Last Updated on 03-Apr-19

Here we can show what is on each card specifically for the 43 Thai vowels, tone marks and punctuation cards, now available for sale online and at over 60 locations in Thailand.

Purpose of the Thai Alphabet Cards

Most of the elements can be learned individually using the cards. For example, covering up a part of one side of the card and prompting for covered elements (e.g., show the picture and prompt for the written form, show the English meaning and prompt for the Thai word pronunciation, etc.)

Design Goals

The cards have been devise for maximum information density while balancing composition with a focus on the learner who wants to learn how to write and read Thai characters as well as how to pronounce the characters correctly.

In particular, we have innovated in the creation of symbols to indicate various tone, sound, and syllable class rules, as well as the innovation of showing frequency as well as duration of tone in the form of a graph.

Thai Side of Card - ด้านภาษาไทย

1. Thai character sound – เสียงของตัวสระภาษาไทย
2. Thai name of character – ชื่อของตัวสระเป็นภาษาไทย
3. Thai character with drawing indicators – แบบแสดงเส้นนำทางในการเขียนตัวสระ
4. Common handwritten form – รูปแบบของสระที่นิยมเขียนเป็นลายมือเขียน
5. Color coding of the vowel class – ใช้สีกำกับบอกประเภทของสระ
6. Vowel pair, if present - คู่เสียงสระสั้นยาว
7. Vowel categories indicating short or long, diphtongs, and combined (vowel+consonant) - ประเภทของสระ สระเสียงสั้น สระเสียงยาว สระประสม สระพิเศษ
8. Drawing illustrating the character name – ภาพวาดที่แสดงชื่อของสระ
9. Tone rules for long and short vowels when applied to high, mid and low consonants – กฏการออกเสียงสูงต่ำสำหรับพยางค์สระเสียงสั้นและพยางค์สระเสียงยาวเมื่อใช้กับพยัญชนะสูง กลาง และ ต่ำ
10. Vowel order number (in Thai numerals) – เลขลำดับของสระในภาษาไทยเป็นตัวเลขไทย

English Side of Card - ด้านภาษาอังกฤษ

1. Phonetic transcription of Thai sound in English –การออกเสียงสระภาษาไทยเป็นภาษาอังกฤษ
2. Tone frequency and duration graph -กราฟแสดงเสียงสูงต่ำของเสียงสระ
3. Mouth position diagram -แผนภาพรูปปากขณะออกเสียงสระ
4. English translation for character name -คำแปลชื่อของสระเป็นภาษาอังกฤษ
5. Vowel class -ประเภทของสระเป็นภาษาอังกฤษ
6. Vowel order number (in Arabic numerals) -เลขลำดับของสระในภาษาไทยเป็นตัวเลขอราบิค

Last Updated on 27-Mar-19

The second edition of the Thai Alphabet Cards is underway, and we've revamped the Tone Graphs, among other elements.

Changes in Central Thai Tones over Time

There is significant evidence for changes in the standard tones in Central Thai over time. While this is an important aspect of tone, and intermediate learners should become sensitive to this (as well as other important aspects of tone, which is quite complicated in running speech), still we have made the decision to use a common and conservative model for displaying tones on the Thai Alphabet cards.

For a model, we've revisited the original tone graphs of Arthur S. Abramson from his work The Vowels and Tones of Standard Thai: Acoustical Measurements and Experiments, International Journal of American Linguistics, Vol. 28, No. 2, April, 1962. This work is, after 44 years, still seen as the standard.

We've spent considerable time reviewing the literature since (and before) 1962, and especially the evidence presented for historical changes to the tones which have occurred since Abramson's published early work. While there are many publications, most have severe problems with them which prevent using any as a reference for the tone changes. In many cases, single case examples or synthetic averages are presented, but without the primary goal of a new standard, and therefore without the methodological rigor needed for adopting changes in the contours.

Again, there is evidence for changes to the tones of Central Thai over time, specifically by reviewing differences between a younger cohort and an older cohort, as presented in Inter- and intraspeaker variability inf undamental frequency of Thai tones, by Gandour, Potisuk, Ponglorpisit, and Dechongkit, Speech Communication 10 (1991), pp.355-372.

There is an intriguing article proposing a mechanism for tone change using Gedney's tonebox by Pittayawat Pittayaporn entitled Directionality of Tone Change, 2007. However, the so-called Thai tonal space in 4 stages suffers dramatically from a very poor choice of tonal examples in stages 3 and 4 (a single sample, and a synthetic result from a study contrasting tones in isolated exemplars vs. connected speech, respectively). While the data is insufficient in evidence, the underlying mechanisms still appear plausible, though would not operate in isolation from the population of speakers and vast variety and import of second languages on Central Thai (Siamese).

Abramson (1962) as the Signal Reference Work

Besides the fact that there is no real reference work that we might use with full plausibility, there are other reasons why the traditional tone graphs are best suited for the Thai Alphabet Cards:

• These tone graphs are seen as standard and conventional, unremarkable in a positive way.
• For beginning Thai speakers, these tone contours will most likely match what native Thai teachers have been taught, and emulate in the classroom.
• As these traditional graphs represent an older, as opposed to a younger set of speakers, it will be more common in traditional media and among (older) spoken adults.
• The traditional tone graphs are still accurate (enough) and appropriate even with the supplemental research which has occured since then (see Abramson Thai Tonal Space 1997, where he writes The "ideal" contours found in earlier work ... are still quite acceptable for isolated Thai words).
• Nearly all research has focused on the long vowel tones only, and do not include short vowel tones, as does the original Abramson (1962) work.
• The only change of tone of significance is the shape of the high tone, which appears concave rather than convex (sometimes labeled a high-rising tone in contrast to the standard rising tone being labeled a low-rising tone.
• Whether the high / high-rising tone ends with a downturn is generally better supported (and is at worst seen as one of two standard contours), and aligns with the Abramson (1962) contour.

Use of the Abramson (1962) Tone Contour Figures

To align the Tone Graphs in the Thai Alphabet Cards, we acquired an original copy of Abramson (1962) and scanned the two tone graphs (figures 3.5, 3.6 on pp. 126-127). We then scanned the figures into PDF format and and imported them into the Inkscape vector graphics program. We then traced the contours and separated them into individual graphs.

Changes to the Thai Alphabet Cards Tone Graphs

The main changes are a return to the original tone countours, as well as aspect ratio and shape. This also reduces the space used by the graphs without reducing information.

Below is the example for ฒอ ผู้เฒ่า (thɔɔ phûuthâw / tʰɔː pʰûː tʰâw / tɔɔ pŭu-tâo), which has one long mid tone, one long falling tone, and one short falling tone.

Comparison of Short and Long Vowel Tones

Note that there is a bit less distortion in the short vowel tone (which was only a compressed long vowel tone, which was based on Naksakul (1977) Thai Phonology as adapted in the Elementary Thai for Foreigners text as published and taught by the Linguistics program at Mahidol University (1991).

Last Updated on 24-Mar-18

While Speech Perception Research is a large and dynamic area of study, some recent findings can be summarized in a way that helps us better approach second language learning and teaching.

Accent-Independent Ataptation to Foreign Accented Speech

Accent-independent adaptation to foreign accented speech indicates that training on a set of foreign accents produces significant gains in comprehension with those accents as well as other non-training-set foreign accents. The idea is that foreign accents are systematic (in relation to the native foreign language), and learning a set of accents is generalizable across other accents.

Possible Ramifications

For second language learners who second langauge has a set of accents in general, training on these accents, in addition to a primary general standard speakers, could be of assistance. For example, in Thailand a majority of the population does not have Standard Thai as a mother tongue and to some degree have accents that are shaped by their native language (with the largest number of speakers represented by: Isan, Northern Thai, and Southern Thai). Practice with representative speakers of these mother tongues will increase overall understanding of the variety of accents of speakers of Standard Thai.

Perceptual Learning of Time-Compressed Speech

Perceptual Learning of Time-Compressed Speech indicates that specific training on Time-Compressed Speech, and subsequent follow-up training and exposure induces better understanding to a greater degree than expected.

Possible Ramifications

Time-Compressed, or fast speaking language should be introduced and integrated into second language learning, as a special aspect, with follow up training.

Reverse Hierarchies and Sensory Learning

Reverse Hierarchies and Sensory Learning discusses a useful theory to how second language learners make phonetic discrimination that relies on already built-up higher-level constructs rather than lower-level data that is available.

Our typical perceptual experiences (i.e. our conscious perception) reflect only the information stored at higher levels.

Possible Ramifications

RHT is a powerful approach to understanding learning and perception in general. It can provide a clear explanation for second language learners why they don't hear a sound properly. It also provides a clear way to devise training on things such as novel sounds and lexical characteristics in a second language.

Auditory-Perceptual Learning Improves Speech Motor Adaptation in Children

Auditory-Perceptual Learning Improves Speech Motor Adaptation in Children underscores the importance of hearing to speech production. Focused training on speech perception provides a stronge catalyst for speec production.

Possible Ramifications

Auditory feedback as a mechanism for auditory training and perceptual learning has an impact in performance of speech production. Training the ear is essential.

An interactive model of auditory-motor speech perception

An interactive model of auditory-motor speech perception, as above, provides strong evidence for an interactive model of auditory, somatosensory, and motor regions in effective speech. While highly interactive, the ear is still considered primary and the voice a secondary, modulatory role.

Possible Ramifications

Speech production and listening training should be taught as a joint exercise rather than as separate and distinct.

Plasticity in the human speech motor system drives changes in speech perception

Plasticity in the human speech motor system drives changes in speech perception points to a dramatic plasticity in the human speech motor system, but even moreso that the motor system is a driver in perception.

Possible Ramifications

A strong argument for conjoining listening and speech production together, as is noted in other studies above.

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Last Updated on 27-Mar-19

This is an actively edited page, and will expand into a full book chapter. Comments are welcome.

Comparing and contrasting the similarities and differences between two languages is an effective tactic for second language learners. Direct cognitive awareness of those differences, while engaging in recognition and production of the differences, is more effective than indirect trial and error. Instruction and exercises that highlight these differences are important for mastery.

There are several consonants that are not identical to English consonants in sound and production of that sound. For learners of Thai, the main approach is to keep things as simple and uncomplicated as possible, in order to make forward progress, rather than get bogged down in the details. Therefore, what follows should not been seen as a starting point, but something to return to once some progress is made (for example, working with a teacher or tutor and getting through the alphabet in terms of reading, writing, speaking, and recognizing).

What follows may be important for some learners to know about what is being simplified. However, please avoid the all-too-common bad habit of trying to correct one's Thai teacher who is really trying to develop a skill in their students, with what follows, which is a technical and linguistic discussion.

English Consonant Sounds not in Thai

There are several English consonant sounds not found in Thai, including: - Th - this - Th - thigh - V - vowel - Z - zoo - R - right (Thai R is a different sound, a trilled R) - G - guy (Thai G is transcribed as K, a more uvular sound), there may be disputable - Ch and J are transcribed differently, but act as a related pair, and can be considered allophones - Sh (ʃ) - ship - Zh (ʒ) - vision

In-between Consonant Sounds

• In Thai there are consonants with a b sound, a p sound, and an in-between b+p sound (a sound not in English). For English speakers, they will not necessarily recognize the bp sound as being distinct but hear it as a b or a p.
• In Thai, there are consonants with a d sound, a t sound, and an in-between d+t sound (a sound not in English). For English speakers, they will not necessarily recognize the dt sound as being distinct but hear it as a d or a t.

Ng Sound Consonant

In Thai there is a consonant that is equivalent to an ng sound, as found in words like song and sing (and every -ing verb ending). While this sound is in English, it is usually only in "final consonant position", that is, with a consonant and a vowel before it. In Thai, this consonant can be in "initial consonant position" which can be initially difficult to hear and produce for English speakers.

Thai Consonant Sounds (Phonemes) not in English

There are four categories of Thai Consonant Sounds not in English:

• Those sounds which have related sounds (allophones) which are intelligible (k-kh vs. g-k), (tɕ-tɕʰ vs. dʒ-tʃ). Since these are arguable allophones of a phoneme and each case roughly matches what we hear and produce in either language, it is simply the case that we should follow what is standard practice in the majority of Thai language courses. That is, yes there is a difference in manner and place of articulation (in some majority of cases), but the congruent consonant sound in the other language is functionally allophonic. K (gau gai) in Thai is G in English and Kh in Thai (kau khai, etc.) is K in English. This also makes sense of the K as final consonant sound, where we may "hear" an English K, this is due in part to the "final oral plosives are said to be accompanied by simultaeous glottal closure" (Tingsabadh & Abramson, 1993). That is, we don't hear the full sound, aspiration or otherwise, and so the sound is interpreted as a g or a k, by an English speaker.
• Those sounds which can be confused with other sounds (that is, Thai has finer gradations and discriminations) (d-dt-t; b-pb-p)
• Those sounds which have nothing related in English (with some exceptions), namely the glottal stop (represented by a character that looks like a question mark ʔ/?)
• In the fourth category, the sound is in English, but it is used in a different way that can be confusing (ng)

The R Consonant in Thai

In Thai there is an r consonant (actually three, including two rare compound consonants), but they differ from an English R in several ways. First, it is predominantly spoken as an L rather than an R in most everyday conversation. Secondly, when it is pronounced, it is a trill or rolling form of r, similar to a French r, rather than an English r. Finally, in many fonts, the r character script looks like an English s, as well as the standard Thai ร.

Missing Consonant Clusters

Consonant clusters are not included in phonetic charts for languages, namely because the information for sounds are already represented. Unlike dipthongs which have a direction and therefore can be plotted, consonant clusters are seen as merely additive. However, for the language learner, recognizing (hearing) and producing (saying) those clusters requires practice as with the individual consonants themselves.

Final Consonant Sounds in Thai

Not only are there changes in what a given letter becomes (transformation) in the final consonant position (fewer sounds are possible in the final consonant position), but also the consonant sound is cut short or muffled in many ways. This has an impact not only on Thai learners unable to pronounce final consonants fully in English (especially the final S in plurals), but also certain final consonant sounds will be heard as a different sound, to match Thai phoneme patterns, e.g., path -> pap, ball -> ban.

Note on Minimal Pairs Training

Explicit training with minimal pairs is the most common drill-style method of learning the difference between two sounds and between two tones. Specifically, phonemic boundaries are being introduced (and re-established) for the second language learning, in order for them to hear more accurately the sounds in the target language. Minimal pairs can be very useful when used in a focused way, in terms of establishing production and recognition skills. However, in many cases adult learners starting out won't hear the differences, but that should not start some learning from getting underway.

Resources

• Thai and English Consonantal Sounds: a Problem or a Potential for EFL Learning? Monthon Kanokpermpoon, ABAC Journal, V.27,N.1.

This paper aims to examine similarities and differences between Thai and English consonants. It determines areas of difficulties when Thai students try to pronounce English consonantal sounds. It is found that English sounds which do not occur in the Thai phonology tend to pose great difficulty for Thai students to utter. Those sounds include /g/, /v/, /T/, /D/, /z/, /S/, /Z/, /tS/, and /dZ/. Sounds which exist in Thai but can occur in different environment, i.e. syllable position, are also prone to be difficult to pronounce. Such examples are /f/ and /s/. To tackle the problem of sounds nonexistent in Thai, Thai students are likely to substitute Thai sounds for the English sounds. In addition, the phenomenon where /l/ and /R/ are used interchangeably in Thai tends to be transferred in pronouncing /l/ and /r/ in English with great challenges.