2. 1. Brainstorm a list of words you believe may relate to the study of speech and forensics. 2. Using the list of related words, formulate what you believe may be a definition of the course.

3. I saw Susie sitting in a shoe shine shop. Where she sits she shines, and where she shines she sits.

4.  Communication  Context  Generation  Group communication  Interpersonal communication  Intrapersonal communication  Mass communication  Meaning  Message  Multicultural  Nonverbal  Public communication  Speech communication  verbal Find each of the words above as they are explained on pages 1-15 in your textbook. On a separate piece of notebook paper write the words with a definition and the page number on which they were found.

5. “All The Woulda-Coulda-Shouldas Layin' In The Sun, Talkin' 'Bout The Things They Woulda-Coulda-Shoulda Done... But All Those Woulda-Coulda-Shouldas All Ran Away And Hid From One Little Did.” Shel Silverstein

6. Communication is sharing meaning by ____________ and _______________ messages. Meanings are assigned by __________; meanings change as ______________ change; shared meanings are never exactly the same. (Page 2)

7. The six dimensions of context are:___________, _____________, _______________, _____________,______________, and ______________. Page 8 The five levels of communication are: ___________, _____________, _____________, ______________, ______________. Page 12-13

8. Choose Role  Married Couple arguing  Two friends discussing a personal problem  Student Teacher conference Choose Context  In a crowded airport  With three other people in a car  Alone in a room How did the physical context affect the communications?

9. A Tudor who tooted a flute tried to tutor two tooters to toot. Said the two to their tutor, "Is it harder to toot or to tutor two tooters to toot?"

10.  Adaptors  Affect display  Channels  Connotative meaning  Decode  Denotative meaning  Diaphragm  Emblems  Encode  Feedback  Haptics  Illustrators  Kinesics  Larynx  Noise  Paralanguage  Perception  Pitch  Proxemics  Rate  Receiver  Regulators  Resonators  Sender  Symbols  Trachea  Vocal cords  volume Read pages 17-21 and write down definitions for the vocabulary words that appear on those pages.

11. `Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. “JABBERWOCKY” by Lewis Carroll (from Through the Looking-Glass and What Alice Found There, 1872)

12. 1. Paralanguage 2. Kinesics 3. Proxemics 4. Haptics 5. Appearance

13.  Adaptors  Affect display  Channels  Connotative meaning  Decode  Denotative meaning  Diaphragm  Emblems  Encode  Feedback  Haptics  Illustrators  Kinesics  Larynx  Noise  Paralanguage  Perception  Pitch  Proxemics  Rate  Receiver  Regulators  Resonators  Sender  Symbols  Trachea  Vocal cords  volume Write down definitions for the vocabulary words that appear on pages 22-33 (left column only).

14. Sing a song of sixpence a pocket full of rye, Four and twenty blackbirds baked in a pie. When the pie was opened the birds began to sing, Oh wasn't that a dainty dish to set before the king?

15. 1. View the assigned video and identify and write down what type of nonverbal communication is being used. 2. Discuss your results with a partner. Determine together what was happening in the video. Love Lucy - Chocolate Factory

16. Unique New York Toy Boat

17. Diaphragm Trachea Larynx Vocal cords Pitch Volume Rate Resonators

18. Hum at a comfortable pitch. Move the pitch slightly lower; pay attention to how your chest feels. Hum until you can feel the vibration in your chest. Continue humming once you do, attempting to increase the vibration. Next move the pitch slightly higher; pay attention to how your head feels. Let your mouth open. Hum until you feel the vibration in your tongue and lips, behind and above your mouth. Continue humming once you do, attempting to increase the vibration. Finally, return to your chest once more. Repeat the whole exercise, always ending with your chest in order to develop a full, luscious sound. Note: In this exercise, avoid tension at all costs. Breath frequently, and stop if you get light headed. Article Source: http://EzineArticles.com/1247564

19.  Sitting straight, place one hand on your belly and another behind your back opposite your hand on your belly. Breath in, attempting to move both hands out as far as possible (it takes a lot of strength to get your hand on your back to move; don't worry if it doesn't). This is belly breathing. Notice how it feels; this is how you want to breath when you speak in order to use your full lung capacity and get the fullest, strongest, and richest sound.  Exhale quickly, but make no sound as you do so. Sound is an indication of tension.  Breath in again. Now, when you exhale, say the first letter of the alphabet. Continue until you reach Z. As you progress through the alphabet, pretend that with each letter you are speaking to a target farther and farther away. By the time you reach the end, you should be very loud and strong. If you're still breathing right, you will be stronger than you could be breathing normally. Article Source: http://EzineArticles.com/1247564

20. The king was in his counting house counting out his money, The queen was in the parlour eating bread and honey The maid was in the garden hanging out the clothes, When down came a blackbird and pecked off her nose!