful by the students.

Conclusively, without the support of music, the course would have been monotonous, scary and

unpalatable. Music helped engineer the difficult task of teaching the students.

Overall Feedback

References

Exercises in Spoken English: Part 1: Accent Rhythm and Intonation.

Exercises in Spoken English: Part 2: Consonants.

Exercises in Spoken English: Part 3: Vowels.

An Introduction to the Pronunciation of English.

English Pronouncing Dictionary.

Better English Pronunciation. (2000)

Approaches and Methods in Language Teaching: A

Description and Analysis.

Latest English Hits.

(2000) Department of Phonetics and

Spoken English, CIEFL, Hyderabad; OUP.

(2000) Department of Phonetics and Spoken English,

CIEFL, Hyderabad; OUP.

(2000) Department of Phonetics and Spoken English,

CIEFL, Hyderabad; OUP.

Gimson, AC. (1989) Revised Susan Ramsaran, 4'th

edition. Edward Arnold; London.

Jones, Daniel. (1997)Ed Peter Roach and James Hartman;15 Edition,

Cambridge UP.

O' Connor, J D., Cambridge UP.

Richards .C. Jack and Theodore S Rodgers,

(1995) Cambridge UP.

Spears, Britney. (folder In) (2000) MP3 audio CD.

th

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Appendix 1When I Found You

lieve v v

w w

W w f th

Th w f

ve v th wh th

Th th

w

f

W f

f th v

Th

f th v

v

f w f

v f v th o

F v ea th f th

F th

f

W f

f th th v

Th

f th v

v

f wh f

f

f v

th

f

th v

v

v

Wh f

f th th v

I be we all ha e one true lo e

Some here in this orld, I do

hen it seemed all my dreams ere alling rough

at's hen I ound you

I belie for e ery heart at ispers in e dark

ere's a ray of light somewhere shining rough

It as sink or swim when the tide came in

I ound myself

hen I ound you

I ound the closest ing to hea en

at's in you

I ound e deepest lo e I knew

Oooo oh, I belie e, yes its true

I ound myself hen I ound you, Ooh yeah

I belie e or e ery door at's cl sin

or e ery heartbr k ere's hope or some ing new

rom e ashes right, I glimpse a paradise

It still lickered in your eyes

hen I ound you

I ound e closest ing to hea en

at's in you

I ound e deepest lo e I knew

Oooo oh, I belie e, yes its true

I ound myself en I ound you

A life un olds

No one knows

I ound lo e once

Just a tingling of e skin

I elt so alone, all alone

More an you could e er know

You share deeper lo e

Sweet lo e

en I ound you

I ound e closest ing to hea en

I ound e deepest lo e I knI ound e closest ing to hea enI ound myself

en I ound youI ound e closest ing to hea en

ats in youI ound e deepest lo e I knewOooo yeah, Oh I belie e, yes its trueI ound myself en I ound you, you

f th v owf th th vf

Wh ff th th v

Thf th v

vf wh f

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Appendix 2

“That's where you take me”

a a

a a

ve f

v f

th

the

a a

ve

a a

ay th wh

th f a

f af

o

Th wh a

With

the

th o

Th wh a

v f f

f

The

f v o

a a

a se

v th tw

a a

a

ay th wh

Oh B by, Oh B by

Oh B by, Oh B by

In lo , In no belie

Ne er ound inside of Me

Built ese walls up so high

Needed my room to brea

Oh B by, Oh b by

You turn them down

Can't belie you've changed my mind

Oh B by, Oh B by

I saw your smile

St wi me a ile

All ings all in to pl ce

My heart, it eels so s e

You are my mel dy

at's ere you t ke me

you I get so high

Lost in crystal sky

You are is mel dy

at's ere you t ke me

I ne er ell be ore

How did u ind my door

key up to my soul

To you ore er m re

Oh b by, Oh b by

You m ke me ri

And ne er did I once ink ice

Oh B by, Oh b by

You m ke me stile

St wi me a ile

Ooh!

All ings all in to pl ceMy heart, it eels so s feYou are my mel dy

at's ere you t ke me

Wi you I get so highL st in the crystal sky (crystal skies)You are is mel dy

at's ere you t ke me

Afr d to let it all insideNow I wanna hear you'llst me a ilest me a ile

la-la-la-la-la-lala-la-la-la-la-lala-la-la-la-la-la

at's ere you t ke me!

All ings all in to pl ceMy heart, it eels so s feYou are my mel dy

at's ere you t ke meWi you I get so highLost in crystal skyYou are is mel dy

at's ere you t ke me

th f af a

oTh wh a

tho

th oTh wh a

ai

ay with whay with wh

Th Wh a

th f af a

oTh wh a

ththeth o

Th wh a

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Task I

Instructions:

1. Write down all the letters of the English Alphabet vertically on a sheet of paper.

2. Write three words that contain the letter for each letter. Try to choose an assortment of positions of the

said letter and underline the letter in the word. This will help you focus.

3. In the case of each letter, say the written words while focussing on the letter in the word. For example

if the letter is 'A' and the words that you have written are “ unt, veget ble, t ble”, observe the change

in the way you say the same letter in different words and different environments. If there is a change

write against the letter that it changes. Do similarly for all the letters.

Compare and discuss your findings with others in your class.

a a a

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