Summary

Earl W. Stevick Adapting and Writing Language Lessons… (1971)

Whenever we limit our attention only to the cultural area or only to the linguistic area, or to only one of them at a time, we do so at our peril. There is no language without meaning, and there is no culture without words. Nevertheless, this synopsis will violate that principle by concentrating entirely on the mechanics of speaking Thai. It is addressed primarily to native speakers of English who expect to live in Thailand, and gives a bird's-eye-view of the tasks they will encounter in their study of the language.
Source: Wikisource

Earl W. Stevick Adapting and Writing Language Lessons… (1971)

The most conspicuous—though not the largest—unit of Thai pronunciation is the syllable. In spite of some similarities, Thai syllables differ drastically from English syllables in the way they are organized. The most striking difference is that each Thai syllable has one or two of three possible 'tones,' and that the vowels and consonants of a syllable make up either one or two tone—bearing elements ('moras') . Among the consonants, where English has only a two—way distinction between p and b, or between t and d, Thai has a three-way distinction that causes trouble for English speakers.
Source: Wikisource

Earl W. Stevick Adapting and Writing Language Lessons… (1971)

In producing acceptable approximations to the five tone-combinations of Thai, it is not necessary for us to do anything that even the most tone—deaf of us does not do every day in speaking English. The problem lies not in the mechanics of controlling the pitch, but in the uses to which we are accustomed to put pitch distinctions. In English, we employ pitch to show where a given word is in the sentence, or to signal that we are asking a question, or to convey attitudes and emotions.
Source: Wikisource

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