ellipsis 8 (2010): 113-129

DIGITAL INTERACTIVE LESSONS IN PHONETICS

AND PHONOLOGY: EXAMPLES FROM THE
PORTUGUESE-SPEAKING WORLD

Clémence Jouët-Pastré, Andrew Nevins

& Phil Desenne
Harvard University

In this paper we describe the motivation, implementation,

content, and assessment of a digital workbook used for the
teaching of Portuguese phonetics and phonology, focusing
on mid-vowel contrasts and their lexical and sociolinguistic
impacts. The digital workbook incorporates multimedia into
interactive lessons and exercises that accommodate students
with diverse learning styles.

Keywords: Language Teaching, Portuguese, Phonetics and

Phonology, Mid-vowel Contrasts, Information Technology.

I. Introduction: The Importance of Information

Technology in Language Teaching
Information Technology has been transforming the way we
teach and learn in different fields. For example, in the field
of Applied Linguistics, researchers and educators have been
experimenting with new technological tools since the 1980s.
It goes without saying, as in any live and vibrant discipline,
that in the beginning there were an intense debate and heavy
criticism around this new teaching approach (Clark).
Currently, for most of the profession, however, the “question
regarding the use of technology to support language teaching
has shifted from ‘whether’ to ‘how’” (Hoppingarner 222).
This new trend stimulates collaborations across disciplines,
which in turn enjoy a beneficial impact from the continuing
advancements in the digital world.
In this article we report an ongoing project consisting of a
website, or a “digital workbook,” that combines the teaching

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of General Phonetics and Phonology with the teaching of

Portuguese Phonetics and Phonology and language variation
in the Portuguese-speaking world. We designed a flexible
website with the goal of an infrastructure that could be easily
adapted in the future to teach other academic subjects,
including other foreign languages, the history of the human
language, the history of different languages (integrating
historical texts), and music (singing). The main features of
the website are 1) a universal talking head that has the
potential to teach many aspects of articulatory phonetics and
can be transposed to teach the sounds of any language; 2) an
online interactive language learning program, focusing on
providing educators, students, and researchers of Portuguese
with a more dynamic and flexible system for auditory and
visual learners; and 3) an archive for the macro and micro
variants of Portuguese, taking into consideration their many
grammatical and social aspects.
The website offers students different learning menus so
that they can draw on their strengths to increase and
synthesize knowledge based on their needs, interests,
learning styles, and last but not least, course requirements.
For example, a student of Portuguese can learn enough
articulatory phonetics, without having to examine too much
theoretical apparatus, to tutor her/himself to produce the
most intricate sounds of the language. Conversely, a student
of Linguistics can study articulatory phonetics in depth and
use Portuguese as an example to illustrate certain concepts.

II. Digital vs. Pen and Paper Approach

The first question to ask when designing a web site – or a
“digital workbook” – is if it will have features that cannot be
replicated on paper. After all, it is neither an easy nor an
inexpensive task to put together a site. Therefore, one has to
be clear on what are the advantages of an instructional web
site vis-à-vis a low-tech paper version of the same materials.
We also have to investigate if there are any tasks that could
not be accomplished without the help of the computer. As it
will become clear in the next section of this essay, our
website attempts to contemplate different learning styles and

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learning needs. The flexibility that internet-based tools
provide for users is outstanding. Any kind of learner can take
great advantage of this medium insofar as s/he can choose
different paths in order to better approach the same set of
materials. For example, students can learn how to produce a
new phoneme in a foreign language depending on their
learning style. If they are more visual, they will have access
to a vast gamut of materials ranging from simple drawings to
a sophisticated “talking head” that mimics the mechanics
involving sound production in the vocal tract. If students are
more auditory oriented, they can take advantage of a series
of short video clips and long sociolinguistic interviews.
These numerous approaches to learning a new linguistic
contrast may all be accessed in a single user-friendly
website.
A paper-based environment offers fewer learning options
to students. They are more dependent on their professors and
classroom time might sometimes be less available or
ineffectively used. For example, in a website, students can
listen to the same sound over and over again and better
prepare themselves for classes. Teaching Phonetics becomes
more appealing using digital technology: students can have
access to the mechanics of speech production inside the oral,
nasal, and laryngeal passages.
In addition, the immediacy and variety of feedback are
often perceived as an advantage of digital books over paper-
based ones. Different types of Computer Assisted Language
Learning (CALL) feedback may range from simple “wrong,
try again” to more sophisticated “elaborative feedback in the
form of hints about incorrect answers” (Murphy 107). The
possibilities seem almost endless. For example, a number of
CALL programs offer “instantaneous feedback in the form
of graphic displays such as spectograms and wave forms”
(Neri et al. 452) that can visually represent differences from
the target pronunciation.
Without a shadow of doubt, a digital “book” is more
flexible and, therefore, has the potential of offering more
input not only quantitatively but also qualitatively. Of
course, such a project involves professionals from different

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disciplines. In addition of experts in Linguistics and Applied

Linguistics, it is crucial to involve creative and resourceful
Information Technology specialists.

III. The Digital Workbook Project

As we have mentioned, our ongoing project aims at
exploring digital interactive resources for teaching phonetics,
phonology, and language variation. Our initial lessons focus
on the Brazilian variety of the Portuguese language, but in
the near future we will add lessons about other Portuguese-
speaking countries. We re-affirm that the most important
feature of our digital workbook is its flexibility. It can easily
be adapted to the teaching of virtually any language.
On the main page (available at http://portugueselinguistics.
fas.harvard.edu), one finds a general explanation about the
website and a simple menu with three choices “Main,”
“Lessons,” “Exercises.” Our goal is to maintain all future
lessons and exercises structured the way they are at present.
Typically they are structured so that students can choose to
study both the mechanics of the new phonetic/phonological
phenomenon and language variation resulting from the
different uses of the linguistic item(s) explored in the lesson.
This structure is based on the work of S. P. Corder, who was
a pioneer in integrating linguistic variation into second
language teaching. Furthering the ideas of Labov, Corder
argued that a language cannot be defined exclusively by a set
of invariable rules – rather, it requires some variable rules as
well. He explains that “an invariant rule in English would be
that a definite article and a possessive adjective cannot occur
before the same head noun, e.g. *the my book […] a variable
rule would be to say the word soften could be pronounced
[sỏftẹn], [sỏfẹn] or [sỏfņ]” (56-57). Similarly, while in
Brazilian Portuguese there is an invariant rule that a word
cannot begin with the consonant sequence mg-, there is a
variable rule that unstressed syllables cannot be lax, as
Northeastern varieties pronounce t[ɛ]levisão instead of
t[e]levisão ‘television’, thereby showing variable allowance
of lax (called below low-mid) vowels in unstressed syllables
(Lee and Oliveira).

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In this article we will use our first lesson to illustrate some
of the unique features of our digital book. We chose four
Portuguese vowels that share important phonetic traits and,
at the same time, important phonetic differences. Two of
them are mid vowels /e/ and /o/ and the other two are low-
mid vowels / ɛ / and / ɔ / (sometimes called ‘lax’ vowels; see
Wetzels); two are rounded /o/ and / ɔ / and two are non-
rounded /e/ and / ɛ /. Finally two are front vowels /e/ and / ɛ /
and the others are back vowels /o/ and / ɔ /. Pedagogically,
these vowels are useful in teaching both important and
difficult minimal pairs (invariable rules) and regional
variation (variable rules). They also present interesting
features that can be captured by technological resources
easily available. Video clips are ideal to teach lip-rounding
and to introduce students to language variation. The talking
head is instrumental to teach the points of articulation. For
example, to produce a front vowel, the tongue body has to go
forward in the mouth and gradually rise.
As any Spanish speaker who studied Portuguese knows,
learning how to pronounce and understand the Portuguese
low-mid vowels can be a daunting task (Simões; Teschner
and Simões). In addition, these vowels are very productive in
Brazil as the choice between mid vowels and low-mid
vowels in unstressed position is a shibboleth, as it can reveal
not only speakers’ geographic origins, but also their age,
gender, and socioeconomic level.
All lessons start with a brief introductory text summarizing
the main features of the topic focused on the lesson. On the
bottom of the page there is a short pre-assessment lesson. On
the top of the page there is a menu divided into introduction,
plus five parts and, finally, a post-assessment lesson. Part I
has a drawing of the vocal tract showing the points of
articulation of the specific phenomenon – ideally presented
in minimal pairs – that will be explored in the lesson. Our
first lesson is slightly different from the others on its first
page. As most “first lessons,” it is meant to be an
introductory lesson, and therefore provides an overview of
the articulators, or in other words, it reviews basic concepts

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to understand enough phonetics to make better use of our

digital workbook.
Part II has still images of a speaker’s mouth producing
phonemes. Whenever possible these photos depict the
enunciation of minimal pairs, such as avó ‘grandmother’ vs.
avô ‘grandfather’. In our first lesson, these illustrations of
the mouth show the differences in production of a rounded
and a non-rounded vowel. Therefore, students have the
chance to visually understand how the lips should be
positioned to produce this contrastive phonetic feature.
Part III has one of the main features of the website: a
universal talking head that has the potential to teach many
aspects of articulatory phonetics, which could be transposed
to teach the sounds of any language. This talking head is a
pilot animated speech production system, the goal of which
is to illustrate the articulation of all of the major sounds of
the International Phonetic Alphabet. Currently, the most
comprehensive talking head is available at the site of the
Phonetics Flash Animation Project at the University of Iowa
(www.uiowa.edu/~acadtech/phonetics/). It contains the
phonetic sounds (all of the vowels and consonants) of
English, German, and Spanish. However, despite the
impressive number of phonetic sounds that this talking head
can produce, it does not fulfill the needs of illustrating
Portuguese phonetics. For example, it shows the points of
articulation, but does not take into account the airflow or
lack of it. This is an important issue for a language that has
nasal vowels and, therefore, needs a talking head capable of
simulating the airflow mechanics to depict these important
phonemes.
Our talking head allows students to see, however many
times they wish, a simulation of the articulators working
inside the vocal tract while producing different phonemes.
The image below, a screen shot of our digital workbook,
shows a picture of our talking head with a menu that allows
students to examine a simulation of the articulators
producing these four distinct phonemes of Portuguese.

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In Part IV, students have the option of studying the points

of articulation by watching a video clip of a native speaker,
who is either facing the camera or in profile, pronouncing
contrastive phonemes of the language under study.
Lastly, we have in Part V, a map of the country or region
we are studying. We pre-select words that present
considerable variation across a certain region and include
native speakers’ recordings of this corpus. After the different
voices are digitized, students have the opportunity of
clicking on different parts of the map to listen to a variety of
pronunciations. A relatively long post-assessment closes
each lesson. In the case of our first lesson, we had a map of
Brazil that shows an imaginary linguistic line between the
North and the South of the country. In the South, people use
mid vowels in unstressed pre-tonic position and, in the
North, people tend to use low-mid vowels in the same
context (Leite and Callou).
Each lesson is followed by a set of exercises presenting
different levels of difficulty. Basically, there are seven types
of exercises: repetition of discrete sounds; listening and
watching conversations / dialogues/ interviews; phonetic
transcription of parts of the conversations / dialogues / short

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texts; true or false; multiple choice; drag and drop; and short
essays. Some types of exercises appear in every single
lesson, such as the repetition of discrete sounds and a
sociolinguistic interview. Others appear in most of the
lessons, but in different fashions. For example, the drag and
drop exercises can be adapted and used in so many ways
(e.g. categorization tasks, interaction with maps, etc.) that
one can have the impression that the exercises are much
more diverse than they actually are.
Another advantage of the current platform is the ability to
feature some exercises more geared towards linguistics
students and others that are more appealing to language
students. Alternatively, we can present the same exercise,
but explore different aspects of it according to the audience.
Short essays are a good example of this possibility. We can
offer students the choice of three or four topics for the same
essay, organized in such a way that some topics would be
more appropriate to language students and others for the
linguistics students.
Exercises are in general accessible to audiences with
different language levels and linguistic background. The
sociolinguistic interview could be a good illustration of
leveraging this flexibility with a digital medium: even
though the interview is entirely in Portuguese, the student
has the choice of having subtitles either in English or in
Portuguese (which can be changed in real time).
Our next step in the project is to strengthen our feedback
system. For example, we intend to record the student’s voice
during pronunciation exercises. This recording will be sent
to a grader who will also be able to record his/her voice with
corrections and recommendations and send everything back
to the student. Another option would be to have
spectrograms and wave forms accompanied by previously
stored displays of model utterances pronounced by a native
speaker (Neri et al. 452).
We intend to implement more “elaborative feedback”:
following Van Der Linden’s lead (65), we will keep our
metalinguistic explanations short, and refer students back to
specific parts of the website where they can review

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explanations and examples. Whenever possible we will
provide students with hints using preferably a “question
format” such as “are you sure you have to round your lips to
produce this sound?” in order to insure that self-correction is
executed in every single exercise. In sum, we intend to avail
ourselves of CALL’s advantages over classroom settings:
“Whereas in traditional foreign language classroom
situations, feedback is not very systematic or immediate
[…]” (Van Der Linden 62), in the CALL context, we have
the possibility of simulating “individual attention” to every
student.

IV. Technical Challenges

We chose the Flash and Flex platform technologies (from
Adobe) to develop the rich interactive media (RIA) modules
for this project. Using available prebuilt components with
minimal customization in both these platforms allowed us to
streamline the application development process. These
applications were coupled to and driven by content (data)
stored in an XML (Extensible Markup Language) format.
Students programmed the modules in conjunction with
instructional RIA developers under the auspices of a
university wide student technology fellowship program.
Aside from the pedagogical design, the production of
digital media for each lesson and exercise involved a
dedicated and coordinated effort by instructors, students,
instructional technologists and native speakers that
volunteered audio and visual content for lessons and
exercises in the project. Detailed art pieces for the talking
head interactive lesson module had to be custom created,
animated (articulated) and manually synchronized to the
corresponding audio files. Production of audio and video
media required a careful casting of native speakers (with
pronounced accents from each separate region) prior to the
recordings. To maximize the quality of the media, recordings
were done in a dedicated recording studio within the
university in collaboration with specialized audiovisual
technologists. Fellow students and technologists did

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postproduction editing of media to prepare the clips for

programmatic integration with the application modules.
During this initial project phase we lacked a graphic user
interface (UI) for entering the content, therefore the module
workflow had to be manually constructed in XML for each
lesson and exercise. This final step in the process was
lengthy and required meticulous attention to details to
minimize parsing errors by the application.

V. Student Assessments
In this section, we report on the results of student
assessment. As the lesson was piloted with students with
varying levels of interest in linguistics and with varying
learning styles, it was important to see the success of our
initial pilot. Our participating students completed both a pre-
lesson assessment, before completing any of the exercises or
lessons, and a post-exercise assessment. As the graphs below
show the completion of these exercises increased students’
confidence for this vowel contrast. We presented a 5-point
scale to 65 students.

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The graph on the top demonstrates a wide range of

responses in self-confidence, distributed widely from 1 to 5
and with a strong mean in the middle. As the graph on the
bottom shows, students that completed the exercises showed
a narrowed set of responses in the 3 to 5 range, with a mean
higher than before. This comparison clearly demonstrates
that students gained confidence in their ability to distinguish
the mid-vowels as a result of completing the lesson.
The following 5 questions were presented as yes-no binary
choices. We include the percentage of ‘yes’ answers in the
table for 65 responses.

Assessment Question Percent Yes Responses

I found this lesson useful 90%
I think that the various parts of 92%
the lesson are well-integrated with
each other
I think that the lesson provided 85%
insights into the relationship
between pronunciation and
regional identity
I feel that this lesson has 85%
helped me better understand some
concepts of linguistic phonetics
I feel that this lesson has 81%
improved my confidence in
understanding spoken Portuguese

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As the results show, students found the lessons to be

useful, well-integrated, and worthwhile in improving their
confidence. Moreover, the lessons improved their knowledge
of phonetics and sociolinguistic issues in Brazilian
Portuguese.
In general, as the above survey results show, we received
extremely positive feedback from the majority of our
participating students. The last question of our assessment
was open-ended, asking “What did you like the most about
this lesson?”, and this assessment question prompted
interesting comments from students. Many of them
mentioned the visual component of the website as one of its
main assets. Examples one, two, and three below attest to the
fact that video and animation are amongst the students’
favorite features in the website. These are examples of
resources that would be nearly impossible to have in a
traditional paper workbook.
Example 1: “It showed how to move my mouth while
making the sound. It allowed me to learn visually which is
easier rather than just auditorally.”
Example 2: “The explanation of how the vowels are
created and where they come from in the mouth/throat –
very good illustration and very helpful to replicate.”
Example 3: “The figure of the human mouth which said
the different vowels every time we clicked on them.”
As we can observe in the first example, students
understood that the website offers them many choices in how
to approach the learning of a new phonetic contrast. Having
a variety of pedagogical possibilities helps us to fulfill the
goal of building a flexible website that takes into account
different ways of learning according to students’ needs,
linguistic background, and learning styles. The second
example shares with the first one an interesting point as both
reveal that learners tend to use several strategies to improve
their performance. In the first case, the student relies both on
his/her auditory and visual skills to improve his/her
Portuguese language acquisition process. In the second
example, the student relies both on the written explanation
offered at the site as well the abundant visual cues.

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In the examples below, students comment on the
independence that our digital workbook helps them to
achieve. As it is clearly stated in example 4, the website
offers the possibility of practicing their language
competence, in an accurate way.
Example 4:“As far as pronunciation I think this lesson did
the most it could do without having a teacher in front you
making sure you are pronouncing correctly.”
Example five also testifies that students appreciate the
website flexibility. It allows students to do the same exercise
as many times as they need. Another interesting feature that
was highly praised by students is immediate feedback.
Example 5: “I really liked the exercises, which were very
well designed. I like the drag-and-drop stuff and the
immediate feedback. I think constantly doing drills like that
is the best way to learn.”
In the final part of the assessment, we had an open-ended
question that sought to investigate which parts of our digital
workbook students perceived in need of improvement. Not
surprisingly, features that were praised by some students
were viewed as less appealing by others. Example 6 is an
interesting case to illustrate this issue:
Example 6: “It’s hard to decide. I liked having all of those
elements to reinforce each other. Written explanations, I
guess, were the least helpful when it comes to figuring out
how a vowel should be pronounced. Just reading about a
sound doesn’t make much sense, unless you are comparing
that sound to sounds we are familiar with in English words.”
Although the student acknowledges that it is worth having
different ways for presenting the same phenomenon, s/he
does not think that written explanations are effective.
Example 2, as previously discussed, offers a different
viewpoint. In other words, even though both students
subscribe to an eclectic learning approach, one of them
praises the written explanations and the other doesn’t
particularly like this feature. Examples 7 and 8 show that
many students perceive drills as beneficial to the foreign
language learning process. In example 7, the student would

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like to have his/her voice recorded and to receive automatic

feedback.
Example 7: “Ideally it would be great to repeat the
‘sounds,’ have them recorded and immediately checked by
the computer hence providing ‘live’ immediate feedback as
if we were in a real life situation. Overall this is a very
encouraging project.”
Example 8 proposes a comparative approach that might
have a positive impact in many cases. For example, teaching
a Portuguese class populated primarily by Spanish speakers
it is sometimes a good idea to resort to an English phoneme
that does not exist in Spanish.
Example 8: “I would just like more drills. I thought this
was a good lesson, and it helped me, so I'd like to have more
drills available to practice with. I think it might help to
compare these sounds to their counterparts in English
words.”
Finally, examples 9 and 10 reveal an interest in
sociolinguistics. In example 9, the student is clearly asking
for more input related to diachronic variation and in 10 there
is interest in diatopic variants, or in other words, in
geographical variants.
Example 9: “Some explanation of the cultural history
behind the fundamental linguistic differences would be
interesting.”
Example 10: “A conversation between two people of
distinct regions in Brazil that would allow us to differentiate
between the way they speak.”
Overall, students were enthusiastic about the digital
workbook. None of them questioned the usefulness of the
project. We have received constructive criticism that will be
valuable for the next phase of the website, or for other
researchers interested in pursuing second-language pedagogy
through digital means.

VI. Limitations and Future Developments

This project is time-consuming and involves the work of a
whole team of specialists including linguists, applied
linguists, IT specialists, actors, and graphic designers. All of

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these resources are obviously not inexpensive. Ideally, the
energy invested in this website can be adapted for a large
number of languages to diminish costs and duplication of
effort.
The assessment portion needs further polishing in some
aspects such as anonymity. In the lesson we analyzed,
answers were not anonymous, as we assigned the task to our
own students. Although the lesson was not a course
requirement, we gave students extra credit, and thus had to
identify them to reward their work. Therefore, we are unsure
whether the absence of harsh criticism was due to a desire,
conscious or not, to please the professors.
In the future, we will focus on creating new content for
lessons and exercises and reusing existing modules. We plan
on building and integrating a web-based UI front end tied to
a back-end database that will streamline the process of
adding and editing new content for each module. Finally, we
intend to strengthen our feedback system using resources
such as visual and auditory cues in the case of responses that
diverge from the target answers.

VII. Conclusion
There is no doubt that an interactive digital workbook of
this type cannot be replaced by paper and pencil. The site
aggregates in a single place a number of diverse media that
would be cumbersome, to say the least, to put together for
both the classroom environment and/or for self-instruction.
Visual and auditory learners have a large number of choices
to improve their performance in the target language.
Students highly praised the availability of immediate
feedback, the possibility of doing exercises as many times as
they wish, and the advantage of not being ‘on the spot’ in
front of peers when making mistakes. They also
acknowledged that various media may complement or
reinforce each other.
One of the main qualities of our online program is its
flexibility at different levels. For example, we can add
numerous media, links, and content. We can also easily
update and fix content with little additional cost. In addition,

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it can be adapted to a number of purposes including singing

and vocal training, the treatment of speech pathologies, and
the challenging contrasts of non-native phonemes in second-
language learning.

Acknowledgements:
This project was made possible thanks to funding from the
Office of the Provost, Harvard University, under the
auspices of the Presidential Instructional Technology
Fellowship Program. We thank our Language Production
Team: Cilene Rodrigues, Célia Bianconi, Nelson Aprobato,
Andrea Kupski, Jean Nations, Hannah Catabia; our
Interactive Media Development Team: Randolph Ryan,
Lushen Wu, Nick Shearer. We thank the Media Production
Center, Media & Technology Services and the Academic
Technology Group, Faculty of Arts and Sciences
Information Technology, Harvard University for Audio and
Video Production.

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