Huwebes, Setyembre 8, 2011

Assessing Listening and Speaking Skills

Even though many students have mastered basic listening and speaking skills, some students are much more effective in their oral communication than others. And those who are more effective communicators experience more success in school and in other areas of their lives. The skills that can make the difference between minimal and effective communication can be taught, practiced, and improved.
The method used for assessing oral communication skills depends on the purpose of the assessment. A method that is appropriate for giving feedback to students who are learning a new skill is not appropriate for evaluating students at the end of a course. However, any assessment method should adhere to the measurement principles of reliability, validity, and fairness. The instrument must be accurate and consistent, it must represent the abilities we wish to measure, and it must operate in the same way with a wide range of students. The concerns of measurement, as they relate to oral communication, are highlighted below. Detailed discussions of speaking and listening assessment may be found in Powers (1984), Rubin and Mead (1984), and Stiggins (1981).


HOW ARE ORAL COMMUNICATION AND LISTENING DEFINED?

Defining the domain of knowledge, skills, or attitudes to be measured is at the core of any assessment. Most people define oral communication narrowly, focusing on speaking and listening skills separately. Traditionally, when people describe speaking skills, they do so in a context of public speaking. Recently, however, definitions of speaking have been expanded (Brown 1981). One trend has been to focus on communication activities that reflect a variety of settings: one-to-many, small group, one-to-one, and mass media. Another approach has been to focus on using communication to achieve specific purposes: to inform, to persuade, and to solve problems. A third trend has been to focus on basic competencies needed for everyday life -- for example, giving directions, asking for information, or providing basic information in an emergency situation. The latter approach has been taken in the Speech Communication Association's guidelines for elementary and secondary students. Many of these broader views stress that oral communication is an interactive process in which an individual alternately takes the roles of speaker and listener, and which includes both verbal and nonverbal components.
Listening, like reading comprehension, is usually defined as a receptive skill comprising both a physical process and an interpretive, analytical process. (See Lundsteen 1979 for a discussion of listening.) However, this definition is often expanded to include critical listening skills (higher-order skills such as analysis and synthesis) and nonverbal listening (comprehending the meaning of tone of voice, facial expressions, gestures, and other nonverbal cues.) The expanded definition of listening also emphasizes the relationship between listening and speaking.


HOW ARE SPEAKING SKILLS ASSESSED?

Two methods are used for assessing speaking skills. In the observational approach, the student's behavior is observed and assessed unobtrusively. In the structured approach, the student is asked to perform one or more specific oral communication tasks. His or her performance on the task is then evaluated. The task can be administered in a one-on-one setting -- with the test administrator and one student -- or in a group or class setting. In either setting, students should feel that they are communicating meaningful content to a real audience. Tasks should focus on topics that all students can easily talk about, or, if they do not include such a focus, students should be given an opportunity to collect information on the topic.
Both observational and structured approaches use a variety of rating systems. A holistic rating captures a general impression of the student's performance. A primary trait score assesses the student's ability to achieve a specific communication purpose -- for example, to persuade the listener to adopt a certain point of view. Analytic scales capture the student's performance on various aspects of communication, such as delivery, organization, content, and language. Rating systems may describe varying degrees of competence along a scale or may indicate the presence or absence of a characteristic.
A major aspect of any rating system is rater objectivity: Is the rater applying the scoring criteria accurately and consistently to all students across time? The reliability of raters should be established during their training and checked during administration or scoring of the assessment. If ratings are made on the spot, two raters will be required for some administrations. If ratings are recorded for later scoring, double scoring will be needed.


HOW ARE LISTENING SKILLS ASSESSED?

Listening tests typically resemble reading comprehension tests except that the student listens to a passage instead of reading it. The student then answers mulitiple-choice questions that address various levels of literal and inferential comprehension. Important elements in all listening tests are (1) the listening stimuli, (2) the questions, and (3) the test environment.
The listening stimuli should represent typical oral language, and not consist of simply the oral reading of passages designed to be written material. The material should model the language that students might typically be expected to hear in the classroom, in various media, or in conversations. Since listening performance is strongly influenced by motivation and memory, the passages should be interesting and relatively short. To ensure fairness, topics should be grounded in experience common to all students, irrespective of sex and geographic, socioeconomic, or racial/ethnic background.
In regard to questions, multiple-choice items should focus on the most important aspects of the passage -- not trivial details -- and should measure skills from a particular domain. Answers designated as correct should be derived from the passage, without reliance on the student's prior knowledge or experience. Questions and response choices should meet accepted psychometric standards for multiple-choice questions.
An alternative to the multiple-choice test is a performance test that requires students to select a picture or actually perform a task based on oral instruction. For example, students might hear a description of several geometric figures and choose pictures that match the description, or they might be given a map and instructed to trace a route that is described orally.
The testing environment for listening assessment should be free of external distractions. If stimuli are presented from a tape, the sound quality should be excellent. If stimuli are presented by a test administrator, the material should be presented clearly, with appropriate volume and rate of speaking.


HOW SHOULD ASSESSMENT INSTRUMENTS BE SELECTED OR DESIGNED?

Identifying an appropriate instrument depends upon the purpose for assessment and the availability of existing instruments. If the purpose is to assess a specific set of skills -- for instance, diagnosing strengths and weaknesses or assessing mastery of an objective -- the test should match those skills. If appropriate tests are not available, it makes sense to design an assessment instrument to reflect specific needs. If the purpose is to assess communication broadly, as in evaluating a new program or assessing district goals, the test should measure progress over time and, if possible, describe that progress in terms of external norms, such as national or state norms. In this case, it is useful to seek out a pertinent test that has undergone careful development, validation, and norming, even if it does not exactly match the local program.
Several reviews of oral communication tests are available (Rubin and Mead 1984). The Speech Communication Association has compiled a set of RESOURCES FOR ASSESSMENT IN COMMUNICATION, which includes standards for effective oral communication programs, criteria for evaluating instruments, procedures for assessing speaking and listening, an annotated bibliography, and a list of consultants.


CONCLUSIONS

The abilities to listen critically and to express oneself clearly and effectively contribute to a student's success in school and later in life. Teachers concerned with developing the speaking and listening communication skills of their students need methods for assessing their students' progress. These techniques range from observation and questioning to standardized testing. However, even the most informal methods should embrace the measurement principles of reliability, validity, and fairness. The methods used should be appropriate to the purpose of the assessment and make use of the best instruments and procedures available.

RESTHAVEN - Reading theater

NARRATOR 1:  In the year 2194, in Harare, the sprawling capital of Zimbabwe, there is a special place called Resthaven.
NARRATOR 2:  Surrounded by a huge wall that keeps out the city, the people of Resthaven choose to live as Africans lived for thousands of years—in small tribal villages, raising their own food, and following the ancient traditions.
NARRATOR 1:  Into this haven stumble three children of a high government security officer—the boy Tendai, his younger sister Rita, and their little brother Kuda. They were kidnapped on a trip through the city, and have just escaped from a toxic waste dump, where they were enslaved by a monstrous woman called the She Elephant.
NARRATOR 2:  Now, while they wait for their chance to go home, they enjoy the beauty and idyllic life of Resthaven—or at least, Tendai does. Rita has a different view of it.
* * *
RITA:  (upset) It’s all right for you. You’re a boy. You get to lie around listening to stories. I have to scrub the floor, wash clothes, sweep the courtyard, and . . . and . . . air out the babies’ bedding. It’s so horrible! Can’t you ask for the holophone so we can call Father? Nobody listens to me.
NARRATOR 1:  Rita was hiding in a tiny clearing surrounded by thick bushes. She had a heap of disgustingly dirty mats that Tendai assumed was the babies’ bedding.
TENDAI:  (in a low voice) They won’t listen to me either. I’ve been trying for days.
NARRATOR 2:  By the rules of Resthaven, Tendai wasn’t supposed to be with Rita. Boys his age didn’t keep company with girls before getting ready for marriage.
RITA:  They will so. I hear them talking. “Oh, the new boy’s so clever. Oh, he’s a wonderful story teller.” They think you’re the greatest thing since fried mice.(shudders) Did you see those poor little creatures that first night?
TENDAI:  Our ancestors ate them, and we’re not vegetarians.
RITA:  Our ancestors ate them, but our ancestors’ wives had to kill them. You should have heard their little squeaks.
TENDAI:  (squeamishly) Don’t tell me.
NARRATOR 1:  The reek of the babies’ bedding was overpowering. Tendai wanted to help her with it, but that certainly would not be allowed.
RITA:  And speaking of wives, what about the second wife of Garikayi, the chief? Do you know how old Chipo is? Fourteen! And she’s eight months’ pregnant!
TENDAI:  Keep your voice down.
RITA:  I’ll keep my voice down if you keep your ears open. Garikayi’s first wife hasn’t had any children. The Spirit Medium said she might be a secret witch. He said witches eat their babies on the sly. Have you ever heard anything so stupid?
TENDAI:  Shhh!
RITA:  (lowering her voice) Garikayi married Chipo when she was only twelve, but she didn’t get pregnant till now. You can bet he’s anxious about it. He doesn’t have any children. It’s considered a disgrace. So you wouldn’t believe the fuss they’re making over her. She’s loaded down with charms and rubbed with ointments. If she so much as opens her mouth, someone puts food in it.
TENDAI:  So what’s the problem?
RITA:  Who do you think they’ll blame if something goes wrong with the birth?
NARRATOR 2:  Tendai stared at her. He could tell that something worried her deeply.
RITA:  (urgently) This is a village. No antibiotics. No doctors.
TENDAI:  Women survived for thousands of years without them.
RITA:  Some of the women, you stupid boy. Oh, why do I even bother to explain? Chipo’s too young! You may be in love with traditional life, but women and babies used to die in those wonderful old-fashioned villages. And think about this: I’m loaded with all kinds of work except one. They don’t let me help with the food. Andyou have to eat out of special bowls that no one else will touch. Do you understand?
TENDAI:  (shocked) They think we might be witches?
RITA:  You got it. Witches put things in people’s food. None of them will really trust us till the Spirit Medium says we don’t have witch blood in us. And he won’t do that until Chipo has her baby.
NARRATOR 1:  Tendai stood up.
TENDAI:  I have to go. The other boys will be looking for me to help with the cattle. But I’ll make a plan.
RITA:  Get us out of here!
NARRATOR 2:  Tendai stepped quickly from the thicket and ran off. He realized that, despite his promise to Rita, he hadn’t the slightest idea what to do.
* * *
NARRATOR 1:  The next morning at dawn, Tendai was wakened by two high ululating cries. Chipo’s baby had been born, and it was a boy.
NARRATOR 2:  Tendai got up and followed the other boys to a big camp fire where the villagers were gathering. He searched the crowd for Rita, but she wasn’t there.
NARRATOR 1:  On a stool sat Garikayi, the chief. Next to him sat a man Tendai had not seen before. The man had a hard, bitter face and bloodshot eyes. He wore many charms, and he grasped a walking stick carved in the shape of a serpent. It had to be the Spirit Medium.
NARRATOR 2:  People talked in low voices and hugged themselves against the chill of the morning. Gradually Tendai became aware that all was not right. Surely people should be rejoicing. But instead their mood seemed anxious. Was the baby deformed? he wondered. Was Chipo dead?
NARRATOR 1:  An old woman emerged from a hut. Carrying a bundle, she approached the stools where Garikayi and the Spirit Medium sat. She unwrapped the blanket, and an outraged yowl arose from the baby.
GARIKAYI:  (pleased) He’s strong!
NARRATOR 2:  The Spirit Medium inspected the infant as the villagers looked on nervously. It was clear he was not fond of children, or at least not of this one. He frowned as he studied the wrinkled little face. The moments passed.
SPIRIT MEDIUM:  (grudgingly) He’s one of us.
NARRATOR 1:  A sigh went around the crowd.
NARRATOR 2:  The villagers all smiled, and the anxious feeling was gone.
GARIKAYI:  (joyfully to all) I have a son!
NARRATOR 1:  Suddenly a pot crashed. Someone screamed. Everyone froze.
NARRATOR 2:  Tendai heard the wailing of a baby—another baby.
NARRATOR 1:  A girl emerged from the same hut. It was Rita! And she, too, carried a bundle.
NARRATOR 2:  Rita marched up to Garikayi, who looked as though the sky had fallen on him. She held out the second bundle.
GARIKAYI:  (upset, waving her away) No! No!
RITA:  (insisting) It’s your daughter.
GARIKAYI:  I do not accept her. She is an accursed twin.
RITA:  (getting excited) She’s perfectly healthy. The midwife was going to kill her.
GARIKAYI:  It is a weak, unnatural child. It will die.
RITA:  Listen to her! She’s not weak! (close to tears) Oh, I won’t let you kill a tiny baby!
SPIRIT MEDIUM:  (dryly) Twins are evil. They are against God’s order.
RITA:  No baby is evil!
SPIRIT MEDIUM:  One must die and be buried under the floor of the hut where it was born.
RITA:  (screaming) So of course it’s the girl who has to go! Let’s throw the girl away.She’s no good! She’s worthless! You’re all a bunch of vicious! . . . male! . . . chauvinist! . . . PIGS!
NARRATOR 1:  The Spirit Medium raised his walking stick to strike Rita. But Tendai wrenched it away. He flung the stick in the fire, and it burst into flames.
NARRATOR 2:  The crowd gasped in horror.
SPIRIT MEDIUM:  (pointing at Rita and Tendai) Grab them!
NARRATOR 1:  The villagers pounced on the children and held them fast. Someone snatched away the infant. Someone handed a club to Garikayi.
NARRATOR 2:  The chief stood over them a long, long moment. Then his face suddenly contorted with anguish. He threw the club away and tottered back to his stool.
SPIRIT MEDIUM:  (dryly) Take these little hyenas to the punishment hut.
NARRATOR 1:  Tendai and Rita were dragged along, then shoved through a door into darkness.
NARRATOR 2:  For a while they sat trembling in silence.
RITA:  (shakily) Thank you for sticking up for me.
TENDAI:  (gently) Tell me what happened.
RITA:  I wasn’t supposed to be there, but I just had to watch. I’ve never seen a newborn baby. I sneaked up to the door, and there he was, all wet like a fish. Thenshe was born. The midwives began to argue, and Chipo started to cry. One of the women went out to tell Garikayi.
TENDAI:  So he knew.
RITA:  They all did, except they pretended not to. They don’t like to kill babies.
TENDAI:  Who would?
RITA:  They think twins are caused by witchcraft. There’s a good twin, and an evil one they have to get rid of. The midwives decided to take the boy out to Garikayi and leave the girl alone with a midwife. You understand? (sighs) I heard them say it was important for the baby to be quiet. If she cried, everyone would know she was living. They couldn’t pretend she was stillborn.
TENDAI:  But everyone knew.
RITA:  Of course. It’s like the hamburgers we eat at home. We know a cow was killed to provide them, but we don’t like to think about it. We pretend they came just from the pantry. Well, the villagers pretend the evil baby was born dead.
TENDAI:  How did you save it?
RITA:  They all went out except Chipo, who was too weak to stand, and one old woman. She got a handful of ashes to fill the baby’s mouth.
TENDAI:  How horrible!
RITA:  But I bopped her on the head with a pot. Then I grabbed the baby and pinched her. She howled then all right. They couldn’t pretend anymore she wasn’t alive.
NARRATOR 1:  Rita shivered violently and burst into sobs.
NARRATOR 2:  Tendai hugged her and rocked her back and forth. He knew this wasn’t how a traditional brother behaved with a sister. But he was proud of Rita—and thoroughly sick of village ways.

Lines & Rhymes: Figures of Speech

FIGURE OF SPEECH : A mode of expression in which words are used out of their literal meaning or out of their ordinary use in order to add beauty or emotional intensity or to transfer the poet's sense impressions by comparing or identifying one thing with another that has a meaning familiar to the reader. Some important figures of speech are: simile, metaphor, personification, hyperbole and symbol.
SIMILE: A figure of speech in which an explicit comparison is made between two essentially unlike things, usually using like, as or than, as in Burns', "O, my luve's like A Red, Red Rose" or Shelley's "As still as a brooding dove," in The Cloud.Sidelight: Similes in which the parallel is developed and extended beyond the initial comparison, often being sustained through several lines, are called epic or Homeric similes, since
METAPHOR: A figure of speech in which a word or phrase literally denoting one object or idea is applied to another, thereby suggesting a likeness or analogy between them, as     The Leaves of Life keep falling one by one.                  --- Edward Fitzgerald, The Rubáiyát of Omar Khayyám
     I fall upon the thorns of life! I bleed!                  --- Percy Bysshe Shelley, Ode to the West Wind                .   .   . The cherished fields  
   Put on their winter robe of purest white.                  --- James Thomson, The Seasons
Sidelight: While most metaphors are nouns, verbs can be used as well:        Till the calm rivers, lakes, and seas,      Like strips of the sky fallen through me on high,        Are each paved with the moon and these.                  --- Percy Bysshe Shelley, The Cloud
PERSONIFICATION : A type of metaphor in which distinctive human characteristics, e.g., honesty, emotion, volition, etc., are attributed to an animal, object or idea, as "The haughty lion surveyed his realm" or "My car was happy to be washed" or "'Fate frowned on his endeavors." Personification is commonly used in allegory.
SYMBOL: An image transferred by something that stands for or represents something else, like flag for country, or autumn for maturity. Symbols can transfer the ideas embodied in the image without stating them, as in Robert Frost's Acquainted With the Night, in which night is symbolic of death or depression, or Sara Teasdale's The Long Hill, in which the climb up the hill symbolizes life and the brambles are symbolic of life's adversities.
HYPERBOLE (hi-PER-buh-lee) : A bold, deliberate overstatement, e.g., "I'd give my right arm for a piece of pizza." Not intended to be taken literally, it is used as a means of emphasizing the truth of a statement. Sidelight: A type of hyperbole in which the exaggeration magnified so greatly that it refers to an impossibility is called an adynaton.
LITOTES (LIH-tuh-teez, pl. LIH-toh-teez) : A type of meiosis (understatement) in which an affirmative is expressed by the negative of the contrary, as in "not unhappy" or "a poet of no small stature."
IMAGERY, IMAGE: The elements in a literary work used to evoke mental images, not only of the visual sense, but of sensation and emotion as well. While most commonly used in reference to figurative language, imagery is a variable term which can apply to any and all components of a poem that evoke sensory experience, whether figurative or literal, and also applies to the concrete things so imaged.
FIGURE OF SOUND : Sometimes called sound devices, these include onomatopoeia, alliteration, assonance, consonance, euphony, resonance, and others. Not all of these are considered figures of speech, exactly, but they're included here because they're part of what you'll find it you look closely at the language and word choice of may poem. They work hand-in-hand with rhythm and all types of rhyme.
ALLITERATION: Also called head rhyme or initial rhyme, the repetition of the initial sounds (usually consonants) of stressed syllables in neighboring words or at short intervals within a line or passage, usually at word beginnings, as in "wild and woolly" or the line from Shelley's The Cloud: I bear light shade for the leaves when laid Sidelight: Alliteration has a gratifying effect on the sound, gives a reinforcement to stresses, and can also serve as a subtle connection or emphasis of key words in the line, but alliterated words should not "call attention" to themselves by strained usage.
ASSONANCE : The relatively close juxtaposition of the same or similar vowel sounds, but with different end consonants in a line or passage, thus a vowel rhyme, as in the words, date and fade.
ONOMATOPOEIA (ahn-uh-mah-tuh-PEE-uh): Strictly speaking, the formation or use of words which imitate sounds, like whispering, clang and sizzle, but the term is generally expanded to refer to any word whose sound is suggestive of its meaning. Sidelight: Because sound is an important part of poetry, the use of onomatopoeia is another subtle weapon in the poet's arsenal for the transfer of sense impressions through imagery, as in Keats' "The murmurous haunt of flies on summer eves," in Ode to a Nightingale.. Sidelight: Though impossible to prove, some philologists (linguistic scientists) believe that all language originated through the onomatopoeic formation of words.
CACOPHONY (cack-AH-fuh-nee or cack-AW-fuh-nee) : Discordant sounds in the jarring juxtaposition of harsh letters or syllables, sometimes inadvertent, but often deliberately used in poetry for effect, as in the lines from Whitman's The Dalliance of Eagles:      The clinching interlocking claws, a living, fierce, gyrating wheel,
      Four beating wings, two beaks, a swirling mass tight grappling,
      In tumbling turning clustering loops, straight downward falling,
Sidelight: Sound devices are important to poetic effects; to create sounds appropriate to the content, the poet may sometimes prefer to achieve a cacophonous effect instead of the more commonly sought-for euphony. The use of words with the consonants b, k and p, for example, produce harsher sounds than the soft f and v or the liquid l, m and n.
CAESURA (siz-YUR-uh): A rhythmic break or pause in the flow of sound which is commonly introduced in about the middle of a line of verse, but may be varied for different effects. Usually placed between syllables rhythmically connected in order to aid the recital as well as to convey the meaning more clearly, it is a pause dictated by the sense of the content or by natural speech patterns, rather than by metrics. It may coincide with conventional punctuation marks, but not necessarily. A caesura within a line is indicated in scanning by the symbol (||), as in the first line of Emily Dickinson's, I'm Nobody! Who Are You?I'm no | body! || Who are | you?
Sidelight: As a grammatical, rhythmic, and dramatic device, as well as an effective means of avoiding monotony, the caesura is a powerful weapon in the skilled poet's arsenal.
Sidelight: Since caesura and pause are often used interchangeably, it is better to use metrical pause for the type of "rest" which compensates for the omission of a syllable.