I never imagined that collaborating with a musician to create a fun song for learning Chinese grammar would result in a love song to stinky tofu (臭豆腐), of all foods! But that is indeed what happened last week. Check out the result, from Chinese Buddy:
It’s a fun song, and there are two kids in my house (and even an adult or two) that can’t stop humming it. From a grammatical perspective, the use of the verb 要 with various objects is highlighted.
My input into the Chinese learning part of the song was:
Include 要, 不要, and 要不要 as well as a variety of objects
Try not to let the melody of the song “warp” the tones of the important words too much (especially “yào”)
Keep the tones as clear as possible, including the tone change for 不要 (bù yào → bú yào)
Include some “spoken” audio in the song
Yep, four checks! If you’re a beginner working on basic sentence patterns, I hope you find this song helpful. As for the stinky tofu… well, I’ll leave that up to your own judgment.
Do also check out Chinese Buddy on YouTube. There are a bunch of songs (mostly oriented at children), and the styles of the songs range quite a bit, so don’t judge the music on just one or two songs. Probably my second favorite song would the the Tones Song. (Yeah, I have a thing for tones, and also ukulele music, maybe?)
According to Wikipedia, subvocalization refers to “the internal speech typically made when reading.” It’s that “voice in your head” (you) pronouncing every word mentally. Subvocalization is normal, and is not generally considered a problem, unless you’re trying to learn to speed read. In that case. subvocalization is generally regarded as something that slows a reader down.
I found this section of Wikipedia quite interesting:
Advocates of speed reading generally claim that subvocalization places extra burden on the cognitive resources, thus, slowing the reading down. Speed reading courses often prescribe lengthy practices to eliminate subvocalizing when reading… [but] for competent readers, subvocalizing to some extent even at scanning rates is normal.
Typically, subvocalizing is an inherent part of reading and understanding a word. Micro-muscle tests suggest that full and permanent elimination of subvocalizing is impossible. This may originate in the way people learn to read by associating the sight of words with their spoken sounds…. At the slower reading rates (100-300 words per minute), subvocalizing may improve comprehension.
The Case of Chinese
OK, but now what about for Chinese? Chinese characters are not as directly tied to a phonetic system (like an alphabet), right? Plus Chinese kids learn characters by writing them over and over rather than by reading them aloud, right?
Well, not really. Here’s what research has to say (I added bold to certain parts):
…Reading English and reading Chinese have more in common than has been appreciated when it comes to phonological processes. The text experiments suggest that readers in both systems rely on phonological processes during the comprehension of written text. The lexical experiments show differences just where it is expected: Evidence for early (“prelexical”) phonology in English but not in Chinese, but evidence for still-early (“lexical”) phonology in Chinese. The time course of activation appears to be slightly different in the two cases. Thus, the similarity between Chinese and English readers is shown not in their dependence on a visual route, but in their use of phonology as quickly as allowed by the writing system.
So it’s not that Chinese readers don’t subvocalize; it just kicks in later, because it takes for time for readers to amass the knowledge of written Chinese needed. Interesting!
Obviously, you can dive a lot deeper into the research on subvocalization, reading comprehension, and cognitive differences between writing systems. (Please feel free to share links to relevant studies in the comments.) For my purposes, though, one important point is clear: there’s no need to exoticize reading Chinese any more than necessary. Yes, learning a bunch of characters is a hurdle, but you don’t really need to worry too much beyond that.
Subvocalizing in Chinese
First of all, we should remember that subvocalization is not “bad,” and it’s not something that native Chinese readers don’t do (some kind of “laowai problem”). But that doesn’t mean that there’s no danger of over-reliance on subvocalization when learning to read Chinese.
I personally have experienced what I consider a serious impediment to my reading fluency. I found that when I would read Chinese a text, I was reading it aloud very deliberately in my head (subvocalizing). The problem was that I had obsessed over correct tones for so long that I just couldn’t stop. This slowed me down even more than normal subvocalization would be expected to do. So even when I was just reading for purely informational purposes, my brain was insisting that I had to pronounce every tone of every word (in my head) exactly right. I knew this was slowing me down a lot, but I couldn’t stop! The “tone police” in my head were out of control.
I did eventually get over this bad habit, and the result was much more rapid reading speed, as well as the ability to truly scan a text for meaning quickly. How did I do it?
Two Cures for Subvocalization
My solution was “the firehose.” I forced myself to read a lot. I read long Chinese texts for which I knew the words, but wasn’t sure of the tones for all the words. In some cases, I may not have even been sure of all the exact readings of all the characters in those words. But I could still comprehend the general meaning of the texts, which was all I needed.
So the steps were:
Find a relatively long text which had information I needed (make the reading meaningful)
Force myself to read at a high speed, disallowing my brain from obsessing over uncertain readings
This worked, but I had to do it a lot, and to be honest, it was a little painful. Unlearning a habit is not easy, and if I’m not careful, I still find my brain dutifully reading aloud every single tone in my mind. But with just a little willpower, I can keep subvocalization in check when I need to, and greatly increase my reading speed.
The second solution is extensive reading. It’s a gentler version of the method described above. The idea is that if you know that you already know all the words (with correct tones) in a text, then forcing yourself to read it without focusing on the correct tones should be easier. No anxiety. You can let go and just read.
But here’s the key: you can’t just read a text first to identify all the words you don’t know, add the pinyin, and consider them “learned.” That’s not going to allow you to let go of subvocalization for unfamiliar texts. So you need to find reading material which is unfamiliar, and yet entirely composed of familiar words. This is what graded readers can help with.
Share Your Subvocalization Battle Tales
I’d be very interested to hear about any readers’ struggles with subvocalization when learning to read Chinese. Actually, any foreign language… it’s all relevant.
When my daughter was still learning to talk, she used to occasionally make tone mistakes, and this amused everybody. Now she’s almost 4, attending a Chinese pre-school, and her tones are pretty perfect.
The other day I was taking to her about a picture that featured a Chinese lantern (pictured at right). I was speaking in English, but for some reason I also brought up the Chinese word: 灯笼 (dēnglong). I pronounced it “dēnglóng.” Although those are the correct tones for those characters, I slipped up, because for this word, the second character should be read as a neutral tone: “dēnglong.”
She immediately pounced on my mistake. This is the first time she’s corrected me in a tone error, and she was delighted. (I’m sure I have many more years of this to look forward to…)
So then she was all, “ha ha, you said ‘dēnlóng’ instead of ‘dēnlong’…” and I noticed a mistake on her part. Instead of saying “dēng,” she was actually saying “dēn” (final -n instead of final -ng). I pointed this out, and she was, of course, incredulous that she, too, could be wrong. Looks like we’ll need to spend some time training that “thick Shanghai accent” out of her!
My daughter has also commented to me on how people from different countries pronounce English in different ways… I’m looking forward to having more linguistic conversations with my bilingual kid!
Let’s face it, learning the tones of Mandarin Chinese is a challenging endeavor, and the stereotypical “mā má mǎ mà” example isn’t super helpful. Of all the alternate systems to help learners develop a feeling for the tones, my favorite is the “dude system,” originally developed by Kaiser Kuo for The Beijinger. He recently reposted it in Quora, and I’ve gotten his permission to share it here (with a little audio addition of my own):
The Dude System:
1. First Tone: Dūde, the disapproving tone, as to the clumsy roommate who’s just knocked over your three-foot Graphix and gotten bong water all over your Poli Sci 142 reader: “Dude, I can’t believe you spilled my bong again!”
2. Second Tone: Dúde?, in the concerned but creeped-out way you might address the roommate you discover sitting naked and cross-legged in the dark, chanting “Nam-myoho-renge-kyo” and sounding a little brass bell.
3. Third Tone: Duǔde, scornfully, as if your roommate has asked to borrow 50 dollars so his sensei can align his chakras: “Yeah right, dude.”
4. Fourth Tone: Dùde!, as if you are exclaiming in triumph to your roommate when coming home from class having gotten a date with mega-babe Elena from your macroeconomics class.
In case you don’t get it and need to hear it, here’s an MP3 I made: dude1234.mp3. (It adheres more to Kaiser’s descriptions above than to the exact Chinese pronunciation.)
Wow, looks like I started off the year with a two-week blogging break! I’m not finished blogging, by any means, but I’ve been busy finishing off AllSet Learning’s new products, dealing with a sick household, and preparing for a new baby (due next week!).
The AllSet Learning Store now has 8 downloadable products, and the latest 3 products are entirely related to tone changes. Tone change rules (referred to in linguistics as “tone sandhi,” or 变调规则 in Chinese pedagogy) are an important concept for learners to master, but you’re never ready for it right after you just learned pinyin and the four tones. Tone change rules need to be addressed sometime in the “elementary” period, and when exactly the learner is ready is going to vary a bit from person to person. You know a learner is ready when she starts truly acquiring individual tones and noticing on her own that what Chinese people say doesn’t always match the tones on the pinyin.
Unfortunately, textbooks tend to force learners to memorize these rules too early, before learners really have a strong concept of the tones in the first place. To give a specific example: New Practical Chinese Reader 1, Lesson 1 covers the sounds of pinyin (pp. 5-6), followed immediately by the four tones (p. 6), followed immediately by “third tone sandhi” (p. 7). Yikes!
Mastering Chinese tones is a long-term endeavor, which starts with learning what the four tones sound like and how to produce them. This foundation is essential before moving on to tone changes. Even after learning all the rules as an elementary learner, it’s going to take quite some time to be able to consistently apply those tone change rules in whole sentences, so most intermediate learners will benefit from more challenging tone change exercises.
With all this in mind, AllSet Learning has created the exercises that learners need at various stages. Our new products are:
It was in the summer of 2012 during a talk with all-star intern Parry that I first discovered that confidence-based learning was a thing. The concept had occurred to me before, but it really gelled when I saw this graph:
Confidence-based learning applies to any kind of learning, but I think it applies especially well to mastering the tones of Chinese. Let’s take a quick walk through the four quadrants of the graph above…
Uninformed. So this is your typical beginner. You don’t know much, and you know that you don’t know much. It’s hard to say much of anything, and tones are only a part of the problem. Obviously, study and practice are needed.
Misinformed. In this case, the learner has learned a lot of Chinese, but has either not had sufficient practice, or has gotten bad feedback, leading him to believe that his tones are much better than they actually are. Part of the problem may be Chinese speakers’ tendency to overpraise any ability to speak at all. If no corrective feedback is ever given, how will the learner know his tones are still in need of work? This is the “unjustified confidence” I’ve talked about before in my post Laowai Delusions of Fluency. It helps to stay humble, and honest feedback is essential.
Doubt. If you’ve learned to be humble, and worked hard at improving your tones, they may be pretty good. But you may still lack confidence. You may speak quietly, or try to rush through words you’re not 100% sure of the tones for. This is actually a pretty good place to be, because you have the knowledge, and you just need some extra practice and corrective feedback. You’re probably used to not getting any feedback, which results in the doubt.
Mastery. You may not be perfect, but you know you’re pretty good, and you can speak with confidence. You know your tones, and you can pronounce them correctly. This doesn’t happen in a short amount of time; it comes as a result of extended practice with good feedback.
You need to KNOW the Tones
A friend once asked me what the correct tones were for a certain word. I told her: “3-2” (or something like that).
She then looked at me and asked, “how can you just do that? How do you know the tones for so many words?”
“I memorized them,” I said.
This is not the answer she wanted; she hoped there was some trick or pattern she could learn. There is another option of course: to learn like a child. Children, immersed in the language environment don’t “memorize” tones per se; they hear them so many times that there’s only one “natural” answer. This isn’t realistic for most adult learners, though, who frequently have to go from dictionary lookup to written or spoken communication. You have to know the tones of the vocabulary you know, and then you have to be able to correctly pronounce those tones.
This knowledge of tones corresponds to the “knowledge” axis of the graph above.
You need to be able to PRODUCE the Tones
Confidence in tonal production comes from the knowledge that you can consistently and correctly pronounce the tones correctly. This starts with being able to produce the tones of single syllables correctly, and then later progress to being able to produce tone pairs correctly, and eventually extends to longer phrases and whole sentences. But you need to practice, and you need good feedback. You need to know when you’re right and when you’re wrong in order to progress and gain that confidence. (See also The Process of Learning Tones here on Sinosplice.)
The way that we build confidence in tonal production at AllSet Learning is through regular pronunciation practice with a teacher (almost every lesson, for about 10 minutes). This is important well into the intermediate level. We have developed our own exercises for this, which are available online as Pronunciation Packs.
At this point in history, I don’t recommend computer feedback to work an tonal production. Perhaps some tonal feedback is better than none, but human perception is a weird thing, and computers do “logical” things which seem extremely strange to humans sometimes. Right now, only humans can reliably tell us how good tones sound to humans. Maybe someday that will change.
So build up your knowledge of tones, and get some good practice with corrective feedback to build your confidence. Mastery awaits.
As a learner of Chinese, you’re going to make mistakes with your tones. A lot of them. It’s unavoidable. It can be helpful to reflect on the kinds of mistakes you’re making, though, because it can help you realize that despite all the mangled tones, you’re actually making progress.
No, I’m not just talking about the stages of learning tones which I’ve written about before, I’m talking about mistakes which are fundamentally different in nature. As your Chinese gets better and better, you’ll keep making some mistakes, but the types of mistakes you make will change.
So without further ado, here are the 4 main types of tone mistakes:
Mistakes of Control
When you first start studying Chinese, you have no idea at all how to properly make the tones. Even if you can hear a difference, you can’t do it yourself. Or maybe you can hear and repeat it immediately after, but then quickly forget how to do it. This is all part of the process of learning tones.
Don’t think this type of mistake is only for beginners, though. Even after you can accurately produce individual tones in isolation, you’re going to have problems with tone pairs and tones across whole sentences for a while. (For me, the most insidious of these was the 3-2 tone swap error.)
Relax! Persistent effort will totally pay off. No one masters tones in 2 weeks. It takes time.
Mistakes of Ignorance
Sometimes you don’t know the tones of the words you want to use. Don’t worry; it happens to all of us. If you only use words for which you’re 100% sure of the tones, then you’re doing it wrong. Not knowing the correct tones but blundering on through anyway is just part of the learning experience.
The key here is that you eventually make the effort to learn the proper tones for the words you’re unsure of. This takes time, patience, and lots of dictionary lookups. Eventually your accumulated tonal knowledge (and proper execution) make you start sounding less like a “stereotypical foreigner” when you speak Chinese.
Mistakes of Memory
For me, this is always the most frustrating tonal mistake of all. Have you ever been sure that you know the right tones for a word, and always took care to properly pronounce that word, but then found out much later that the tones you thought you had down cold were actually wrong?
I remember when I first came to China I was sure that the word for “north,” 北, was pronounced “*bēi” (first tone rather than third). I was horrified to finally learn the truth. I’d been confidently saying it incorrectly for half a year. Nothing to do but make the mental correction and move on. Memory is never perfect, and you can’t really avoid these mistakes.
Mistakes of Influence
This one can also be frustrating, but I’d say it’s more confusing than anything. So what happens when the dictionary says a word is pronounced one way, and your friend tells you it’s pronounced a different way? Or two friends give you contradictory information, but it’s all different from what the dictionary says? Sadly, these issues invariably plague the intermediate learner of Chinese.
There are several reasons that these discrepancies arise. First is regional variation. Different parts of China pronounce some words in different ways, and although at times you’ll hear unquestionably “non-standard Mandarin,” at other times it’s unfair to call a certain regional variation “wrong” or “right” (although some Beijing have no problems at all doing this).
Second is the widespread use of dated reference materials. Printed dictionaries simply aren’t keeping pace with the rapidly evolving language of the Chinese people. New words are created, and pronunciations change (sometimes just the tones) relatively quickly.
Third is a cultural tendency to submit to the recognized authority (i.e. the outdated reference materials). So you often get exchanges like this:
A: How do you pronounce the character 血? B: “Xuě.” A: But the dictionary says it’s either “xuè” or “xiě.” B: Oh yes, that’s right.A: But you just said…
You get the idea. But what can you do? Know that dictionaries are not perfect, and no single person can be an authority on a whole language. You’re going to have to assemble your mental map of the words of the language over time, from the mouths of many speakers, not one “omniscient” teacher.
Don’t be afraid of making mistakes. They’re inevitable, and they help you learn. But as long as you’re going to be making these mistakes, you might as well look a little closer and gauge how your language ability is growing and your unruly tones are slowly but surely being tamed.
I’ve been asked a number of times: if Mandarin Chinese is a tonal language, what happens when you sing in Mandarin? Well, the answer is the melody takes over and the tones are ignored. Pretty simple.
However, it may not quite end there. I recently discovered a paper called “Tone and Melody in Cantonese” which asserts that Cantonese tones are set to music in a somewhat different way:
> For Chinese, modern songs in Mandarin and Cantonese exhibit very different behaviour with respect to the extent to which the melodies affect the lexical tones. In modern Mandarin songs, the melodies dominate, so that the original tones on the lyrics seem to be completely ignored. In Cantonese songs, however, the melodies typically take the lexical tones into consideration and attempt to preserve their pitch contours and relative pitch heights.
Here’s a graphical representation of Cantonese tones, with and without music:
And here’s an example of Mandarin:
I can’t say I’m fully convinced by the pitch contour graphic that the Cantonese songs “take the lexical tones into consideration,” but it’s an interesting argument. This would suggest that studying songs would be more beneficial to acquisition of tones for the student of Cantonese than for the student of Mandarin.
If you’re interested in this kind of thing, Professor Marjorie K. M. Chan has lots of articles available on her website’s Publications page.
A while back Albert of Laowai Chinese visited Shanghai. We met up for lunch and had a good chat about our experiences in China learning Chinese. He asked me an interesting question: what did I think was the biggest problem with the field of Chinese language instruction?
I told him that in general, I felt that there was way too much teaching adult foreign learners as if they were Chinese children, and I felt that more (non-Chinese) learner perspectives were needed to improve the situation. (This is one of ChinesePod‘s major strengths.)
He was looking for more specific answers, though. When pressed, I gave him these two areas:
Tones should be taught systematically, long-term. Way too many programs cover the tones in the first few weeks, followed by a few tone change rules, and then basically leave the students to sort the rest out. It’s not enough, and it’s irresponsible. Most students are going to need a good 1-2 years to really get a handle on the tones, so why aren’t educational institutions doing more to guide students through those frustrating times?
Mandarin Chinese needs a public, large-scale corpus of spoken Mandarin. There are corpora for Mandarin, but the ones that are public are not spoken Mandarin, and the corpora of spoken Mandarin are kept private and jealously guarded.
Why does Mandarin need a public, large-scale corpus of spoken Chinese? Because without it, we’re all just taking stabs in the dark as to what “high-frequency” spoken vocabulary is. Yes it is possible to objectively determine what language is high-frequency, but this requires (1) collecting lots of naturally-occurring speech samples in audio form, (2) transcribing it all. Then a proper corpus can be assembled, from which accurate, objective word counts and word frequencies can be derived.
Once that’s done, we could finally have more of a clue as to what the “high-frequency” spoken vocabulary really is. This method isn’t perfect, but it’s a big step forward from relying on native speaker intuition. And no, the new data obtained are not going to match the HSK word list you’ve got, or the Jun Da list either.
It would also be great to see a proper large-scale corpus of spoken Mandarin, balanced for regional variation. That would turn up all sorts of interesting facts, like proportion of 哪儿 to 哪里 across all regions represented, and virtually any other speech variation you can think of. (Personally, I suspect that a lot of the Beijing-hua taught in many textbooks could be reconsidered on the grounds that it simply doesn’t represent the Mandarin spoken across mainland China.)
What do you think are the biggest problems with Chinese language instruction today?
Legendary animator Chuck Jones is said to have offered budding young artists this piece of advice, in one form or another:
We all have at least 10,000 bad drawings inside of us. The sooner we get them out and onto paper, the sooner we’ll get to the good ones buried deep within.
Chuck apparently didn’t make up this quote; although the exact number varies, the advice is frequently heard in interviews with any Chouinard or CalArts graduate. This little gem has been going around for a while.
I like this idea. It’s not that you’re lacking a skill, it’s that you just need to purge all those crappy drawings inside. It’s a whole lot easier to just get rid of junk than to build something entirely new from scratch, isn’t it? You can almost imagine a “crappy drawing” count somewhere going down over time, as those amateur doodles run out and a real artist bursts forth.
This is an idea that learners of Chinese could use. It’s not that you need to “learn tones,” it’s that you have 10,000 bad tones inside you that need to get out before you can hope to be fluent. It’s a veritable exorcism of that “crazy-tones laowai accent.”
And until you expel those bad tones, they torture you a bit. It’s not enough to lock yourself up in a room and recite your textbook. Oh no, you have to get out there and talk to real people and screw up, and get those blank stares and giggles. And that does burn a little.
Until you get all those bad tones out, you’re in a sort of tone purgatory. In case you’re not familiar, purgatory is a state in which in imperfect soul is cleansed before it can continue on to heaven. Over the ages, it has frequently been depicted as purifying flames.
Every bad tone is an accent impurity, but all you can do is exorcise them slowly, one by one, by practicing your Chinese. Getting tones wrong is frustrating, and can feel like torture at times, but heaven awaits… (Heaven is, by the way, “talking to Chinese people.” Hmmm, slight exaggeration?)
So you may be in tone purgatory, but so what? You can conduct the accent exorcism on your own. You know what to expect. All you have to do is get out there and start talking.
I can’t agree with anyone who says that learning Chinese isn’t hard, because it’s got to be one of the hardest things I’ve ever done. Sure, it’s been extremely rewarding, but I personally found it quite hard. Hopefully you’re not someone who chooses to learn a language based solely on how difficult it is perceived to be. But as someone who has chosen to learn a language for the wrong reasons before, and who also once shied away from Chinese, daunted by those terrifying tones, I can tell you that it is definitely difficult enough to scare off the casual dabbler. But what exactly is difficult about learning Chinese?
First of all, let’s get one thing straight. When I say “difficult,” what do I mean? Here’s a definition from the Oxford Dictionary of English:
needing much effort or skill to accomplish, deal with, or understand
So when we talk about difficult, we shouldn’t confuse this with time-consuming. John Biesnecker recently wrote a great post explaining why the time-consuming nature of studying Chinese does not make it difficult, followed by extensive, patient clarifications in the comments.
…learning Chinese is a long, drawn out series of really easy things — learn a character, learn a word, listen to a song, talk to someone, watch a movie, write an email, 等等. Not a single one of them is hard. Not one.
While I agree with most of John’s premise, I can’t agree that nothing about learning Chinese is hard. I found learning Chinese very difficult in the beginning. Although difficulty is subjective, I think there’s an important part of the equation missing here. First, two examples from my own life.
Putting in Time vs. Acquiring a Skill
When I was in high school I played a video game called Final Fantasy II. It was an RPG for the Super NES which can be beaten with the characters in your party at around level 40. Nerdy kid that I was, I loved that game so much that I continued playing it long after I had beaten it, until all my characters were up to level 99. You might call that feat silly or sad, but it was essentially a very long (but somehow enjoyable??) slog to reach increasingly higher level-up points. It was a ridiculous time investment. But one thing it certainly wasn’t is difficult.
Another example from my awkward teen years. My cousin Kevin introduced me to juggling. He insisted that anyone could learn it in one day, if they just stuck to it. After trying a few times, this seemed hard to believe. Juggling just three balls for even 10 tosses was deceptively difficult. But for some reason I dug in and kept at it. After 30 minutes I could do those 10 tosses. After an hour, I was starting to look like I could juggle three balls.
Does it seem wrong to say learning to juggle is difficult? It honestly takes less than an hour if the learner keeps at it. I’ve tried to teach quite a few people to juggle, and the conversation usually goes like this:
Learner: Wow, you can juggle?
Me: Yeah. It’s not very hard. You can learn in 30 minutes if you try.
Learner: Really? Let me try.
[I demonstrate the basics and hand over the balls. The learner takes a few tries, quickly dropping the balls.]
Learner: This is harder than it looks!
Me: Yeah, but if you keep at it for 30 minutes, you’ll be able to juggle.
[5 minutes pass.]
Learner: This is too hard! See ya.
So why is juggling hard, even though 30 minutes is enough to get the basics down? It’s because it requires the mastery of a new skill, which, our brain reasons, “shouldn’t be too hard.” The logic of the task is quite simple. Throw ball. Catch ball. Repeat. The brain grasps the concept immediately. But the hands do not comply. The skill is too foreign.
In essence, it’s “hard” because it’s frustrating. Actual performance does not live up to one’s reasonable expectations for one’s performance, and this is a blow to one’s ego. It’s emotional, not rational. What’s worse, if this simple task cannot be accomplished as easily as estimated, how can you be sure you’re ever going to get the hang of it?
This is the crux of the difficulty of learning juggling, Chinese, and many other worthwhile skills: the sheer frustration of the endeavor, and the ever-present fear that one is attempting the impossible. It takes a lot of effort to acquire an entirely new skill. Many people simply get discouraged and quit. “It’s too hard.”
The Hard Part
When I say that learning Chinese is hard, I don’t mean everything about it is difficult. For me, the hard part about learning Chinese, without a doubt, has been mastering the tones. The worst part was arriving in China after a year and a half of formal Mandarin study to make the horrifying discovery that no one in China understood my Chinese. I’m not one to give up easily, however, and I eventually made it. In my experience, tones are the single most frustrating thing about learning Mandarin Chinese.
Why? Well, to begin with you can’t even distinguish the tones. It seems impossible. Then, once you start to be able to distinguish them, you can’t reproduce them on your own. It seems impossible. Then, once you can produce individual tones in isolation on your own, it all falls apart when you try to string tones together. It seems impossible. Then, once you can start to string tones together with some semblance of accuracy, adding in sentence intonation screws everything up. It seems impossible.
See a pattern? Mastering tones is a long, frustrating process. I think there comes a point in almost every learner’s experience (me included!) where they say something like this:
What’s wrong with these people? I said everything perfectly. I know all my tones were right. But they always act like they can’t understand me!
This is pure frustration. It happens to every learner.
Einstein once said that the definition of insanity is “doing the same thing over and over again and expecting different results.” Sometimes acquiring Mandarin’s tones seems perilously close to this definition!
The Good News
The good news is that although Chinese has a steep learning curve, the worst part, by far, is right at the beginning. You have no choice but to tackle the tones right off the bat, and they’re just hard. But once you get a handle on them, the worst is behind you. (This is, however, where John Biesnecker’s “time-consuming does not mean difficult” argument kicks in, and you still have a long road ahead with the characters and vocabulary acquisition.)
Because the hardest part is right at the beginning, I think advanced learners can sometimes forget how difficult and frustrating it was. But it’s a key issue I face on an almost daily basis in my work at AllSet Learning. For beginners, the learning curve can be a bit brutal.
You’re not afraid of a challenge, are you?
Mastering tones may be difficult, and memorizing all those characters may be time-consuming, but learning Chinese is definitely worth it. Difficulty is a subjective thing, so there may be those with an uncanny knack for acquiring tones (or perhaps indefatigable, saintly patience) who honestly don’t find it difficult (or frustrating). I’m willing to bet that some learners simply have a penchant for blocking out distant painful memories, and there may even be a few out there with devious plans to trick you into falling in love with Chinese. It is, after all, one of the world’s most fascinating languages.
There have been a number of excellent articles already written on this topic. I’ve linked to some of them below. Please note that David Moser’s article is tongue-in-cheek. Brendan’s conclusion is spot on, and I think Ben Ross’s views are also very close to my own.
Recently Micah retweeted a short Chinese comedy routine [original] that was clever enough to be shared a bit more. The setup is that a census-taker asks a resident how many are in his household. Confusion ensues:
> “请问您家里是几口人？” [May I ask how many are in your household?]
> “是一口人。” [It’s one person.]
> “十一口？” [Eleven?]
> “不是十一口，而是一口人。” [Not eleven, but 1 person.]
> “二十一口？” [21?]
> “不是二十一口，其实一口人。” [Not 21. Actually, one person.]
> “七十一口？不会吧？” [71? For real?]
> “不是七十一口，就是一口人！” [Not 71. It’s just one person!]
> “九十一口？” [91?]
> “对，就是一口人。” [Right, just one person.]
OK, maybe I should have warned those of you that don’t read Chinese: the translation makes no sense in English, because the confusion is all based on tone-related misunderstandings:
– 是一 (shì yī) misunderstood as 十一 (shíyī)
– 而是一 (ér shì yī) misunderstood as 二十一 (èrshíyī)
– 其实一 (qíshí yī) misunderstood as 七十一 (qīshíyī)
– 就是一 (jiù shì yī) misunderstood as 九十一 (jiǔshíyī)
Although most of the misunderstandings above shouldn’t happen if both speakers are using standard Mandarin, I’ve witnessed quite a few cases where dialect influences tones, which, in turn, can lead to miscommunications. Personally, I find it a little comforting to know that even native speakers experience tone-related confusion, even if it’s not all that common (or comical!).
This post identifies a type of tonal production error which many students of Mandarin Chinese make, not only in the beginner and elementary stages, but often well into the intermediate stage. While neither years of personal observation nor the multiple appearances in the audio data for my master’s thesis experiment constitute definitive evidence, it’s my belief that the phenomenon is real, and examining it can yield useful results for both students and teachers of Mandarin Chinese. I’m dubbing the error the “3-2 Tone Swap.”
Note that the term “error” is used in the error analysis sense, meaning that it is committed systematically, and is not merely a random mistake (which even native speakers make from time to time).
The error occurs, in two-syllable words, when the tonal pattern is 3-2. Many students will pronounce the 3-2 tone pattern incorrectly as 2-3. Some typical examples:
– 美国 (Correct: Měiguó, 3-2 Tone Swap Error: Méiguǒ)
– 法国 (Correct: Fǎguó, 3-2 Tone Swap Error: Fáguǒ)
– 五十 (Correct: wǔshí, 3-2 Tone Swap Error: wúshǐ)
– 可怜 (Correct: kělián, 3-2 Tone Swap Error: kéliǎn)
I remember quite clearly when I discovered myself committing the 3-2 Tone Swap error. I had learned the word 可怜 (kělián) in Hangzhou from a friend. But I noticed that although I had “learned” the word, every time I tried to use it, my friend would correct my pronunciation. “No, it’s ‘kělián,’ not ‘kéliǎn.'” This was extremely frustrating for me, because I thought I had learned the word, and I was pronouncing it wrong even when I knew that the tones were 3-2. At the time I dismissed it as just a “problem word” that I would get eventually.
Around this time I became super-vigilant about my tones. I realized that although I was communicating pretty well, I was still making a lot of tone mistakes. Part of this new awareness came when I realized that native speakers were correcting me all the time using recasts, but I had previously been oblivious to it.
A typical conversation went like this:
> Native Chinese speaker: 你是哪个国家的？ [Which country are you from?]
> Me: 美国。 [The USA.]
> Native Chinese speaker: 哦，美国，是吗？ [Oh, the USA, huh?]
> Me: 对。 [Right.]
After having this same exchange about a million times, I had started to assume that it was just a natural conversational pattern in Chinese to have your country repeated back to you for verification. Yeah, it seems a little strange and inefficient, but there are stranger features of the Chinese language.
What I eventually came to realize, however, was that when I gave my answer, 美国, I was routinely mispronouncing it as *”Méiguǒ” (3-2 Tone Swap error), and then the other person was both (1) confirming the information and (2) modeling it for me in his response, which included the correct form “Měiguó” (a classic recast).
When I finally realized this, it sort of blew my mind. I had thought my tones were already pretty good, but I had been pronouncing the name of my own country wrong all this time?? Learning Mandarin Chinese is, if nothing else, an exercise in humility. There was nothing to do but hunker down and try to reform my pronunciation. While I found it easier to focus on high-frequency words like 美国, it quickly became apparent to me that the 3-2 tone swap issue was rampant in my pronunciation.
Although the 3-2 Tone Swap phenomenon cropped up in my own experiment on tonal pairs for my masters thesis, it was not the focus of my own research. If anyone knows of specific research done on this phenomenon, I would love to hear about it.
The data in my own experiment showed some interesting patterns. While errors in 3-2 tonal pairs were clearly more common than in the other two tonal pairs I examined (1-1 and 2-4), there were some inconsistencies. Namely:
1. Errors were notably less frequent for numbers (e.g. 50, “wǔshí”)
2. Errors were less frequent for one’s own country (e.g. “Měiguó”, “Fǎguó”)
While all subjects illustrated the first trend, the second was particularly well demonstarted by an intermediate-level French subject, who routinely pronounced “Fǎguó” [France] correctly, despite the existence of a 3-2 tonal pair, but then also routinely pronounced “Měiguó” [The United States] incorrectly as *”Méiguǒ” (the 3-2 Tone Swap).
What this suggests is that although some tonal pairs seem to take longer to master, the mastery is not categorical. In other words, you don’t suddenly “get” the pronunciation pattern and then just switch over to correct 3-2 pronunciation for all words where it occurs. Acquisition of the 3-2 tonal pair appears to be occur more on a word-by-word basis, making it largely a matter of practice, practice, practice (which also explains the better performance with numbers). This mirrors my own experiences.
Tonal mastery is a long process for most students, with the 3-2 tone pair appearing to be one of the last patterns to acquire. Why?
I suspect that there is a relationship between the 3-2 Tone Swap error and the 3-3 tone sandhi (in which 3-3 tonal pairs are systematically converted to 2-3). The learners that exhibit the 3-2 Tone Swap error typically do very well with their 3-3 sandhi. Could learners be internalizing but then overextending the 3-3 tone sandhi rule to include not only 3-3 pairs, but also 3-2 pairs? It’s certainly possible.
Again, if anyone knows of any research into the above phenomena, I would appreciate links or more information!
The following is an interview with Pleco founder Michael Love, regarding the Pleco iPhone app, which is now in beta testing.
John: The long wait for the iPhone app has caused much distress amongst all the Pleco fans out there. Any comments on the development process of your first Pleco iPhone app?
Michael: Well, much of the delay stems from the fact that we really only started working on the iPhone version in earnest in January ’09 – before that we were mainly working on finishing / debugging Pleco 2.0 on Windows Mobile and Palm OS. We laid out the feature map for that back in early 2006, when the iPhone was nothing but a glimmer in Steve Jobs’ eye, so by the time Apple released the first iPhone SDK in Spring ’08 we were already well past the point where we could seriously scale back 2.0 in order to get started on the iPhone version sooner.
But as far as how the actual development has gone, the biggest time drain has been working around the things that iPhone OS doesn’t do very well. We’ve gone through the same process on Palm/WM too – we start off implementing everything in the manufacturer-recommended way only to find that there are certain areas of the OS that are too buggy / slow / inflexible and need to be replaced by our own, custom-designed alternatives.
On iPhone the two big problems were file management and text rendering. There’s no built-in mechanism on iPhone for users to load their own data files onto their devices; all they can do is install and uninstall software. So we had to add both our own web browser (for downloading data files from the web) and our own web server (for uploading data file from a computer) in order to allow people to install their own documents / flashcard lists / etc. We also had to implement a very elaborate system for downloading and installing add-on dictionaries and other data
files; for a number of reasons it wasn’t feasible to bundle all of those into the main software package, and again there was no way for users to install those directly from a desktop as they can on other mobile platforms.
And the iPhone’s text rendering system is actually quite slow and inflexible, which is rather disappointing coming from a company with as long and rich a history in the world of computer typography as Apple. The only official mechanism for drawing rich text (multiple fonts, bold, italic, etc) is to render it as a web page, which took way too long and used way too much memory to be practical for us; there also seem to be some bugs in the way Apple’s WebKit page rendering engine handles pages with a mix of Chinese and non-Chinese text. And even simple, non-rich-text input fields and the like are a big performance hog – it took the handwriting recognizer panel about 8x as long to insert a new character into Apple’s text input box as it did to actually recognize a character. So we basically ended up having to write our own versions of three different iPhone user interface controls in order to get the text rendering to work the way we wanted it too.
So a quick-and-dirty port of Pleco on iPhone could probably have been ready last spring, but getting everything working really smoothly took a lot longer.
I just recently had the pleasure of trying out the beta version of the new Pleco iPhone app. In case you’re not aware, Pleco is the software company behind what is regarded as the best electronic learner’s Chinese dictionary for any mobile device (and possibly the desktop as well). Given the dearth of really good Chinese dictionaries for the iPhone, Chinese learners have been eagerly awaiting the release of this iPhone app for quite some time. The wait has not been in vain; Pleco for iPhone is an outstanding app.
The Video Demo
Michael Love, Pleco founder, has made a two-part video of the new Pleco iPhone app:
I’ve never owned a device running Windows Mobile or Palm OS, so I’ve never been able to own Pleco before, but I’m familiar enough with previous versions to make basic comparisons.
The Pleco user interface received a much-needed makeover for the iPhone. While older versions of Pleco squeezed a plethora of buttons and options onto the screen (you have your stylus, after all), this iPhone Pleco had to find ways to increase buttons to tappable sizes and limit button clutter by hiding options on screens where you don’t need them all. Compare (Windows Mobile on the left, iPhone on the right):
> I hope that my system gives a context, even for non-visual learners, for distinguishing between the four tones in Mandarin and providing a mnemonic system to help them remember which tone goes with a particular word.
From the moment I first heard of this idea, I was intrigued by it. Associating tones with colors does open up a lot of possibilities. Once the system is internalized, you can drop tone marks and tone numbers altogether, and you can tone-code the Chinese characters themselves using color. (The best non-color approximation to this would be writing the tone marks above the characters, which you will find in some textbooks and programs.) So I was very receptive to this idea.
Despite being very open to the concept, when I saw the actual colors chosen to represent each tone, they just felt wrong to me. The pairings Dummitt chose were:
Why would these colors feel wrong to me? How could the tone-color associations be anything but arbitrary?
The reason that the colors felt wrong to me was that I had already thought about the relationships between the tones and my own perceptions of those tones. I had even (briefly) considered color when I sketched my “Perceptual Tone Contours” idea:
Specifically, I felt that first and fourth tone feel similar, and that second and third tone feel similar. I believe that perceived similarity is strong enough that it affects both listening comprehension and production. This is why I purposely colored first and fourth tone red in my diagram, and second and third tone blue.
An Alternate Color Scheme
OK, so now we’re getting down to the point of my post. As a thought exercise I asked myself: If I had to assign colors to the four tones, which colors would I use?
In answering this question, one has to believe that there are underlying principles which, when followed, might produce better results. Otherwise, arbitrary assignment is fine. So what are the principles? I have two:
1. The colors need to have a high degree of contrast so that they will stand out on a white background and not be confused with each other.
2. The colors chosen need to reflect the appropriate perceptual similarities.
There are other considerations you might take into account if you want to be super-thorough, of course. From an Amazon reviewer of Dummitt’s book:
> If a person was going to design a color code tone system they would probably want to avoid using red and green in the same color scheme. Red – green color blindness causes an inability to discriminate differences in red and green. Hence the testing when you get your driver’s license. 5 to 8 percent of males have this color blindness.
> Using red and orange in the same scheme is also not very bright. Much language learning is done on buses, trains, planes and their attendant stations. Lighting is sub-optimal in all these situations and much worse in China. Low light intensity impairs the ability to discriminate red from orange.
These points have some merit, I suppose, but I’m not sure what colors they leave. I’m sticking to the two principles I listed above. I don’t see how you’re going to avoid either red or orange altogether if you need easily distinguishable, high-contrast colors.
Regarding the principle of high contrast, I can’t disagree with Dummitt’s choices. You can’t choose yellow, and the ones he chose are easy to distinguish quickly.
As for perceptual similarities, I would reflect these similarities by grouping the four tones into two warm and two cool colors. In my Chinese studies over the years, I have often associated fourth tone with aggression or anger, both concepts which I would associate with the color red. Red = fourth tone is the strongest association I have, but from there, all the others fall into place. You can’t use yellow (poor contrast), so orange is your other warm color, going to first tone. My diagram has fourth tone and second tone diametrically opposed (falling versus rising), and green is directly opposite red on the color wheel, so I would go with green for second tone. That makes third tone blue.
If you’re a language teacher, you’re probably quite familiar with the concept of recasting, even if you don’t know the name. And if you’re a language learner, being aware of recasting can help you learn faster. So what is recasting?
Fukuya and Zhang define a recast as “implicit corrective feedback.” Another definition of “recast” given by Han Ye in a presentation at the ACTFL 2008 conference was “a native speaker’s corrective reformulation of a student’s utterance.”
It’s not very complicated in practice. Here’s a simple example:
> Student: I want read.
> Teacher: Oh, you want to read?
In the above example, the English teacher communicates with the student (using a question to confirm what the student had said), while at the same time making a correction (adding “to”). The teacher may or may not choose to emphasize the correction.
Here’s a slightly more subtle example:
> Student: I want read.
> Teacher: What do you want to read?
In this example, while you could identify a correction in the teacher’s question, the focus is more on communication and less on correcting the mistake.
Recasts don’t have to be questions, and they can be focused on pronunciation, on grammar, on vocabulary… but they always carry with them some degree of ambiguity, because recasts are not overt corrections, and some degree of repetition is a natural part of normal speech. Will the student pick up on the correction, or will the conversation just keep moving along? (Does it even matter what the student consciously notices his mistakes?)
I believe that much of my own success in acquiring Chinese has been due to (1) getting lots of practice with native speakers, and (2) being receptive to recasts.
Here’s a typical example of an exchange that might occur (in Chinese), with a string of letters representing the focal language point:
> Learner: Abcde.
> Native speaker: What?
> Learner: Abcde.
> Native speaker: Ohhh… AbcDe!
> Learner: Yes, Abcde.
The native speaker’s second utterance above was a recast, but as we see in the last line of the exchange, the learner didn’t get it. Yes, the recast was almost imperceptibly different from what the learner said originally, but recasts tend to be that way (from the learner’s perspective)… especially when they involve tones. As a learner, when you become more sensitive to recasts, you’ll hear them all the time.
Think about it… some people will pay big bucks to a teacher in order to obtain explicit corrective feedback. In actuality, though, if that person is in a second language environment, he is probably getting corrective feedback all the time in the form of recasts and not even knowing it. Recasts are great because they don’t impede the flow of information and they’re usually not an embarrassing form of correction. They’re also great because you don’t get them if you don’t get out there and talk to native speakers. They’re a positive side effect of speaking practice. As a learner, recasts are your friend.
At ACTFL 2008, Han Ye of the University of Florida presented the findings of an experiment on tonal recasting. The experiment sought to compare the effect of recasts on Chinese heritage learners with the effect of recasts on non-heritage learners. The recasts were all for tone-related errors.
Interestingly, the study found that the uptake rate for non-heritage learners was 51%, but only 28% for heritage learners.
I found this interesting for a number of reasons. The Chinese heritage learners were likely much more confident in their ability to communicate, and probably less self-conscious about their Chinese. The non-heritage learners are more receptive to feedback, but do they communicate as well?
It is likely that the role of recasts is most important in the early stages of learning a language. Our own parents used recasting on us plenty when we were children still learning our mother tongues, but eventually, either they stop doing it or we stop paying attention.
There are a lot of factors at play here, not the least of which are individual learning styles and learner personality. Recasting research continues.
I’m just one of those people that likes to pay attention to recasts.
The problem, as Dr. Liao presented it, is that many learners can reach a relatively high level of fluency in Mandarin Chinese, have excellent tonal accuracy for individual words, yet still make a large number of very unnatural tonal errors in natural speech. This is a common enough problem that educators really need to be looking for ways to address it.
The message of the presentation was, in essence:
1. We’re giving students of Chinese the wrong picture of tones (third tone in particular)
2. Tones are not of equal importance in natural speech
3. Funny-sounding speech can be corrected most efficiently by focusing on certain key tones
Now I’ll break these different points down one by one.
We’re giving students the wrong picture of tones
The way students first learn tones is in isolation. You apply tones to individual syllables. The idealized tone contours of those tones in isolation look like the chart below.
The thing is, in natural connected speech, tones don’t behave quite that way. Yes, there’s tone sandhi (tones in sequence affect each other in regular ways), but it’s more than just that. Third tone in particular has a habit of dipping but then not rising the way it should. (This phenomenon is known as the “half-third tone.”) So then is the not rising in natural speech the exception, or is the perfect rise in an isolated tone the real exception?
Dr. Liao suggests that it’s more useful to teach that the third tone is low rather than dipping. This could help with third tone problems in connected speech. The “model” third tone with a rising tail could then be treated as the exception to the rule.
The symmetry-loving perfectionist in me actually likes this a lot. This way you end up with two pairs of almost diametrically opposed tones (yes, we’re fudging a bit): high vs. low (1 vs. 3), and rising vs. falling (2 vs. 4). Dr. Liao also notes here that learners tend to confuse tone 1 and 4 with each other much more than with the other two, and tone 2 and 3 much more than with the other two. Very interesting.
This really struck a chord with me, as it matches nicely with my own observations. Taking all this into account and putting the actual tone contours aside for a moment, I put together my own experimental “idealized perceptual tone diagram”:
I have no idea if a representation like this could actually be useful to any students. Before you freak out by such a concept, though, let’s move on to the next point…
Tones are not of equal importance in connected speech
When Dr. Liao started talking about this, I had an immediate flashback to something my friend Alf said after studying Chinese in China for about half a year:
> Tones are such bullshit. When Chinese people talk really fast, they don’t really use them. So I’m just going to ignore them and talk really fast like Chinese people, and I’ll be fine.
Ah, the “tones aren’t important” fallacy. Most students of Chinese have heard such sacrilege more than once in their long years of study, I’m sure. The thing is, like any good lie, there’s actually some truth to it.
Dr. Liao pointed out that in natural speech, some tones in a “frame” are “weakened” or “reduced” and lose many of their “idealized” properties. That is to say, if you look at their tone contours (remember how to do that with Praat?) in the sentence, they don’t all resemble the perfect angles in the classic chart we all know so well.
Here’s an example of what native speaker tone contours look like in speech [source]:
You’ll notice that the tones of some words are clearly recognizable, while others are less so. What’s going on? Well, in natural Chinese sentences, certain words in each phrase are stressed. Stressed words will have a tone contour which most closely follows the idealized form, whereas the other tones are shortened, kind of run together, and generally goof off.
Funny-sounding speech can be corrected most efficiently by focusing on certain key tones
Here’s where Alf’s idea comes into play. Dr. Liao recommends that instead of correcting every mispronounced tone in a sentence (and there might be many), instructors should focus on the stressed words. When the tone(s) in a stressed word is mispronounced, the sentence will frequently sound quite bad to native ears, but when the stressed word is pronounced correctly, the other tones will often fall in line.
This is a cool idea, because if it works, it means (1) teachers can stop worrying about so many wrong tones, and (2) students can quit freaking about every tone.
From Chen Qinghai’s doctoral thesis (2000), Analysis of Mandarin Tonal Errors in Connected Speech by English-Speaking American Adult Learners: A Study at and Above the Word Level:
> 220.127.116.11 Tonal Language Experience
> Any language learning experience may have a positive impact on the acquisition of Mandarin tone (Bourgerie, 1995). The learning of another tone language may have greater effect on the learning of Mandarin tone (J-M. Lu, 1992). In order to find out if exposure to a tone language in childhood facilitates the learner’s performance in Mandarin tone, Sun (1997) used tone language experience as another between-subjects variable in her study. Her data show that subjects with tone language experience do have some advantage in distinguishing tone in phonologically modified contexts (p. 261); on the whole, however, their tone language background is not strongly associated with their tonal performance….
It’s hard to believe that tonal language experience doesn’t help much, but that’s what the experimental evidence suggests. I’d love to hear about more involved studies on this topic. We English speakers do like to look for excuses as to why tones are so hard for us (but this still doesn’t explain the rapid progress of Korean students!).
(The thesis quoted above was the basis for my own master’s thesis. I do intend to discuss it more, and to put some details of my own experiment online. Just need to find the time!)