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PRESENTATION STAGE Herr L. Mr Knowledge, thank you very much for taking the time to discuss the implementation of scientific findings in neurology, psychology and music which have practical implications for the understanding of the conscious mind as well as memorization abilities. Mr A. Knowledge It‘s my pleasure! I also promised you to do it, and I try to keep my promises. Herr L. Thank you. So, Mr Knowledge, what does a typical teaching unit look like?

Mr A. Knowledge The three main principles are A) Pleasure in learning and the absence of stress. B) Simultaneous effect of the conscious and the pre-conscious mind C) Suggestion as a key to the reserve potential of intellect and personality should be used with caution. Herr L. Thus, all the principles of suggestopedia are taken into account. Mr A. Knowledge Naturally. The process is split into three phases: (Preparation) Presentation Introduction

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Concerts Activation Primary activation Secondary activation Creative application This part should be like a symphony insofar as all the parts reappear constantly in the variations. Thus a song, for instance, can be used in the preparation, the introduction, the activation, the concerts and the creative application. All these parts form a whole. The de-suggestopedic cycle can be compared to a hologram. When a hologram is divided, each fragment holds the information of the whole picture. Our method is similar to this. Each part of a de- suggestopedic unit holds elements of the other parts. This implies the concert being presented during the introduction, the contents of the concert being the basis of the activation phase the activation phase in turn gives the impetus for the creative application. Herr L. Why a preparation phase? Mr A. Knowledge The preparation phase is important for accelerated learning. Pause for a moment and ask yourself if you can concentrate easily when you are agitated, or too hot, or cold. Can you devote all your attention to what you are being told when plagued with personal problems? Herr L.

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Of course not Mr A. Knowledge You see. For this reason, it is indispensable to start with a short preparation exercise. The same way athletes „warm up“ we should get into „intellectual sport“ The first step is set by the educator. Before the participants enter the room, the teacher prepares it for the coming lesson. Peripheral stimuli are put up, music is switched on , games and activities, texts and other handouts are within hand‘s reach. Organisation is a time saver. Herr L. Yes, organisation is half the work! In order to have everything set up and ready implies that the teacher arrives before the lesson begins. Mr A. Knowledge Yes, it is very important for the teacher to be „in class“ at least half an hour before the session starts to do all the necessary preparation. When the first participants arrive, the teacher should already be in the room and give the non-verbal message: „Everything is here for you. You are welcome and I am looking forward to our session“.

Herr L. When all the participants have arrived, what does the lesson start with? Herr L.

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Most participants come directly from work, from their office, to the course. Most of them are still involved mentally with events that they bring into the session: trouble with colleagues, traffic jams on the way, plans for the next day and so on. All these are thinking blocks. Herr L. To reach an ideal learning atmosphere it is indispensable to reach the state of concentrative relaxation, through preparation exercises. What do they entail? Mr A. Knowledge There are different types of activities 1) Singing and dancing. Dr. Lozanov and Dr. Gateva (who unfortunately died in September 1997) used to start their language sessions with a song and an easy dance. The English beginners‘ course often started with: "My Bonnie is Over the Ocean". The song is a signal that we are now ready to start together. Through the act of singing and dancing, all the participants are invited and included in the process of another pleasurable evening. For Dr. Gateva, songs, particularly didactical songs, are also instrumental in helping participants gain a humorous approach to foreign languages, as well as practise the sound, articulation, rhythm and melody of the language. 2) Simple circle dances: In the AK (Arbeiterkammer) certain suggestopedic courses began with a simple circle dance. These group dances have similar bonding effects to group singing. Additionally, dancing,

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rhythmical movement with music, is a very natural and pleasurable activity, which brings celebrations to mind. 3) "Warm-up activities" To enable learning, we need a real „functioning temperature“. This can be reached with activities such as: * relaxing and stretching * Nose writing * Shaking off water * short physical exercises 4) Jacobsen muscle tests: tensing different muscles for about 5 seconds, then relaxing them. . 5) Additionally, all the Brain-gym exercises such as: Drinking water : This could be a ritual If you refer back to our last conversation concerning the triune brain, you will remember that fresh air and water relax the reptilian brain. „Brain-Buttons“: This exercise apparently supports the blood flow towards the brain. Hold your hand this way, so that your index and thumb are as far apart as possible. Place your index and thumb in the hollows just under your collarbone, and rub them with varying pressure. The other hand should lie flat on the navel region, change hands. The exercise should last around two minutes „“Cross crawl“ is another exercise which helps the right and left hemisphere to coordinate. Standing or sitting, put your right hand on your left knee, while you lift your left knee, put your left hand on your right knee. Repeat. The outside effect is similar to a march. This exercise should also last

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around two minutes. Herr L. The exercises you referred to, appear to mainly relax the body. Shouldn‘t mental relaxation also be included? Mr A. Knowledge This isn‘t always necessary, although most students who have experienced them expressed great satisfaction. It is quite normal to enjoy the feelings of comfort that ensue, nevertheless, as mentioned in „Suggestopedia as a science“, these exercises are not a condition for a positive learning atmosphere. As for the de-suggestion of learning barriers, it actually comes non-verbally from the teacher. Herr L. Could you give us some tips on how a lesson could actually begin? Mr A. Knowledge A very effective way, is to start off, where the last lesson ended. Obviously not with the same activity, but similar information packaged differently. This way, students are „picked up“ where they are and can be led further. Still, let‘s get on to the presentation phase. Herr L. Do you differentiate sub-phases? Mr A. Knowledge Indeed. First, attention is directed to

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the overview of the lesson unit, the sub-phase is called „Introduction“. Then a dramatic, imaginative presentation of the material. This sub-phase is called the first concert, or the active concert. And third, a quiet repetition with music. This phase is called the second or passive concert. Herr L. Why doesn‘t the warm-up phase begin with text reading? Mr A. Knowledge Well lets think , is it easier to learn when we are prepared for what’s coming, or when the material is unexpected? Herr L. I do better when I know what to expect. Mr A. Knowledge And so do I! The global presentation, which is the „Introduction“ has three aims:

summarizing the material and create a context for it, indirectly suggesting that the up-coming material is interesting, pleasant as well as easy to understand. The activation also stimulates student interest for the text. By providing various „landmarks“ through all the input channels, secondary associations are created and the text contents is more easily committed to memory. Initially, the teacher triggers student interest by announcing excitedly that a new chapter is going to be presented.

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The teacher then acts certain elements of the contents out, using mime and various props. This "advance organizer" is particularly important.

Herr L. Excuse me for interrupting. This reminds me of the story of a famous prophet who, when asked about the secret of his prophesying, he answered: first I tell you what I‘m going to say, then I say it, then I tell you what I have said. Mr A. Knowledge Yes, obviously an "advance organizer" of this quality must have been very successful. During this phase when, the learner is presented with a global picture of the whole text, the teacher is the centre of attention. The key principle here is the awakening of interest. When the global introduction is effectively presented, the learner‘s imagination is stimulated and understanding is developed, which in itself is an initial feeling of success and conscious learning competence. Thus, learners are psychologically ready as well as motivated to learn. Herr L. I can imagine that the so called peripheral stimuli are very helpful here. Mr A. Knowledge Very much so. The presence of peripheral stimuli in a room, although not perceived consciously, can be very helpful in creating a favourable context for the introduction of new material.

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These peripherals can be posters for example, presenting key information, vocabulary or grammar appearing in the next chapter. As compared to a blackboard, to slides, to a flipchart or an overhead projector, which present information for a short time only, posters are a long term source of information. The contents of individual posters are whenever possible connected with a graphic representation, which encourages association. In my experience, course participants come to the room very early in order to study the peripheral stimuli, they appear to have developed a specific level of expectation concerning the new material. As the posters are permanently accessible to all, they are saved in the long-term memory. The key to a successful introduction is, as for the following phases, is the way it is presented. It should be conveyed with real enthusiasm, conviction and pleasure, to ensure that the participant will enjoy the subsequent learning process. During this phase the participants are being presented and assimilating an overview of the material that they will soon be starting. Herr L. I have another question concerning the introduction: you mentioned that the introduction should only be loosely connected with the text story line. Could you give an example? Mr A. Knowledge With pleasure. The fourth lesson of the Italian course for example, concerns itself with the seasons and its main topic is the future tense.

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The participants, during the session, visit an “Italian” who tells a very interesting story. She is a bit eccentric, and has amusing things to tell about the future. As a follow-up activity, the participants make up predictions concerning themselves (home, hobbies, family…) As you see, the students are involved in the presentation phase. Herr L. Could you give me another example? Mr A. Knowledge Of course. The second chapter of the English course tells us of how two women meet, tell about their past and become friends. Both women’s appearance and clothes are precisely described. In the introduction, the teacher appears with a handkerchief on his back, shaving cream on his(!!) face, a suitcase in his hand and says to the participants: "Excuse me, but I have a very important meeting at our embassy tonight. I have to be very elegant. Help me, please to choose a suitable suit, or shirt, etc." The teacher opens the suitcase and spreads out the clothes as he names them. During the presentation, the teacher tells of a funny story that happened to him years ago, abroad, using the most important structures in the past tense: to be, have, can, go, come, take, give, make, do, etc. At the end the participants help him repack his suitcase while they name the clothes. Herr L. Could you give an example

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for non-language courses? Mr A. Knowledge Naturally. The introduction phase relies on memorisation techniques. Categorisation, association, networks but also short stories or dialogues which are easier to understand than lectures. A few examples 1. in History Topic: "The French revolution" In the introduction, as a teacher, explain in approximately 20 minutes what happened between the 4th May and the 14th July 1789 in Paris. Blend music into your presentation to give a long term effect to your lecture. Then comes the passive concert in dialogue form: ....We are in Paris on the 5th of May 1789, Pierre a Parisian meets his friend Jean and says: „Hello, Jean did you hear what the government decided yesterday? Jean: Yes, I know, Pierre, do you think that we are going to have a revolution?"...." 2. in Biology Topic: Blood circulation A blood cell travelling through the body keeping a log book telling about its adventures on the way, which are also illustrated. The passive concert will reintroduce the information in story form. 2. In German (mother tongue) 4th class, Primary school Topic: substantivated verbs are capitalised. Dialogue possibilities: Actors: verb, nouns, articles and prepositions Nouns and verb are discussing their importance in a sentence, the nouns are making their presence felt:

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Nouns: Listen, it‘s clear that we are the most important words, insofar as we are the only ones to be capitalised. Verb: (very timidly) Yes, you are right I am spelled like all the other words, with a lower case letter at the beginning. (withdraws sadly). The articles and prepositions see how upset the verb is, run towards it and say: We‘ll help you, we‘ll just stand in front of you and make you so strong, that you‘ll be capitalised too. Verb: That sounds strange, I can‘t believe you. You always come before nouns and are related to them. Article: We didn‘t make ourselves clear! I can change you into a noun, I have the magic power to do so, by the way, what‘s your name? Verb: I am the verb „spielen“(to play), children talk about me often and say things like: „I like to play games“. Article: Look! I‘m going to play my little trick I am going to jump into the sentence just before you. After a while the noun comes by and, full of wonder, reads the following sentence: "Mir macht das Spielen Riesenspaß." (The act of playing gives me great pleasure) The verb is astonished too. It feels that something has changed, it looks at itself, to the left,

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to the right, yes, there it is: Spielen is spelled with a capital „S“. Now the noun has realised the change and is reading the sentence out loud. Noun „Mir Macht das Spielen Riesenspaß“ It appears delighted to have a new friend, Verb and Noun are very impressed with the magical powers of the article „das“. Article: Thanks, I know some other tricks too! Herr L. I‘m sure that visual material plays an important role here. Mr A. Knowledge Absolutely! Picture of the characters that appear in the introduction and the subsequent texts, are pinned on the walls. Participants make associations between the pictures and the vocabulary. As you already know, pictures have strong associative power and contribute to the long term memorisation of new concepts.

Herr L. Could you summarize once more the most important points for the introduction?

Mr A. Knowledge Of course:

The introductory story should be interesting as in itself, it sets the atmosphere. It should be positive and contain

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as much input as possible. The teacher is a friend who enjoys a joke. The participants are „co-reactors“ who voluntarily take

an active part in the learning process. The teacher speaks naturally, enthusiastically and empathetically. He includes the participants in his sphere of communication,

makes them laugh and feel accepted.

The new language input is introduced gently but firmly, as a friend would. It is of the utmost importance to remain positive as the expected behaviour depends on you.

At the end of the introduction a short summary can be made.

I would like to give a couple of tips from Dr. Lozanov here:

· Use toys (soft toys) – they reduce tension, help to reassure participants, provide visual relaxation, and mellow the atmosphere

· Help the students speak as soon as possible · Avoid analysis of the material·

Use a brisk pace of speech · Repeat again and again · Prepare them for normal conversation · Vary your demands to students · At the end make a summary · Include a song · Be spontaneous · The artistical way of speaking enables long term memorisation: use your voice like an

instrument

Herr L The active concert, comes after this introduction doesn‘t it? Mr A. Knowledge Exactly! After experimenting with different relaxation

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and material presentation techniques, Lozanov realised that certain types of music were an ideal medium for relaxation a well as for conveying information to the brain. He assumed that music, which activates the right brain hemisphere, could be linked to language, which primarily stimulates the left hemisphere, and that, as a consequence of this holistic learning process, the encoding of the material into the brain would be facilitated. By the way, I would like to remind you of the PET scanner recordings, which clearly show that in a simultaneous presentation of language and music, the whole brain showed a higher energy expenditure. In order to generate the dual benefits of the holistic process, Dr Lozanov developed the "Concert phase" during which the bulk of new material is presented. The concert phase comprises two musical presentations of the same material using different pieces of music and different communication styles. Another explanation for this particular form of material presentation was given in connection with "state of mind dependent learning", the acknowledgment that a presentation style which takes into consideration as many types of consciousness as possible, must be developed; through the dynamics of classical music, which alternates fast and slow rhythms, this is possible. Herr L. During which time period was ideal active concert music developed? Mr A. Knowledge

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Between 1770 and 1895. Music from later periods can be found lacking in harmony, which can generate learning blocks. Incidentally, later music is also not fully compatible with our aims, in terms of rhythm and harmony. Music from the classic, pre-romantic period such as Haydn, Mozart, Beethoven, Brahms and Tchaikovsky. This type of music is dramatic, emotionally pleasing, structured, harmoniously and ends predictably. It is stimulating, relaxing and enhances concentration. Lozanov says: "Everyone loves beauty everyone loves art. Why do we use them so little? Why do we so rarely integrate art into learning?" Lozanov also said that music was the best suggestopedic teaching tool. We all know that our body loved music. The human body reacts to rhythm, beauty and music. We have all experienced the fact, that a song is easier to learn than a piece of poetry. Herr L. Why is this? Mr A. Knowledge It has to do with the fact that a song, a melody touches deeper levels of consciousness.

Herr L. And what is the purpose of dramatic music during the active concert? Mr A. Knowledge

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The main reason is quite simple. It has been found that this style of music stimulates visual imagination. The more mental pictures a learner is able to conjure up, the more verbal associations are made and the more successful the learning process will be. This music also enables volume contrasts within a sentence and „talks“ to all states of mind. Herr L. Is there any possibility that the participant will be more involved with the music than with the teacher‘s voice? Mr A. Knowledge It is possible at the beginning. Actually the participants should always be told the name of the composer beforehand so as to avoid constant self-questioning during the concert: Beethoven? No, that was Mozart". Participants get into the habit of receiving new information in this fashion very quickly. If one limits the music selection to a few pieces, this type of interest for it wanes. The teacher reads the text with background music and the participants follow it, line by line, with their eyes open. This concert is particularly suited to beginners in a foreign language, as well as for mother-tongue scientific vocabulary Herr L. Why is the active concert so important for beginners?

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Mr A. Knowledge Because the participants need the pronunciation of a foreign language. After three of four years of foreign language tuition, those rules are generally clear and one could actually dispense with the active concerts. Herr L. How should the teacher read the first active concert? Mr A. Knowledge The text is read meaningfully, in a way which we call the „mystification“ of speech, this gives the participants the feeling that it‘s easy, that they can do it too. Obviously the concert sounds a little over-done, but the second is read with a more natural intonation. The teacher also follows the volume of the music and speaks louder if the music is loud and softly if the music is quieter. This is also called „surfing“ with the music. The full bandwidth of the voice should also be put to use. The chest voice, the throat voice, the head voice and the mask voice should be integrated for the purposes of harmony or contrast.

Herr L. Why should different voices be integrated? Mr A. Knowledge Different voices give an emotional dimension

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comparable to a bedtime story reading. The head voice has a very excited effect, the mask voice is whispering and secretive, the throat voice is the usual one and the chest voice is authoritative. Naturally emotions such as joy, surprise, excitement. can also be added. It is not imperative that the voice used is in harmony with the text itself, here the music plays a greater role. It is only during the first concert that the participants open the text. The teacher always pauses between sentences, this time is used by the participants to read the translation and to repeat the sentence internally. Participants are never asked to repeat a sentence, when learners are asked to perform and forget to do so, it gives them an alibi and justifies them in not having learnt enough. We just invite them to do so by pausing sufficiently. Actually, the participants tend to do it automatically, we call it: "Silent Speech". The learner is once more given the feeling that „Yes, I can do that.“ In the text several works or structures are in bold print, the teacher marks a pause before them while reading in order to emphasize them. Herr L. One can say a lot without saying anything, these pauses are powerful. Mr A. Knowledge

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Stopping before a word stimulates curiosity, a pause after a word gives time to think of the word. Herr L. You mentioned that the teacher should stop after each line, how long would each line be? Mr A. Knowledge It is important that the text is „reader-friendly“. In approximately 4 seconds 16 to 20 syllables can be processed and transmitted. It makes sense, as a consequence, to keep the lines short. In fact lines have a maximum of 16 syllables although they are usually shorter than 12 Herr L. This means that a sentence can cover half a page. Mr A. Knowledge Based on linguistic research, a meaningful distribution of the written sentence is in harmony with the reading rhythm discussed above.

Herr L. Should the teacher sing? Mr A. Knowledge Of course not A spoken voice is used which is very beneficial to the participants as the pronunciation is clear and makes the text

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easily accessible to them. Herr L. I would also like to know if the teachers stands or sits during the active concert. Mr A. Knowledge Dr. Gateva advised the teachers to stand in order to deliver the information in an „opera singing“ way. It is also a fact that ones voice is clearer and easier perceived from a standing position. Peripheral vision plays a role here too, insofar as students, while they are concentrating on the text, still perceive the teacher‘s movements if he or she, is in an upright position.

Herr L. Mr Knowledge. Could you give us more information concerning the active concert? Mr A. Knowledge Yes, first the music plays for about 20 seconds, to get the students into the right mood. The music is checked, to ensure that the participants will be able to hear the teacher, who will read at the same volume as the music. The music here is an active partner in the concert production, rather than a background enabling easy text assimilation.

Herr L.

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Are there other forms of active concerts? Mr A. Knowledge Yes, Dr. Lehmann at Karl-Marx University in Leipzig, in the eastern part of Germany, made research on music in suggestopedia. Sigrid Gassner-Roberts from the University of Adelaide, Australia, in collaboration with Dr. Lehmann, published a booklet titled: "Music in Suggestopedia"., where it was suggested that the active concert be presented in the following way: usual, whispered, loud, i.e.: Good morning, Peter (normal) – How are you? (whispered) – I’m fine, thanks (loud). The intonation should change within the sentence, if it is long. Students read the text silently. At an appropriate moment, the teacher asks the participants to close their eyes and reads them the same text with the "three level intonation". At the end of the reading, the participants are asked to open their eyes again. The next page is then read in the same fashion. The music plays on, at the end of the concert, the teacher says quietly: „You have been presented with ……….. lexical units.“ This way a concert can last up to 50 minutes. After this session, the participants are played a lively piece of music, ex: "Allegro" from Haydn‘s Trumpet Concert, to come back to their usual state.

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Herr L. Should the teacher speak during the breaks in the music? Mr. A. Knowledge Not during the active concert. when the music pauses, the teacher stops reading and waits for the music. The voice varies according to the music and its volume. Herr L. These are the same principles that are used in advertising or in quality lectures to impart information efficiently. Mr A. Knowledge You can now understand, why a suggestopedic teacher needs to have a well trained voice to use this instrument optimally Herr L. Especially when we think that a concert can last 50 minutes. Are there other newer ways of reading the active concert?

Mr A. Knowledge Yes. the names of the characters are also read out loud, the participants can repeat them.

During the concert, the teacher can get up and let the students read When the music is very quiet the reading can be interrupted (2 – 5 minutes) Reading should be emotionally intoned

· and loud reading should be avoided as it

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could be perceived as authoritarian, loud music should also be avoided and

„Soft , pleasant reading – no commanding“ should take place. Here a few tips from Dr. Lozanov should be useful:

- Stand upright - Focus on the people - Read in a lively, varied way - Be earnest – make a speech to the audience – what you’re saying is important - End the lines differently - Each line should be unexpected / a surprise - Follow the rhythm and intonation of the music - Read the chunks together - Make a pause before bold or underlined words

Herr L.

If I understood you rightly the second concert should be the passive concert? Mr A. Knowledge For the second concert, I prefer the term: „Pseudo-Passive concert", as in most respects, it differs from the previous. Earlier, only the largos und adagios, in fact the slower pieces of Baroque were used, now, the allegros are used too to avoid the sleepiness connected with the slower pieces. The text is also read with a natural intonation and relatively fast. As a result the passive concert is shorter than the active. The teacher sits and suggests that the participants close their eyes (if they want). During the passive concert, most teachers use a standard introduction: „Imagine you are in a concert hall in Paris, Rome….. as well as a standard conclusion: „I wish you a pleasant evening,

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a nice day tomorrow….. These are rituals that convey a feeling of security. Herr L. What happens after a passive concert? Mr A. Knowledge After the passive concert, the room is quiet. Most participants keep their eyes closed for a few more minutes and take their time in getting up and leaving the room. There is always a passive concert when a new unit is presented. Herr L. Is there a break between the active and the passive concerts? Mr A. Knowledge Yes, at least 5 minutes. When the input is quantitatively important, our brain needs at least this amount of time to assimilate everything. As our brains work associatively, time is needed to make all the necessary connections. Based on the research of Gutmann and Vanecek at the Bolzmann Institute in Vienna, we know that the first consolidation of information takes place during that space of time. During the first minutes after a presentation a higher protein synthesis activity can be found in the brain. This way,

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the passive concert supports, not only the above mentioned protein synthesis, but also optimizes memorisation. Herr L. What type of music is played here? Mr A. Knowledge Here, Baroque music of the 1660- 1750 period is played. The selected pieces are listed and the end of the text.

Herr L. Are there differences in the current passive concerts as opposed to the earlier?

Mr. A. Knowledge Yes, as you know, we now avoid drowsiness during the concert Herr L. One last question, if you will allow me, why is a foreign language text given with a mother tongue translation?

Mr A. Knowledge One of the principles of suggestopedia is security. When the translation is provided, the participant feels assured of always understanding everything Another reason, is the fundamental difference between first and second language acquisition. The first language is connected with the development of abilities and socialisation, in order to transfer these

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faculties from the first to the second language it is important to establish parallels between the two. As foreign language material is best memorised and recalled when it is meaningful, having „first language support“ actually enhances the process. When the second language is presented on its own, the learner is constantly concentrating on the meaning the new language, forging hypothesis and being forced into an artificial first language acquisition process, knowing all along that the teacher could give him the missing information and reassure him. Giving a translation at beginners‘ level especially, is a time saving, sure way to support learning.

Herr L. This is probably especially true for suggestopedic texts which deal with a vast amount of information. Mr A. Knowledge True, the amount also includes a high proportion of unknown words and structures. Dr. Lozanov proposes in the first chapter of a beginners‘ course 850 different structures. This gives the participants an overview of the language as various tenses, questions, negations, conditional sentences are presented. Without particularly concentrating on them, the participant is given an insight in the language structure and the possibility to compare first and second language. This approach,

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from the global to the detailed, helps distinguish the important from the less important, in contradistinction with a linear approach which first gives elements which will then form a whole, making it challenging to establish a hierarchy of linguistic importance. Herr L. What comes after the presentation phase? Mr A. Knowledge The so-called elaboration phase, which includes at least 70 % of the whole teaching time. We will talk about this next time. Herr L. Thank you very much. Goodbye

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BOARD GAME

2 Which three phases is the kaleidoscope split into?

4 Why is a preparation phase necessary?

8 Why should the teacher be in the classroom at least half an hour before

the session starts?

10 What does the lesson usually start with?

12 There are different types of preparation (warm-up) exercises. Name

some of them.

13 Which brain-gym exercises do you know?

14 What is a very effective way to “pick up” the students again?

15 Name the three sub-phases of the presentation phase.

16 What is the “Introduction”?

20 Which three aims has the Introduction got?

24 What is an “advance organizer”?

26 The introduction should only be loosely connected with the text story line.

Please interpret that statement.

30 Why should we use pictures / images in the presentation phase?

31 What are you supposed to do with the pictures / images you used in the

presentation phase?

34 Why is the active concert so important for beginners?

36 During which time period was ideal active concert music developed?

37 Which criteria are there for the pieces of music suitable for the active

concerts?

39 What is the purpose of dramatic music during the active concert?

40 Why should you tell the learner the name of the composer beforehand?

42 The teacher “surfs” with the music. Please interpret that statement.

45 Why should the teacher put the full bandwidth of the voice to use?

(chest voice, throat voice, head voice, mask voice)

49 Why should the teacher always pause between the different lines of the

text? (especially for beginners)

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50 Why should the teacher pause before bold / underlined words?

51 How long should each line be in a suggestopedic text?

53 The music is an active partner in the concert production. Please interpret

that statement.

55 Which other forms of reading active concerts do you know?

59 Should the teacher speak during the breaks in the music?

60 Does the teacher start reading as soon as the music starts?

61 What type of music is played when reading the passive concert?

64 How does the teacher read the passive concert?

67 The teacher usually uses a standard introduction before reading the

passive concert. Please tell one of these standard introductions.

69 Is there a break between the active and the passive concerts?

70 Why are the fast parts (allegros) also used for reading the passive

concerts?

72 What happens after the passive concert?

74 How does the teacher read the passive concert?

76 Why is a foreign language text given with a mother tongue translation?

77 What is the fundamental difference between the first and second

language acquisition?

78 How does the approach – from the global to the detailed - help the

learners?

79 How my per cent of the kaleidoscope does the activation stage include?

80 Here you are. You have reached the goal. Now you have got the

theoretical background knowledge about the presentation stage.