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10412 - MSD > NDP3 > Flashcards

NDP3 Flashcards

1
Q

This program was developed by Pam Williams & Hillary Stephen

A

Nuffield Dyspraxia ProgrAM (NDP3)

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2
Q

In UK, dyspraxia therapy or apraxia therapy focuses on:

A

● Teach the child sounds they cannot make
● Teach the child to join sounds together in words, phrases, and sentences
● Improve overall tone, voice, intonation, rhythm
● Improve speech intelligibility

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3
Q

Strongest evidence exists for 4 treatment approaches (2018):

A

1) Dynamic Tactile and Temporal Cueing (DTTC): Strand et. al., 2006
2) Integrated Phonological Awareness Approach (IPA): McNeill et al., 2009
3) Nu eld Center Dyspraxia Program (NDP3): Williams & Stephens 2004
4) Rapid Syllable Transition Treatment (ReST): Ballard et al., 2010 (developed in Australia)

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4
Q

Nu eld Dyspraxia Program (NDP3) is a comprehensive, flexible assessment and treatment that provides:

A

○ An assessment procedure
○ A set of therapy procedures and techniques, to plan treatment for children with DVD/CAS
○ A large resource of pictures/materials to use in therapy

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5
Q

Principles of NDP3

A

● Based on motor learning skills approach
● Uses psycholinguistic principles (Stackhouse & Wells, 1997)
● Building accurate speech from the bottom up
● Multi-level, multi-target layered approach

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6
Q

The motor learning of the child is really considered as it starts with the very simple ones to the more complex

A

Working on speech (sounds and words) through a motor programming approach

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7
Q

NDP3: Motor Learning Skills Approach

A

● Working on speech (sounds and words) through a motor programming approach
● Small graded achievable steps
● Based on repetition and practice
● Utilizes cues and feedback
● Works from child’s strengths

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8
Q

T or F: Based on their research, patients should be given lots of practice to acquire the motor program for a particular speech sound. In this program, the patients are given approximately 100 opportunities to produce certain speech sounds or word targets over the 45-60 minute session.

A

True

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9
Q

Used to acquire skills by giving cues and feedback on technique

A

pre-practice phase

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10
Q

Used to develop generalization and retention by giving feedback on outcome (right/wrong) but not on performance and cues are reduced

A

Practice phase

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11
Q

T or F: In the Psycholinguistic approach, they assumed that there must be a story of information or a representation which serves as a basis for recognizing speech as well as generating speech output.

A

True

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12
Q

T or F: The representation would often include details of words, meaning which is the semantic representation, its sound structure, which is the phonological representation, and instructions for articulation which is the motor program.

A

True

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13
Q

are part of lexical representations, “Blueprint” of how to say a sound/word

A

Motor Programs

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14
Q

online process of creating change NB transitions/blending
tasks

A

Motor Programming

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15
Q

T or F: we start from bottom up so simple to complex words. If you have a faulty motor programming, what this program does is to erase all of those and start froom the bottom and it builds your speech skills from the simple ones to complex.

A

True

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16
Q

Role of Repetition/Drilling

A

● Child learns how to articulate new sound or word
● Accuracy is inconsistent/trial and error
● Repetition and sequencing allows child to develop consistent/stable production
● Contrastive sequencing allows child to maintain accurate production “under pressure”
● SLT can control this - distant -> closer contrasts

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17
Q

Contrastive sequencing-graded

A

ask the patient to produce this speech sound a lot of instances and then if that is stable enough, you’re going to teach the child that, okay we have to di erentiate this from the other speech sounds. You do that so that he would have a stable production and would learn how di erent this target is from the other sounds

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18
Q

It has to be maximally di erent.

A

Very distant contrast

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19
Q

Both of them are stops but /b/ is voiced

A

Least Distant

20
Q

Both of them are stops and are voiceless

A

Least distant

21
Q

Both of them are stops, voiceless, and this is the sound that the child uses to substitute for /k/.

A

Close Contrast

22
Q

Eg. Child who used to say “tea” for sea, but has recently learnt to produce “ sea”

A

Start with the contrast first, vowels: Repetitions: sea, sea, sea, sea
Vowel contest: sea-saw, sea-saw
Distant consonant contrast: sea-bee, sea-bee
Close consonant contrast: sea-tea

23
Q

NDP3: A Bottom Up Approach goals

A

Improve motor planning and programming “from bottom up, starting for the isolated speech sound to more complex syllable shape, then to sentences and more connected speech

24
Q

NDP3 is Bottom up because:

A

● (1) Start from what the child can produce (based on the result of the NDP3 Assessment)
● (2) Work in target sounds and/ or words that child cannot produce
● (3) Incorporate newly learned sounds or words into framework of current sets of sounds of words

25
Q

NDP3: A Multi-level, Multi-target Approach

A

Work in 2 or more levels at the same time, but with di fferent targets for each level

26
Q

Nu eld Dyspraxia Program: AIM

A

To support children with CAS and other motor speech disorders in building accurate motor programs for individual speech sound, syllables, and words of varying phonotactic complexity, through a fine-tuned therapy hierarchy and frequent repetition.

27
Q

Nu eld Dyspraxia Program: GOAL

A

● To produce functional speech
● To use motor programs within a contrastive phonological system

28
Q

NDP Approach (Building SKills from:)

A

Building speech skills from:
○ Single consonant and vowel
sounds
○ To words of increasing length and
complexity
○ To sentences and connected
speech

29
Q

NDP CRITERIA

A

Designed for 3-7 years old children
● The child should be able to :
○ Sit and attend
○ Attempt speech tasks and take feedback
○ Recognize pictures
○ Develop some “meta” skills regarding sounds, blending, and segmenting
- In the manual, some journals, and references, you can adjust for older or younger but you need to adjust your programs and activities.
● the child uses /t/ to substitute for /k/.

30
Q

Treatment Planning (stages)

A

○ Stage 1 - Early consonants, vowels, and CV words
○ Stage 2 - 1 and 2 syllable words (CVCV, CVC)
○ Stage 3 - later developing sounds, 2 AND 3 syllable words, clusters and some phrases
○ Stage 4 - later developing sounds, any word gaps, sentences and conversations

31
Q

how are you going to implement it?

A

1) start with selecting appropriate targets at di erent levels of the wall
2) select your targets based on the results of your assessment,
3) Identify your specific goals for the patient.
4) Identify the cues that would support the child in achieving your target.
5) Identify specific pictures/worksheets from the packet that you are going to use to facilitate your target goal
6) Choose games and tasks to encourage repetition and practice

32
Q

Represents consonants, vowels, and diphthongs

A

Sound Cue Pictures

33
Q

T or F: sound cue pictures - It is necessary early in therapy to teach the child to associate the sound-cue picture with sounds they represent

A

True

34
Q

Early Sound Making Sheets

A

● Explore sound production /m/, /b/, /ee/, /ah/, /oo/
● Placement for sound production /p/, /b/, /m/, /t/, /d/, /n/
● Voice worksheets and long vowels
- Help the child turn on the voice
● Replaced oromotor advice sheets

35
Q

Single Sounds and CV Words

A

● Begin by introducing 4-6 sound-cue pictures of consonants and vowels that the child can already produce spontaneously, or imitate.
● The selected sounds should be from di erent sound classes to facilitate retrieval of separate motor programs

36
Q

Can you find and post the card that say “oo”?
You can put in a flag when you say the sound

A

Play games to reinforce production and recognition

37
Q

Gradually introduce symbols for consonants and vowel sounds the child can already say

A

While continuing to reinforce previously introduced symbols at the beginning
Provide cues and feedback to ensure articulatory accuracy

38
Q

CV words

A

Introduce the pictures of any CV or VC words the child can already produce (functional aspect)
● Reinforce with games/activities

39
Q

Teaching New Sounds

A

Once the child is familiar with the number of consonant and vowels sound cue pictures and is able to produce them accurately and consistently, you have to teach one or more sounds that the child cannot produce spontaneously or imitate

40
Q

SLP should consider the following factors in teaching new sounds

A
  • Stimulability
  • Developmental approach vs Complexity approach
41
Q

If imitation is not possible in teaching new sounds

A

use various strategies to facilitate the production of the new sounds (phonetic placement techniques, visual, verbal, tactile, and kinesthetic cues, facilitative contexts)

42
Q

● Teach through elicitation ideas and support with oromotor and discrimination activities
● Accept “approximations” at the start then gradually refine and correct the productions
● Reinforce new sounds through games and incorporate into set of sounds the child can
already say

A

Teaching new sounds

43
Q

Introducing Sequnceing

A

Introduce contrastive sequencing (e.g., b s b s b s b s): when
○ New motor programs have been established
○ The child has produced at least 8 repetitions of the same sound during tasks

44
Q

How to Introduce Contrastive Sequencing with the Patient

A
  1. Ask the child to produce the target in a reduced rate
  2. Contrasts should be maximally di erent at first gradually move to fine contrast
  3. Gradually increase the rate of production, ad incorporate the rhythm and stress patterning (can be incorporated)
45
Q

If the child is unable to imitate the clinician’s model, facilitate the development of new CV words:

A

○ Combine 2 established motor programs (C+V = CV)
○ Use the transition worksheets. Present the sequence of a consonant and vowel, followed by the CV word created as they join

10412 - MSD (7 decks)

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