Outer Voices Research Articles

‘At sea with Lucas’: narrative case study of an early childhood educator faced with a critical incident / ‘En la mitad del mar con Lucas’: estudio de caso narrativo de una maestra de educación infantil ante un incidente crítico

The purpose of this article is to identify and understand the voices and I-positions of Francia, an experienced Chilean educator, in a critical incident that proved fundamental in her identity construction. The adaptation to a school institution in her novice professional development period as an early childhood educator emerges as a significant episode worth exploring. Through a narrative case study and the application of dialogical self-analysis tools, internal, external and outer voices are identified, like the I as someone postponed, the I as a protector, the I as a professional, the I as a collaborator and the school as an outer protective voice. This case highlights the tension between childcare and teacher self-care, revealing a transition towards professionalism. What stands out are collaboration and the need for professional learning in how to deal with critical situations, especially situations related to diversity, underscoring the importance of ethics and consideration of institutional contexts.

Implizite Theorie

The selection and evaluation of historical theoretical sources depend considerably on our interests and expectations. The importance of basso continuo remains underestimated today, while sources which seem to pave the way for chord-inversion, fundamental bass and “modern” harmony systems are often overrepresented. This article attempts to show that many didactic writings from the 16th to the 18th century contain an implicit theory, which can be highly useful today for practical exercises as well as for analysis. This implicit theory is built upon general concepts orientated towards the surface of composition and not towards hidden structural strata. The metaphor of a musical surface as contrasting to depth and height is derived from Gilles Deleuze’s philosophy and used as a global interpretation of the history of music theories. “Musical surface” here designates the intervallic design of multi-part structures, above all the design of the outer voices, demonstrated prototypically by examples from Henry Purcell’s Dido and Aeneas. The art of designing the musical surface serves as the main criterion of a composer’s craftsmanship in numerous treatises. The “theory” documented in these treatises has to be reconstructed today, as it is often not entirely verbalized. The most common didactic tool in these implicit theories is the exemplum. The practical use of exempla helps to transform an implicit into an explicit theory and as a result might also help to reconstruct historic teaching methods. This is exemplified by the discussion of passages from treatises by Christopher Simpson (A Compendium of Practical Musick, 1667) and Giovanni Paisiello (Regole per bene accompagnare il partimento, 1782). This practically oriented approach makes today’s didactics of historical musical styles similar to experimental archeology.

Inner and Outer Voices in Research: How Dialogical Approaches Can Enhance Knowledge Development in Mental Healthcare

This article contributes methodological reflections on how dialogical and reflective approaches can enhance many voices in research. An epistemological assumption in research with a participatory design is that knowledge can be developed by collaborative processes between researchers and individuals with lived experiences. The study was conducted by arranging a reflective process meeting with different participants: researchers and mental health service providers and users. Using reflective thematic analysis and an analytical perspective, it describes the reflective process as the tailoring of different voices, which is a way of facilitating research that enables different participants to contribute their experiences in a dialogical process. The findings show that reflective processes can encourage people to both listen and talk and, in that sense, have both inner and outer dialogues that endorse the use of different types of knowledge, including research and lived experiences, to create new understandings together. This can have an impact on both collaborative research and practice in mental health services.

Solidarity now? Other stories about researchers, otherness, and polyphony in research

We are three researchers within the field of mental health. For the past 3 years, we have collaborated with colleagues in Greece on evaluating the pilot project Refugee Outreach Mental Health Team. Part of our role has been to evaluate how refugees and asylum seekers experience the treatment and support offered by the team. The findings from the evaluation have been presented in a published research report and we have thereby “completed our task.” However, following the completion of the formal obligations, we have continued to dwell on the less outspoken dialogues and inner voices. Not only those of the participants, but also the ones of the researchers that are present before, during and after research interviews. Inspired by relational autoethnography, we share some “other stories” about how the research processes touched us deeply and how it has left traces in our minds and bodies long after the project completion. We reflect on how relational processes of polyphonic meaning-making can be used to develop deeper insights and knowledge as well as a call for action. We suggest that the sharing of other stories can provide new knowledge and new understandings of how knowledge can be developed. Our hope is also that it may serve troubling or evocative purposes, and encourage the development of dialogues by invoking inner and outer voices. Perhaps, it may even call for solidarity in others and ourselves.

‘Currer Bell’: Jane Eyre’s Alternative Proper Name

This essay reads ‘Currer Bell’ as an important alternative name for Jane Eyre which helped to convey an ambiguous sense of authorship and genre to the public at its initial publication. Through a close analysis of its discursive and narrative function, this essay will demonstrate how ‘Currer Bell’ worked as a curious name that helped to construct ambiguous subjectivities for both Charlotte Brontë and Jane Eyre. While this strange proper name worked as part of Jane Eyre’s realist project at first, it became a disrupting element to the book’s genre claim later. At the same time, Jane Eyre’s first-person narrative authority had been challenged by the outer voice of ‘Currer Bell’.

Laberinto, monstruo, espejo. In speculo nulla est redemptio

The importance of the labyrinth and the mirror in the history of culture has never ceased. This article reflects on what they agree on and what can be learned from them. The effort to determine where these myths converge brings me to the theme of the monster, which, however, is not always the same. In the article I point out the differences: the Minotaur represents power and is born alongside the labyrinth; the mirror monster, on the other hand, is inside the subject, and it is also an outer voice — an alter ego. Ethical consequences can be drawn from these observations.

Hidden Polyphony, Linear Hierarchy, and Scale-Degree Associations in Galant Schemata

Hidden Polyphony, Linear Hierarchy, and Scale-Degree Associations in Galant Schemata Gilad Rabinovitch (bio) This article examines the linear and hierarchical nature of galant schemata (Gjerdingen 2007).1 While Gjerdingen defines the schemata through multiple features sharing family resemblance, core scale degrees in the outer voices emerge as their principal feature. Subsidiary elements such as the High- and High- create a halo of polyphonic-melody projections that may accompany the core scale degrees of the schemata. I examine this subsidiary feature in detail, arguing that the typical mid-century hierarchy between the principal and subsidiary layers may orient us as music analysts as we decipher W. A. Mozart’s high-classical musicianship. My analytical explorations revolve around the opening phrases from Mozart’s aria “Dies Bildnis ist bezaubernd schön” from The Magic Flute and from his keyboard concerto K. 488/ii. I explore the associations that galant schemata create between principal and subsidiary scale degrees, metric position, and the layers of hidden polyphony. While these relations are most stereotyped in mid-century galant music, they may help us to unscramble Mozart’s ornate melodies. In order to explore this hierarchy, I revisit the diminution patterns for an adagio in skeletal notation offered by Quantz and speculate on the implicit knowledge encapsulated in them.2 I also compare the patterns of diminutions on a tritone-resolution (a recurring element in many galant schemata) as it is embellished [End Page 114] in Quantz’s treatise and in Francesco Durante’s Partimenti diminuiti (n.d.). I argue that galant schemata are not as fuzzy as Gjerdingen presents them. Articulating their hierarchy more clearly and charting the associations between principal and subsidiary scale-degree identities, meter, and compound melody is a requisite preliminary step before we can hope to revisit in earnest the needlessly thorny dialogues between schema theory and linear analysis. Introduction In discussing psychological accounts of a story schema, Robert Gjerdingen wonders rhetorically whether the formula “once upon a time,” omitted from a group of three woodcutter’s tales, is an integral part of the “woodcutter” schema. Gjerdingen suggests that familiarity with fairy tales in general affects the perception of the story despite the omission, which leads him to the following statements: First, it suggests that individual exemplars of a schema may not contain all the features that define the schema. Second, it demonstrates that a schema may have defining features that are not overt, in the sense of articulated words or phrases. Third, it indicates that defining features may specify a temporal location or other relational attributes. And fourth, it leads to the conclusion that the notion of levels of structure is an oversimplification. In particular, “Once upon a time” is both subordinate and superordinate to the sentence in which it may appear—subordinate as part of a particular sentence, but superordinate as an important feature of the entire repertory.3 Gjerdingen thus summarizes some of his main claims about schemata: they cannot be reduced to a defining essence or to a list of criteria, and they do not represent structural reduction.4 Human categorization is based on family resemblance involving multiple features, rather than [End Page 115] strict lists of necessary and sufficient conditions. Thus, Gjerdingen’s reliance on fuzzy definitions of categories is cognitively motivated.5 Yet Gjerdingen’s “core” scale degrees are de facto the central feature of the schemata and I will argue below that they are commonly associated with a secondary layer of scale degrees. By focusing on the multiplicity of features, Gjerdingen obscures general melodic behaviors. Gjerdingen eschews grand theoretical or historical explanations in favor of individual microhistories and microtheories of individual schemata, some of which may have different peaks in their prevalence and typicality. For instance, the schema peaks in the 1770s, whereas Vasili Byros’s Le–Sol–Fi–Sol peaks in the 1790s. Gjerdingen estimates that all schemata reach their zenith around 1765.6 My article takes a more macrotheoretical approach, speculating on scale-degree behaviors in eighteenth-century music across the family of galant schemata. As a schema theorist, I do appreciate the minutiae of the microhis-tories and microtheories of Gjerdingen and others.7 To be more precise, I particularly...

音楽の構成に関する研究 : "マイ ウェイ"の曲にみる動機と外声の処理について

音楽の構成に関する研究 : "マイ ウェイ"の曲にみる動機と外声の処理について

Submerged Urlinien, Shadow Urlinien, and Urlinie Play in the Left-Hand Melody Piece

Abstract Piano pieces with the principal melody in the left hand pose interesting challenges for Schenkerian analysis, which generally favors outer voices for the components of the Ursatz. In the left-hand melody piece, the accompaniment is positioned above the melody, and bass lines may not be literally present. Middleground sketches of such pieces often featured a submerged Urlinie, which is a fundamental line that is positioned in an inner voice of the work’s texture (after Schachter 1994). These pieces also quite frequently involve “shadow Urlinien,” which are potentially viable fundamental lines in an upper voice that are perceptually weaker than Urlinien positioned in the principal melodic register. “Urlinie play” describes the analytical and phenomenological interplay between two potential fundamental lines, such as a submerged Urlinie and a shadow Urlinie. The analyses in this article examine aspects of Urlinie play in left-hand melody pieces by Schumann, Massenet, Beethoven, and Chopin, and describe that play in terms of four narrative categories: shadowing, role reversion, denial, and competition.

Exploring Michèle Roberts’ Imagined Voices in The Walworth Beauty

The Walworth Beauty (2017) is Michèle Roberts’s haunting new novel, which links historical facts with imaginative fiction. Set in central London, the Anglo-French feminist writer’s novel explores certain Victorian women’s lives, lives which are simultaneously connected with those of twenty-first century men and women. A researcher from the nineteenth century, Joseph Benson, and a retired lecturer and writer from today, Madeleine, develop their stories in different times but in similar locations around a Walworth cul-de-sac and other London sites. Past and present, north and south London link to uncover the enigmatic accounts pictured by the protagonists of this sensuous work of fiction. Inspired by Henry Mayhew’s fourth volume dedicated to the villains, the poor and the prostitutes of the Victorian era, Michèle Roberts narrates the story that emerges from their unrecorded words, putting these women’s voices and personal testimonies on paper. Walking the streets of London will connect Joseph and Madeleine, two flâneurs who are witnessing and feeling the different pathways they encounter. The inner and the outer voices of the protagonists establish a dialogue between the man and the woman that celebrates human connection.

When Composers Draw: Personalized Music, Formalized Thought

MUSICAL BACKSTORIES IN HONOR OF JOHN RAHN LYNNE ROGERS STILL REMEMBER THE FIRST TIME I saw the sketch page shown as Example 1. I was a graduate student at the University of Washington working on my M.A. thesis under the supervision of Professor John Rahn. The thesis presented an analysis of the first movement of Igor Stravinsky’s Dumbarton Oaks Concerto (1937–38) and emphasized my modest—but, to me, exhilarating—discovery: a contrapuntal technique on which I bestowed the unfortunate name “phrase-staggering.” Upon first hearing the term, John remarked dryly that it brought to mind images of drunks lurching down a street; however, I persisted in using the label and he kindly refrained from describing other similarly entertaining scenes. Phrase-staggering can occur in passages in which the texture is organized into two or more instrumental layers that express relative independence from each other through their pitch organizations and other features, including rhythm, motivic content, and register. Such textures of superimposed, independent layers constitute a hallmark of Stravinsky’s compositional practice throughout his career and often yield passages of complexity and tension. Phrase-staggering is a specific relationship among such superimposed layers. It occurs when two or I 138 Perspectives of New Music more independent layers with intersecting time spans proceed from the same centric pitch class or pitch-class set to a different centric pitch class or pitch-class set that serves as the goal for all layers, and when at least one such layer does not reach the new goal simultaneously with the others. One such passage occurs early in the first movement of Dumbarton Oaks and produces in three bars after rehearsal 2 (R2+3) what is perhaps the Concerto’s first shocking pitch conflict between Ab (in clarinet in Bb) and An (in horns, violins, and violas).1 To someone who had studied tonal counterpoint and four-part writing, composing harmonically separate layers with skewed arrivals at their goals seemed counterintuitive. I wondered how Stravinsky had created the phrase-staggered passages in Dumbarton Oaks. Thus, I contacted the Dumbarton Oaks Research Library and Collection to purchase a microfilm of Stravinsky’s sketches and a draft of the work, which are housed at the Dumbarton Oaks estate in Washington, D.C. When the microfilm arrived, I notified John and we went with great anticipation to a microfilm reader in the music library. As we spooled through the film, John suddenly pointed to an area on one of the pages of sketches. That’s when I saw my theory of phrase-staggering come to life not only as an analytical conception of the sounds of the published score but also as part of Stravinsky’s compositional process. I included a photograph of this sketch page in my M.A. thesis; however, because the thesis is unpublished and not generally available, the sketch page is reproduced here as Example 1.2 EXAMPLE 1 (FACING PAGE): SKETCH PAGE IN STRAVINSKY’S HAND FROM SIXTEEN PAGES OF SKETCHES FOR HIS DUMBARTON OAKS CONCERTO HELD AT THE DUMBARTON OAKS RESEARCH LIBRARY AND COLLECTION. THE TWO SKETCHES FOR THE PASSAGE AT R28 OF THE PUBLISHED SCORE APPEAR ON THE SECOND THROUGH NINTH STAVES FROM THE TOP© Dumbarton Oaks Research Library and Collection, Rare Book Collection, Washington, D.C. EXAMPLE 2: TRANSCRIPTION OF STRAVINSKY’S TWO SKETCHES FOR THE PASSAGE AT R28 OF HIS DUMBARTON OAKS CONCERTO. NOTATIONS IN BRACKETS ARE THE AUTHOR’S, ADDED FOR EASE OF READING Musical Backstories: In Honor of John Rahn 141 A TALE OF TWO SKETCHES The area to which John drew my attention on the sketch page is located on the second through ninth staves from the top and traverses most of the page’s width, excluding the fragments primarily in sixteenth notes to the far right on staves one through four. The region of focus comprises two sketches, one directly below the other, which are likely the earliest notated versions of the passage at R28 in the published score. The fourvoice , chorale-style passage serves as a transition from the first movement, with its established Eb centricity, to the Bb-centric second movement.3 COUNTERPOINT IN THE OUTER VOICES What John and I...

Musical Backstories In Honor of John Rahn

MUSICAL BACKSTORIES IN HONOR OF JOHN RAHN LYNNE ROGERS STILL REMEMBER THE FIRST TIME I saw the sketch page shown as Example 1. I was a graduate student at the University of Washington working on my M.A. thesis under the supervision of Professor John Rahn. The thesis presented an analysis of the first movement of Igor Stravinsky’s Dumbarton Oaks Concerto (1937–38) and emphasized my modest—but, to me, exhilarating—discovery: a contrapuntal technique on which I bestowed the unfortunate name “phrase-staggering.” Upon first hearing the term, John remarked dryly that it brought to mind images of drunks lurching down a street; however, I persisted in using the label and he kindly refrained from describing other similarly entertaining scenes. Phrase-staggering can occur in passages in which the texture is organized into two or more instrumental layers that express relative independence from each other through their pitch organizations and other features, including rhythm, motivic content, and register. Such textures of superimposed, independent layers constitute a hallmark of Stravinsky’s compositional practice throughout his career and often yield passages of complexity and tension. Phrase-staggering is a specific relationship among such superimposed layers. It occurs when two or I 138 Perspectives of New Music more independent layers with intersecting time spans proceed from the same centric pitch class or pitch-class set to a different centric pitch class or pitch-class set that serves as the goal for all layers, and when at least one such layer does not reach the new goal simultaneously with the others. One such passage occurs early in the first movement of Dumbarton Oaks and produces in three bars after rehearsal 2 (R2+3) what is perhaps the Concerto’s first shocking pitch conflict between Ab (in clarinet in Bb) and An (in horns, violins, and violas).1 To someone who had studied tonal counterpoint and four-part writing, composing harmonically separate layers with skewed arrivals at their goals seemed counterintuitive. I wondered how Stravinsky had created the phrase-staggered passages in Dumbarton Oaks. Thus, I contacted the Dumbarton Oaks Research Library and Collection to purchase a microfilm of Stravinsky’s sketches and a draft of the work, which are housed at the Dumbarton Oaks estate in Washington, D.C. When the microfilm arrived, I notified John and we went with great anticipation to a microfilm reader in the music library. As we spooled through the film, John suddenly pointed to an area on one of the pages of sketches. That’s when I saw my theory of phrase-staggering come to life not only as an analytical conception of the sounds of the published score but also as part of Stravinsky’s compositional process. I included a photograph of this sketch page in my M.A. thesis; however, because the thesis is unpublished and not generally available, the sketch page is reproduced here as Example 1.2 EXAMPLE 1 (FACING PAGE): SKETCH PAGE IN STRAVINSKY’S HAND FROM SIXTEEN PAGES OF SKETCHES FOR HIS DUMBARTON OAKS CONCERTO HELD AT THE DUMBARTON OAKS RESEARCH LIBRARY AND COLLECTION. THE TWO SKETCHES FOR THE PASSAGE AT R28 OF THE PUBLISHED SCORE APPEAR ON THE SECOND THROUGH NINTH STAVES FROM THE TOP© Dumbarton Oaks Research Library and Collection, Rare Book Collection, Washington, D.C. EXAMPLE 2: TRANSCRIPTION OF STRAVINSKY’S TWO SKETCHES FOR THE PASSAGE AT R28 OF HIS DUMBARTON OAKS CONCERTO. NOTATIONS IN BRACKETS ARE THE AUTHOR’S, ADDED FOR EASE OF READING Musical Backstories: In Honor of John Rahn 141 A TALE OF TWO SKETCHES The area to which John drew my attention on the sketch page is located on the second through ninth staves from the top and traverses most of the page’s width, excluding the fragments primarily in sixteenth notes to the far right on staves one through four. The region of focus comprises two sketches, one directly below the other, which are likely the earliest notated versions of the passage at R28 in the published score. The fourvoice , chorale-style passage serves as a transition from the first movement, with its established Eb centricity, to the Bb-centric second movement.3 COUNTERPOINT IN THE OUTER VOICES What John and I...

Ventriloquation and ghostwriting as responses to oppression in therapy

AbstractBackgroundPeople coming to therapy as part of their recovery from torture may choose not to speak or write about their experiences, yet the process of seeking asylum requires that they must hand over their life stories for a true–false adjudication with potentially life and death consequences. When people have been silenced and speaking has become dangerous, there are major ethical challenges for the activist practitioner who, along with the person who has experienced torture, sees the importance of stories not only being understood and shared in ways which are factual but which contain truth.MethodsI share my experiments with writing as a form of inquiry, specifically ghostwriting and ventriloquation.FindingsThese have the effects of (1) moving the therapeutic process into a collaborative inquiry between the client, an asylum seeker, and me as both counsellor and expert witness; (2) letting fictionalised tellings of ‘real life’ reveal the hidden and complex life stories of clients and counsellors and (3) sharing stories which would otherwise remain hidden and risk perpetuating oppressive practices.Implications for practiceGhostwriting and ventriloquation offer the practitioner‐researcher ways of speaking from a first‐person position, from ‘within’ experience rather than a distanced ‘about‐ness’ position. In this dialogical writing, I use actual and imagined inner and outer voices to enable the sound of talk and thought to be reflexively and empathically heard and felt by readers. Relational ethics are considered in how to imagine the other and manage ownership of stories without reproducing oppressive practices.

Influence of melodic emphasis, texture, salience, and performer individuality on performance errors

We investigated the influence of melodic emphasis, musical texture, musical salience, and performer individuality on the distribution and frequency of errors in keyboard performance. Eight performers recorded different interpretations of two short Baroque organ pieces of contrasting texture (homophonic versus polyphonic style). Melodic emphasis affected the distribution of performance errors according to the location of the part intended as melody, whereas musical texture influenced the type of errors. The effect of musical salience was examined by inviting 16 performers to record a Bach organ fugue. Error rates were lower for notes belonging to recurring musical motives than for non-motivic passages, and for outer voices compared to inner voices. These results are consistent with error detection studies showing that errors in inner voices or unfamiliar melodies are less perceptually salient, suggesting that the error likelihood is inversely related to a note’s degree of perceptual and musical salience. Across all three pieces, error patterns were more consistent in within-performer comparisons than between-performer comparisons of recordings of the same piece, implying that error patterns are indicative of individual differences in the interpretation of musical structures.

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

In tonal music, patterns of tension and resolution form one of the core principles evoking emotions. The experience of musical tension and resolution depends on various features of the music (e.g., dynamics, agogics, melody, and harmony); however, the relative contribution of different features to the experience of tension is less clear. To investigate the influence of different features on subjectively experienced musical tension, we compared continuous ratings of felt musical tension for original and modified versions of two piano pieces by Mendelssohn and Mozart. Modifications included versions without dynamics and without agogics as well as versions in which the music was reduced to its melodic, harmonic, or outer voice components. Additionally, we compared tension ratings with a loudness model. Tension ratings for versions without dynamics, versions without agogics and without dynamics, and outer voice reductions correlated highly with ratings for the original versions for both pieces. Tension rating correlations between melodic or harmonic reductions and original versions, as well as loudness and original ratings, differed between pieces and appeared to depend on the relative importance of the feature in the respective piece. In addition, qualitative analyses suggested that felt tension and resolution depend on phrase structure, local harmonic implications, and global syntactic structures of the pieces. Altogether, results indicate that discarding expressive features such as dynamics and agogics largely preserves tension-resolution patterns of the music, whereas the contributions of harmonic and melodic structure depend on the way in which they are employed in the composition.

The Inner and Outer Voices of Conservative Pragmatism

The Inner and Outer Voices of Conservative Pragmatism

Rehearing Machaut's Motets

The extant fourteenth-century contrapunctus manuals are concerned almost exclusively with counterpoint in two parts, but one treatise, “Quicumque voluerit duos contrapuncti,” sheds light on three-voice composition and lays the groundwork for a refined classification of sonority types in Guillaume de Machaut's nineteen three-voice motets. Building initially upon Sarah Fuller's work, the proposed schema introduces a more nuanced approach to categorizing the intervallic content of consonant and dissonant sonorities. Moreover, by calling attention to the outer voices of certain sonority types, the classification highlights salient structural and aural differences. A systematic study of sonority usage in Machaut's motets also reveals his preference for particular combinations of intervals over others.An examination of passages from several motets illustrates the classification's potential. A discussion of Motet 7's opening describes the relationship between the underlying contrapunctus and various sonority types, consonant and dissonant, and advances a broader definition for the directed progression. An anomalous progression in Motet 18 suggests that the careful study of sonority may contribute to our current understanding of motet chronology. An analysis of several passages from Motet 4 illustrates how the proposed nomenclature may offer a more nuanced understanding of musical syntax, particularly at phrase endings.

Inner and outer voices in the present moment of family and network therapy

Dialogue in the polyphony of inner and outer voices in the present moment of family therapy is analysed. In Western Lapland a focus on social networks and dialogues in the meeting with families has proved to be effective in psychotic crises.

The Theory and Practice of Chromatic Wedge Progressions in Romantic Music

While theorists in the past decade have increasingly directed their attention to various voice-leading practices in nineteenth-century harmony, with few notable exceptions they have generally neglected the topic of contrary chromatic progressions. This article investigates and categorizes divergent chromatic wedge progressions that exploit recurring patterns of either even or odd intervals between outer voices. Segments of varying length may be extracted from these models and successively transposed to form a complete descending chromatic octave in the bass. Numerous analyses of extended wedge progressions are drawn primarily from the mature works of Wagner and Tchaikovsky, two composers particularly fond of this device.

Helping Learners To Develop an Effective L2 Inner Voice

This paper suggests that learners of a second or foreign language are rarely helped by teachers or materials to develop an L2 inner voice and it makes the following claims: • Their L 1 inner voice plays a vitally important role in helping people to understand and communicate with themselves and with their world outside. • The structure, syntax and lexicon used by the L1 inner voice are distinctively different from those used by the L 1 outer voice. • L2 learners do not typically develop an effective L2 inner voice. • L2 learners would benefit considerably from developing an effective L2 inner voice as soon as possible in the learning process. • L2 learners can be helped to develop an effective L2 inner voice by their teachers and by their learning materials