BOOK
Prosody Intervention for High-Functioning Adolescents and Adults with Autism Spectrum Disorder
Michelle Dunn | Larry Harris | Julia Dunn
(2016)
Additional Information
Book Details
Abstract
When making the transition to adulthood, young people with Autism Spectrum Disorder can find their opportunities limited by their impaired prosody. Through a program of evidence-based lessons and resources, this book helps to develop verbal and nonverbal skills essential to adult life, particularly in the context of looking for a job or social situations. It is a complete curriculum, covering everything from self-calming to fluency and conversational skills, and includes lesson plans, handouts, and homework.
The program has been successfully used by the authors in their work with people on the autism spectrum and will be a life-changing resource for professionals as well as for parents and people on the autism spectrum wanting to improve their ability to communicate well.
Dr Michelle Dunn is the Director of the Montefiore Einstein Center for Autism and Communication Disorders, and Professor of Clinical Neurology at the Albert Einstein College of Medicine. Michelle is the author of S.O.S.: Social Skills in our Schools: A Social Skills program for children with Pervasive Developmental Disorders and their typical peers.
Larry Harris is a former NFL American Football player turned opera singer. He became a research assistant and vocal therapist at the Montefiore Einstein Center for Autism and Communication Disorders in 2012. Larry uses his experience in both sport and music to help young people understand the mechanics of their voices.
This is an absolutely wonderful and quite unique book for teaching skills in an area that is almost universal in autism: that of prosodic and related deficits. As pointed out early in the book, abnormal prosody gives 'a first impression of oddness' and interferes with ongoing social relationships. This readable, fascinating, and explicit book gives very specific lessons in all areas of what we usually include in 'prosody' (pacing, volume, pitch changes, word stressing), as well as in related pragmatic areas that are almost universally deficient in autism (conversing, narrating, gesture, eye contact, small talk, giving instructions). Lessons are spelled out in hierarchical fashion, and are detailed and explicit enough to be implemented by a variety of professionals (speech/language therapists, psychologists, teachers, behavior therapists). The authors also provide a clear and easy to use assessment tool for rating aspects of prosody, that does not require technical linguistic expertise, and which I intend to adopt for all the individuals I assess. Finally, the clinical and vocal expertise of these two authors (Dr. Dunn is a neuropsychologist specializing in autism and Mr. Harris is an opera singer) is very obvious in how they approach the whole endeavor, that is, by working first on helping the learner to be calm and reduce tension (which makes adjusting muscles easier and helps the learner to be ready to attend and learn). The intervention program in this book could change the social lives of many individuals with autism, which in turn could improve their academic attainments, vocational prospects and lifelong emotional fulfillment.
Deborah Fein, Ph.D., Board of Trustees Distinguished Professor, University of Connecticut and author of ‘The Neuropsychology of Autism’ and ‘The Activity Kit for Babies and Toddlers at Risk’
Table of Contents
Section Title | Page | Action | Price |
---|---|---|---|
Prosody Intervention for High-Functioning Adolescents and Adults with Autism Spectrum Disorder - Enhancing communication and social engagement through voice, rhythm, and pitch by Michelle Dunn and Larry Harris | 3 | ||
Introduction | 13 | ||
Prosody deficits in ASD | 14 | ||
The association of prosody deficits with communication and socialization | 16 | ||
Discussion: Implications for clinical practice | 17 | ||
Chapter content | 19 | ||
Structure of the lessons | 24 | ||
Note | 25 | ||
Chapter 1 - Assessment | 26 | ||
The future of prosody assessment | 29 | ||
The screening instrument | 29 | ||
Appendix: Qualitative Screening Assessment | 31 | ||
Chapter 2 - Emotional and Behavioral Modulation | 34 | ||
Introduction: Finding calm | 34 | ||
Self-calming | 36 | ||
Having a calm baseline: Mindfulness of breathing and internal triggers | 42 | ||
Maintaining calm through mindfulness of emotions, thoughts, and behaviors | 47 | ||
The importance of being calm: Understanding the consequences for your thinking | 54 | ||
Communicating emotions and the need for help | 57 | ||
Chapter 3 - Voice: Creating a More Oral Timbre | 63 | ||
Introduction: The concept of the balanced mix | 63 | ||
Learning about timbre | 68 | ||
Oral timbre: Tongue position – vowels 1 | 77 | ||
Oral timbre: Tongue position – vowels 2 | 83 | ||
Oral timbre: Tongue position, vowels, consonants, and words | 89 | ||
Oral timbre: Words and pre-formulated sentences | 92 | ||
Oral timbre: Consonants in spontaneous speech | 95 | ||
Oral timbre: Consonants P, T, and K in consonant–vowel syllables and words | 97 | ||
Oral timbre: Consonants P, T, and K in pre-formulated sentences | 100 | ||
Oral timbre: Consonants P, T, and K in spontaneously formulated sentences | 105 | ||
Oral timbre: Consonants B, D, and G in consonant–vowel syllables and words | 106 | ||
Oral timbre: Consonants B, D, and G in pre-formulated sentences | 109 | ||
Oral timbre: Consonants B, D, and G in spontaneously formulated sentences | 114 | ||
Oral timbre: Consonants M and N in consonant–vowel syllables and words | 115 | ||
Oral timbre: Consonants M and N in pre-formulated sentences | 118 | ||
Oral timbre: Consonants M and N in spontaneously formulated sentences | 122 | ||
Oral timbre: Consonants J and ch in consonant–vowel syllables and words | 123 | ||
Oral timbre: Consonants J and ch in pre-formulated sentences | 126 | ||
Oral timbre: Consonants J and ch in spontaneously formulated sentences | 131 | ||
Oral timbre: Consonants W, L, and R in consonant–vowel syllables and words | 132 | ||
Oral timbre: Consonants W, L, and R in pre-formulated sentences | 135 | ||
Oral timbre: Consonants W, L, and R in spontaneously formulated sentences | 140 | ||
Oral timbre: Persistent problems | 141 | ||
Oral timbre: Connected speech 1 | 144 | ||
Oral timbre: Connected speech 2 | 146 | ||
Chapter 4 - Voice: Volume | 147 | ||
Introduction: Increasing volume | 147 | ||
Nasal timbre: Introduction to discrimination, production, and anatomy | 163 | ||
Nasal timbre: Tongue position for vowels | 172 | ||
Nasal timbre: Tongue position – nasal and oral vowels | 177 | ||
Nasal timbre: Tongue position for vowels, consonants, and words | 183 | ||
Nasal timbre: Learning the sensations associated with directing airflow and sound through the nasal pharynx: “ah,” “uh,” and “awh” | 185 | ||
Nasal timbre: Learning the sensations associated with directing airflow and sound through the nasal pharynx: “oh,” “ow,” and “ooh” | 189 | ||
Breath support: Posture and expansion | 194 | ||
Breath support: Optimal expansion and maintaining expansion | 198 | ||
Modulating breath release: Learning the relationship between the speed of airflow and volume | 204 | ||
Modulating breath release: Maintaining an expanded chest | 207 | ||
Modulating breath release: Using the vocal cords as a valve | 210 | ||
Modulating breath release: Regulating the volume of sustained sounds | 213 | ||
Modulating release and increasing volume: Combining the Breath–Pause technique with nasal timbre | 219 | ||
Regulating breath release: Mindfulness of sensations associated with Breath–Pause | 224 | ||
Modulating breath release: Learn the Breath–Pause notation to practice management of breath release | 227 | ||
Modulating breath release: Using the Breath–Pause technique and arc phrasing to increase volume in spontaneous connected speech | 233 | ||
Open passage: Releasing tension in the jaw | 236 | ||
Open passage: Releasing tension in the jaw and tongue | 239 | ||
Putting it all together: Sound production with an open passage, in combination with nasal timbre and appropriate breath support 1 | 245 | ||
Putting it all together: Sound production with an open passage, in combination with nasal timbre and appropriate breath support 2 | 249 | ||
Modulation of volume: Adjusting to situation | 253 | ||
Chapter 5 - Rhythm of Speech | 258 | ||
Introduction: Fluency and rate | 258 | ||
Introducing the Breath–Pause technique for improving fluency and rate | 264 | ||
Breath control associated with the Breath–Pause technique | 274 | ||
Using the Breath–Pause technique with spontaneous single words and pre-formulated connected speech | 276 | ||
How calming positively influences fluency and rate of speech | 280 | ||
Staying calm and mindful to promote effective fluency through the Breath–Pause technique | 282 | ||
Using the Breath–Pause technique with spontaneous questions and sentences | 284 | ||
Using the Breath–Pause technique to speak spontaneous sentences fluently and at an appropriate rate | 286 | ||
Shadow Vowel technique: Addressing misarticulation produced by muscle tension resulting from overly rapid speech or anxiety/overexcitement | 289 | ||
Rules for answering others’ questions about you | 293 | ||
Graphic Organizer: Formulating a description of a person | 297 | ||
Graphic Organizer: Using a book, periodical, or article | 302 | ||
Sequential Graphic Organizer: Giving step-by-step instructions 1 | 307 | ||
Sequential Graphic Organizer: Giving step-by-step instructions 2 | 310 | ||
Web Graphic Organizer: My best day ever | 313 | ||
Web Graphic Organizer: Description of a vacation | 316 | ||
Plot Contour Graphic Organizer: Telling a good story | 319 | ||
Web Graphic Organizer: Recounting what I learned from an article | 322 | ||
Web Graphic Organizer: Recounting a fable and its significance | 326 | ||
Learning to play the Conversation Game to develop fluency in conversation | 330 | ||
Achieving fluency in spontaneously generated small talk | 333 | ||
Using small talk to get to know someone | 337 | ||
Learning the red card technique to monitor use of the Rules for Fluency | 341 | ||
Fluently relating information and making a point about something you learned | 343 | ||
Applying the Rules for Fluency to spontaneous conversation | 351 | ||
Chapter 6 - Pitch | 353 | ||
Introduction: Pitch modulation to convey meaning | 353 | ||
Assessment/learning pitch modulation | 355 | ||
Pitch modulation: Tones | 359 | ||
Pitch stress and word meaning | 363 | ||
Pitch stress in sentences | 365 | ||
Pitch stress in poetry 1 | 369 | ||
Pitch stress in poetry 2 | 372 | ||
Pitch stress in narrative | 374 | ||
Pitch stress in written text | 377 | ||
Applying pitch notation to spontaneous speech | 379 | ||
Talking about a topic using pitch inflection | 380 | ||
Chapter 7 - Stress | 383 | ||
Introduction: Using stress to convey meaning | 383 | ||
Introduction to stress in spoken language | 386 | ||
Grammatical stress in single words | 389 | ||
Stressing words in sentences | 392 | ||
Stressing words in sentences with a louder volume, using volume stress notation | 401 | ||
Stressing words in sentences with a change in pitch | 407 | ||
Stressing words in sentences with a change in rhythm, specifically an increase in duration | 414 | ||
Stressing words in poetry to inform and share feelings | 420 | ||
Stress notation on a famous speech to inform and share feelings | 422 | ||
Telling a story from memory, applying all types of stress: Volume, pitch, rhythm (duration) | 425 | ||
Telling a personal experience story, placing stress on important words | 428 | ||
Talking about a topic, using appropriate stress | 432 | ||
Planned discussion of a topic from memory, using all stress forms to inform and share feelings | 435 | ||
PowerPoint presentation to inform: Part 1 – Deciding what to include | 436 | ||
PowerPoint presentation to inform: \nPart 2 – Deciding which words to stress | 439 | ||
Spontaneous speech in conversation, employing word stress to inform and share feelings | 441 | ||
Conclusion | 442 | ||
References | 445 | ||
Subject Index | 449 | ||
Author Index | 455 |