1. Integral Stimulation and Dynamic Temporal and Tactile Cueing DTTC
“Look at me for help”
Integral Stimulation is an articulation therapy involving imitation, auditory models, and visual models.
Developed by Robert Milisen, 1954
The child IMITATES utterances modelled by the SLP/SLT with attention focused on LISTENING while LOOKING.
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Copyright © 2011 Caroline Bowen

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Milisen’s listen + watch  do it
uses a bottom-up approach
works from short, phonetically simple utterances up to gradually more phonetically difficult stimuli
TACTILE cues and GESTURE cues are incorporated into the approach to encourage accurate articulatory gestures
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PROSODIC cueing methods such as MIT or contrastive stress are also used.
There is an emphasis – particularly early in therapy – on suprasegmentals
Word stress and the contours of sentences are emphasised early in treatment.
Functional communication is emphasised.
‘Don’t breathe on me Lucy’ ‘Let me have a turn’
‘I want one’
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4. Integral Stimulation / DTTC
For non-verbal children, with very severe CAS, Edythe Strand uses a variation of Integral Stimulation that she developed, called:
Dynamic Temporal & Tactile Cueing for speech motor learning (DTTC).
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DTTC is based on John Rosenbek and colleagues’ 1973 “Eight-step Continuum for Treatment of Acquired Apraxia of Speech”.
It allows for a continuous shaping of the movement gesture.
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6. Integral Stimulation/ DTTC
Steps in DTTC
Imitation Direct, immediate imitation of natural speech.
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7. 2. Simultaneous production with prolonged vowels (most support)
If the child can’t imitate, the SLP/SLT simplifies the task and moves to simultaneous production.
At this level the clinician says the utterance at normal volume with the child, very slowly with the addition of touch cues and/or gesture cues as required.
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Slowing the utterance by sustaining the vowel (“sea”  si:::::, not sssssea) usually helps the child because the task is easier.
It also affords the opportunity for the therapist to run a ‘visual check’, ensuring jaw and lip postures are correct. (no jaw slide / acceptable symmetry)
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9. 3. Reduction of vowel length
As the simultaneous production phase of therapy advances the rate of stimuli production is increased so that the child’s speech sounds more natural.
This is achieved by reducing vowel length.
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10. 4. Gradual increase of rate to normal
Practice continues at this level to the point where the child synchronises effortlessly with the therapist:
at normal rate
with normal movement gestures,
without silent posturing (groping).
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11. 5. Reduction of therapist’s vocal loudness, eventually miming
Using delicate timing the therapist is then in a position to reduce the vocal volume eventually reaching a point where the therapist is producing a ‘mime’, mouthing the utterance as the child actually says it.
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Careful!
Because of the intellectual closeness within the dyad this can be a tricky point in therapy. Some children will dutifully follow exactly what the adult is doing so that the two are miming at each other!
This is obviously not the goal!
Children may need explicit instruction to keep their voice ‘turned on’ even though the adult’s voice is ‘turned off’.
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The gesture and touch cues may still be needed at this point,
They will definitely be necessary in the next step:
The Integral stimulation method proper.
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14. The gesture and touch cues may still be needed at this point.
They will definitely be necessary in the next step:
The Integral stimulation method proper.
Recall that DTTC is a stepping stone
for low verbal or non-verbal children
with severe CAS
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6. Direct imitation
Ensure that the child is secure moving to this harder level in which he or she:
watches the adult’s face
while an auditory model is provided.
“Look at me for help”
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The child attempts to repeat the model and if successful does so many times. (MANY REPEATS!)
If the child is unsuccessful, the therapist may backtrack to the simultaneous model or silent mouthing/miming level.
Eventually all miming is faded completely, and the child directly imitates and ‘repeats’ targets numerous times before the final step is introduced.
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17. 7. Introduction of a one or two second S-R delay (least support)
Once the child is directly imitating the model with normal rate,
prosody he or she can vary,
and appropriate articulation,
the SLP/SLT inserts a new requirement in the form of a one or two second delay between the therapist’s stimulus and the child’s response.
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18. 8. Spontaneous production
Finally, the therapist elicits spontaneous utterances, using, for example:
QUESTIONS: ‘What is this called?
CLOZE TASKS: ‘Twinkle, twinkle __ __’
SENTENCE COMPLETION: ‘Mother elephant is big, her baby is ____’
GAMES: ‘What’s the time Mr Wolf?’ ‘Simon Says’, ‘I spy with my little eye ___’
STORY CONTEXTS and ROLE PLAYS
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The key to getting this right is the therapist’s informed observations of and sensitivity to what the child is ‘giving’ by way of responses.
The skill and flexibility involved in continually fine-tuning the hierarchy of stimuli and support provided to the child to enable him or her to imitate spontaneously are critical.
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This is especially so with the CAS population who have good days and bad days with their speech processing capacities.
Auditory (including prosodic), visual and tactile cues and the level of demand on the child are continually added and faded, dynamically, in each practice trial according to the child’s responses.
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21. Motor Learning Principles
The principles of motor learning are observed throughout. Phonotactic Therapy Because of its focus on syllable structure and metrical stress, phonotactic therapy has many ‘uses’ in intervention for CAS.
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