Cochlear: Listen, Learn & Talk

Total Page:16

File Type:pdf, Size:1020Kb

Cochlear: Listen, Learn & Talk Listen Learn and Talk Another Cochlear Innovation REF: Z60407 Hear now. And always PAL/SECAM All countries except parts of the Americas and Asia Pacific as specified below. NTSC The Americas (except Argentina, Brazil, Uruguay and Paraguay), Japan, Philippines, South Korea and Taiwan. Listen Learn and Talk Part Number: Z60407 ISS 2 August 2005 Second Edition Copyright © 2005 Cochlear Limited 14 Mars Road Lane Cove West NSW 2066 Previous edition copyrighted 2003 All rights reserved. No part of this book may be reprinted, transmitted, or reproduced in any form or by any means, including photocopying, or used by any information storage and retrieval system, without prior written permission by the copyright owner and publisher. ISBN 1-920804-07-2 Printed in Australia By SOS Printing Group Alexandria NSW Table of Contents Introduction and Overview.................................................................................5 Introduction..........................................................................................................................................................................................7 Overview ...............................................................................................................................................................................................9 Auditory Habilitation Theory..........................................................................11 Principles of Learning to Listen...............................................................................................................................................13 Family Based Therapy........................................................................................................... .......................................................16 Assisting the Therapist ................................................................................................................................................................19 Strategies for Developing Listening Skills..........................................................................................................................20 Integrated Scales of Development.......................................................................................................................................31 Sounds of Speech.....................................................................................................................................................................43 Auditory Habilitation Practice.........................................................................45 Introduction.................................................................................................................................................................................... .....47 The Stages of Listening ...............................................................................................................................................................47 Listening Levels................................................................................................................................................................................49 Babies Babble....................................................................................................................................................................................55 The Journey Begins..................................................................................................................................................................55 Parent Baby Bond.....................................................................................................................................................................56 A Quiet Environment.............................................................................................................................................................56 Sound Awareness.....................................................................................................................................................................57 Vocal Turn Taking....................................................................................................................................................................57 Performatives..............................................................................................................................................................................57 Simple Phrases............................................................................................................................................................................59 Auditory Stimulus/Response ..............................................................................................................................................60 Auditory Memory – Item Selection ...............................................................................................................................60 Extension Ideas for Babies...................................................................................................................................................63 Making a Drink...........................................................................................................................................................................64 Book Share...................................................................................................................................................................................66 Reinforcing Performatives....................................................................................................................................................68 Fruit Salad......................................................................................................................................................................................70 Learning to Listen Sounds.........................................................................................................................................................72 Toddlers Talk....................................................................................................................................................................................73 Playtime..........................................................................................................................................................................................73 Auditory Memory – Simple Directions........................................................................................................................74 Listen Learn and Talk i Daily Routines.............................................................................................................................................................................75 Auditory Stimulus/Response ..............................................................................................................................................78 Listening at a Distance...........................................................................................................................................................78 Auditory Memory – Item Selection ...............................................................................................................................79 Book Share...................................................................................................................................................................................79 Extension Ideas for Toddlers.............................................................................................................................................81 Eating Breakfast..........................................................................................................................................................................82 Stacking the Dishwasher.......................................................................................................................................................84 Making Muffins............................................................................................................................................................................86 Making a Father's Day Card ...............................................................................................................................................88 Children Chatter.............................................................................................................................................................................90 Expanding Language................................................................................................................................................................90 Little Helpers...............................................................................................................................................................................91 Playtime..........................................................................................................................................................................................91 Speech ............................................................................................................................................................................................92 Auditory Memory.....................................................................................................................................................................93
Recommended publications
  • English Pronunciation in Virginia
    English Pronunciation in Virginia A DISSERTATION Submitted to the Faculty of the University of Virginia in Partial Fulfillment of the Requirements for mavww-»~mn the Degree of Doctor of Philosophy -—wu_.<.=.- gr r-i ~ 7' - ‘ By EDWIN FRANCIS SHEWMAKE Alumni Professor of English in Davidson College _ ' UV; “Vtw ‘z 7 , ul’.m.‘;tl=-frmmfi.flmfiwuz_;_-I .- u~ 33915 . ._..,. PREFACE —. This study of English pronunciation in Virginia was accepted in 1920 by the faculty of the University of Virginia as a doctoral disserta- tion. That part dealing with the dialectal pronunciation of 0:4 and of i, was published in slightly modified form in Modern Language Notes, XL, 489 E., for December, 1925. The editor of the N ates has kindly given permission for the use of the article here. The author would thank all those who have in any way assisted or encouraged him in this undertaking. Especially does he wish to record his indebtedness to Professors John Calvin Metmlf and James Southall Wilson of the University of Virginia, Professor Percy W. Long of Harvard University, and Professor George Philip Krapp of Columbia University, all of whom have given valuable suggestions and advice. Thanks are also due to several editors and publishers for permission to use certain material for purposes of quotation and summary. The titles of books and periodicals used in this way appear in the text, with specific references to volumes and pages. E. F. S. Davidson, North Carolina. November, 1927. .-r.. .. _. .i 4.. ..._......_.__..4.-. .. >»~e~q—.«+.~vym oOpr-r 3-,, - A“.
    [Show full text]
  • Applicant Preparation Guide for the Post Entry-Level Test Battery
    APPLICANT PREPARATION GUIDE FOR THE POST ENTRY-LEVEL TEST BATTERY PREPARING FOR THE MULTIPLE-CHOICE AND CLOZE EXAMS There are many different types of tests. Two kinds of tests that most of us are familiar with are achievement tests and aptitude tests. Achievement tests measure what you know about some specific thing. A final exam in college is an example of an achievement test. In a final exam, the student is evaluated on how well he or she has mastered the curriculum of the class. Aptitude tests are quite different; they are tests for determining the probability of a person's success in some activity in which he or she is not yet trained. A college entrance test, such as the SAT, is an example of an aptitude test. In reality, achievement tests and aptitude tests occupy the end points of a continuum of test type for all tests are a little of each. It is important to know the distinction between the two types of tests is because, in general, you can study to improve your score on an achievement test, but there is only a limited amount of study and preparation that you can do for an aptitude test. The POST Test-Battery is primarily a language aptitude test. As such, there is some improvement in test score that can be achieved by preparation, but how you do on the test is primarily determined by how much language skill you presently possess. Language skills develop over a lifetime and tend to be very stable. Noticeable improvement in language skills typically takes a prolonged, intense effort.
    [Show full text]
  • Open Steinle Cory Kanyecriticism.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6.
    [Show full text]
  • In Because of Mr. Terupt by Rob Buyea Content
    Content Questions Question Answer Pg # In Because of Mr. Terupt by Rob Buyea What grade does Mr Terupt teach? 5th grade 1 What month does Because of Mr. Terupt start? September 1 What kind of teacher is the best hope to get? Brand-new 1 Which character first narrates BOMT? Peter 1 What grade is Peter entering? Fifth 1 What is the name of the rookie teacher? Mr. Terupt 1 Where does Peter go to get out of doing work? The bathrooms 1 Where are the bathrooms located? Right across the hall 1 What did Peter's brother say you would have to clean the A tooth brush 2 toilets with if you got caught plugging them with toilet paper? Who is the pirncipal? Mrs. Williams 2 What are the two nicknames Mr. Terupt wanted to give Peter Mr. Peebody Pee-er 2 for using the restroom? What table did Peter sit at? Number Three 3 Who sat right next to Peter? Marty 3 What is the name of the school where Mr Terupt teaches? Snow Hill School 4 What was the name of the school? Snow Hill School 4 What state does the book take place? Connecticut 4 What color hair does Mr.s Williams have? Brown 4 Who is Jessica's Mom? Julie Whiteman 4 Two part question: What is the name of Jessica's new school Snow Hill School AND Mrs. Williams. 5 and who is the principal? Where is Jessica from? California 5 Where is Jessica's dad? California 5 What does Jessica's dad do? Write plays 5 1 Content Questions Question Answer Pg # In Because of Mr.
    [Show full text]
  • Two-Words.Pdf
    TWO WORDS by Isabel Allende Copyright © 1989 by Isabel Allende https://fortheloveofshortstories.wordpress.com/2016/09/01/two-words/ She went by the name of Belisa Crepusculario, not because she had been baptized with that name or given it by her mother, but because she herself had searched until she found the poetry of "beauty" and "twilight" and cloaked herself in it. She made her living selling words. She journeyed through the country from the high cold mountains to the burning coasts, stopping at fairs and in markets where she set up four poles covered by a canvas awning under which she took refuge from the sun and rain to minister to her customers. She did not have to peddle her merchandise because from having wandered far and near, everyone knew who she was. Some people waited for her from one year to the next, and when she appeared in the village with her bundle beneath her arm, they would form a line in front of her stall. Her prices were fair. For five centavos she delivered verses from memory, for seven she improved the quality of dreams, for nine she wrote love letters, for twelve she invented insults for irreconcilable enemies. She also sold stories, not fantasies but long, true stories she recited at one telling, never skipping a word. This is how she carried news from one town to another. People paid her to add a line or two: our son was born, so-and-so died, our children got married, the crops burned in the field. Wherever she went a small crowd gathered around to listen as she began to speak, and that was how they learned about each others' doings, about distant relatives, about what was going on in the civil war.
    [Show full text]
  • Beginning Japanese for Professionals: Book 1
    BEGINNING JAPANESE FOR PROFESSIONALS: BOOK 1 Emiko Konomi Beginning Japanese for Professionals: Book 1 Emiko Konomi Portland State University 2015 ii © 2018 Emiko Konomi This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes Published by Portland State University Library Portland, OR 97207-1151 Cover photo: courtesy of Katharine Ross iii Accessibility Statement PDXScholar supports the creation, use, and remixing of open educational resources (OER). Portland State University (PSU) Library acknowledges that many open educational resources are not created with accessibility in mind, which creates barriers to teaching and learning. PDXScholar is actively committed to increasing the accessibility and usability of the works we produce and/or host. We welcome feedback about accessibility issues our users encounter so that we can work to mitigate them. Please email us with your questions and comments at [email protected]. “Accessibility Statement” is a derivative of Accessibility Statement by BCcampus, and is licensed under CC BY 4.0. Accessibility of Beginning Japanese I A prior version of this document contained multiple accessibility issues.
    [Show full text]
  • United States District Court for the District of Columbia ) Robert R. Prunté, )
    Case 1:06-cv-00480-PLF Document 116 Filed 03/29/10 Page 1 of 24 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA __________________________________________ ) ROBERT R. PRUNTÉ, ) ) Plaintiff, ) ) v. ) Civil Action No. 06-0480 (PLF) ) UNIVERSAL MUSIC GROUP, INC., et al., ) ) Defendants. ) __________________________________________) OPINION Plaintiff Robert R. Prunté alleges that approximately 45 named defendants have infringed his copyright in numerous songs that he wrote and produced. He seeks to recover damages pursuant to the Copyright Act, 17 U.S.C. §§ 101 et seq., for direct and contributory copyright violations. Of the many defendants currently named in this case, only two — UMG Recordings, Inc. (“UMG” or “Universal”), and Warner Music Group Corp. (“Warner”) (collectively “the defendants”), have responded to the complaint. These defendants have filed a motion for summary judgment, and Mr. Prunté has filed a cross-motion. Mr. Prunté has also submitted two plainly frivolous motions in which he (1) alleges that the defendants are in contempt of court, and (2) requests that the Court “take judicial notice of certain adjudicative facts and facts of law.” Docket No. 94 at 1. The defendants have moved to strike various papers Case 1:06-cv-00480-PLF Document 116 Filed 03/29/10 Page 2 of 24 filed by Mr. Prunté, including his motion alleging contempt of court and his motion for summary judgment.1 Upon consideration of the entire record in this case, the parties’ arguments, and the relevant law, the Court concludes that the defendants’ works are not substantially similar to those of the plaintiff and that the defendants therefore are entitled to summary judgment on all claims.
    [Show full text]
  • Word Choice (Denotation and Connotation)
    Word Choice (Denotation and Connotation) In argumentative writing, as in an editorial, authors choose their words carefully in order to best convince the audience of his/her point of view. They try to pick the most precise words to create the proper tone for their message. The way they achieve this effect is to write with words that have attached to them certain denotations and connotations. Denotation-Dictionary, literal meaning of words Connotation-Common associations that people make with words (positive or negative) Example Word: Gray Denotation-Color of any shade between the colors of black and white Connotation-Negative, Gloom, Sadness, Old Age Practice Word: Mustang Denotation-Small, wild horse of the North American Plains Connotation-Positive, strong, fast, sleek, beautiful The connotation of the word is why Ford carmakers would choose to name one of its models “Mustang.” Think of two currently used automobile names. What are the denotations of the words? What connotations did the manufacturer hope to evoke in naming that car that particular name? What details do the names bring to mind? What does the name tell you about who drives the car, how fast it is, and what its features are? Denotation and Connotation Practice Car #1 Car #2 Automobile Name: Denotation: Connotations: What name tells you about driver, speed, features of car: Now think of a car and color that describe you. Be prepared to share your response with the class. Car: Features of car that are similar to you: Color: Reason for color of car: Connotation Practice Words with similar dictionary meanings often have different connotations, so it is very important for a writer to choose words carefully.
    [Show full text]
  • Possessive Contraction Pronoun Adverb It + Is = It's Its You + Are = You're Your He = Is = He's His They + Are = They're Their There Who + Is = Who's Whose
    42 Name _ Date _ Contraction or Possessive Pronoun? I . Possessive Contraction Pronoun Adverb it + is = it's its you + are = you're your he = is = he's his they + are = they're their there who + is = who's whose Please select the proper word. l. The dog ate (it's, its) dinner. 2. (It' s, Its) going to rain tomorrow. 3. The team elected (it's, its) captain. 4. The man said that (it's, its) too hot to play baseball. 5. (You're, Your) studying apostrophes in this lesson. 6. (You're, Your) book is on the table. 7. If (you're, your) ready, you may begin the test. 8. Please give me (you're, your) opinion. 9. Tom said that (he's, his) lost his new iPod. 10. Jerry will lend you (he's, his) book tomorrow. 11. (Their, There, They're) going to win the game! 12. (Their, There, They're) children are at the party. 13. (Their, There, They're) goes my new car! 14. The Smiths borrowed my car. (Their, There, They're) car is in the shop. 15. It was Mr. Lee (whose, who's) car was stolen. 16. (Whose, Who's) going to the soccer game? 17. (Whose, Who's) book is this? 18. Karen was the teacher (whose, who's) book was chosen to be published. 43 Name _ Dme _ Adjective or Adverb? Please review each sentence carefully and choose the appropriate word. I. Always drive (careful, carefully). 2. Be (careful, carefully)! 3. Sara waited (patient, patiently) for class. 4.
    [Show full text]
  • TABOOS – Common Writing Errors to Avoid (Created by Philip Dacey, SMSU Professor Emeritus, 1939-2016)
    TABOOS – Common Writing Errors to Avoid (Created by Philip Dacey, SMSU Professor Emeritus, 1939-2016) Professor Marianne Murphy Zarzana Southwest Minnesota State University, Marshall, Minnesota The errors identified below are ones students frequently make. Writing well is, of course, not just a matter of avoiding errors, but an error-free paper is like a clean window through which the reader looks; it helps display clearly what you have to say. Errors say, “I don’t care enough about you to take pains with this communication.” Ideally, over the course of the semester, you will not be violating any of these taboos and will have moved on to more advanced considerations about writing, positive ones, not just what to avoid but what to do to enhance your work. (On your essays, T plus a number will indicate one of the following taboos.) “We live at the level of our language. Whatever we can articulate we can imagine or understand or explore.” – Ellen Gilchrist I. GRAMMAR 1. Be wary of like/as confusion. “Like” is a preposition and must take an object: he looks like trouble. “Like” cannot precede a clause (clauses, unlike phrases, have verbs); “as” can precede a clause because it’s a conjunction. “Winston tastes good like a cigarette should” is grammatically incorrect (as the ad writers knew). Sometimes “that” can replace “like”: I feel alone, (like) that nobody cares.” Or try “as if.” 2. “Then,” “thus,” and “therefore” are adverbs, not conjunctions, and therefore cannot connect two independent clauses, even with a comma. Not this: “He knocked on the door, then she came to the window.” One alternative is: “When he knocked on the door, she came, etc.” 3.
    [Show full text]
  • The Centrality of Human Misery in the Odyssey
    Philomathes Heroics, Home, and Heartbreak: The Centrality of Human Misery in the Odyssey he Odyssey is, first and foremost, about a man who suffers. T The most famous part of the poem, after all, is the four-book journey of the protagonist across treacherous waters and through various trials. But his suffering is not limited to his physical trials on the sea — when we first meet him on Calypso’s island, he’s crying a river (or perhaps, an ocean), and even after returning home he suffers abuse after abuse by the suitors as they wander through his halls. This paper focuses on Odysseus’ identity as a “man of suffering.” An understanding of suffering in the Odyssey helps us comprehend not only Odysseus’ near-universal appeal but also what makes him exceptional among the poem’s characters; that is, what makes him a hero. This examination also gives anthropological insight to how Homer1 and his audience viewed how suffering works on a communal level. I take a twofold approach: first I will offer some reflections on his character based on a close examination of the language used to describe him, and then I will elaborate further upon how his suffering is tied to his house, the οἶκος, in order to offer one view of how his suffering plays a role in the larger web of characters and in the entire poem. 1 “Homer” as used in this paper refers to whatever creative mind (or minds) was behind the Iliad and the Odyssey, used if nothing else as convenience to stand in for the whole of these poems’ oral tradition (cf.
    [Show full text]
  • Hip Hop As Oral Literature Patrick M
    Bates College SCARAB Honors Theses Capstone Projects Spring 5-2016 "That's the Way We Flow": Hip Hop as Oral Literature Patrick M. Smith Bates College, [email protected] Follow this and additional works at: http://scarab.bates.edu/honorstheses Recommended Citation Smith, Patrick M., ""That's the Way We Flow": Hip Hop as Oral Literature" (2016). Honors Theses. 177. http://scarab.bates.edu/honorstheses/177 This Open Access is brought to you for free and open access by the Capstone Projects at SCARAB. It has been accepted for inclusion in Honors Theses by an authorized administrator of SCARAB. For more information, please contact [email protected]. “That’s the Way We Flow”: Hip Hop as Oral Literature An Honor Thesis Presented to The Faculty of the Program of African American Studies Bates College in partial fulfillment of the requirements for the Degree of Bachelor of Arts by Patrick Miller Smith Lewiston, Maine 3/28/16 2 Acknowledgments I would like to thank all of my Bates Professors for all of their help during my career at Bates College. Specifically, I would like to thank my thesis advisor, Professor Sue Houchins, for all her hard work, helping me wrestle with this thesis, and for being a source of friendship and guidance since I first met her. Professor Nero, I would also like to send a big thank you to you, you have inspired me countless times and have pushed me since day one. Professors Rubin, Chapman, Jensen, and Carnegie, thank you all very much, each of you helped me on my way to this point and I am very grateful for your guidance.
    [Show full text]