For many years the object of phonet.analysis was a short sentence(one sense-group). However, the analysis of larger text units( long complex sentences- Superphras.unit) contributed a lot to the treatment of speech R.
Prof.Antipova studied R. on the basis of larger text units. She worked out a dif.approach to the treatment of SP. She defines R- periodicity of similar and commensurable (ñîèçìåðèì.) text units. Similarity and commensurability are obtained by prosodic means such as: the pitch of the voice, the force of articulation and duration. So, SR- a complex prosodic phenomenon formed by all prosodic means + the R.structure of the text appears to be closely connected with its semantic structure for its various semant.units may at the same time become R.ones if they are similar and commensurable.
Sem.units in poetry(verse):foot, line ,stanza.R. was first described in poetics. The laws of versification included such means of rhythmic arrangement as meter, rhyme, lines, stanzas, lex.repetition, alliteration and some others. Foot – a stressed syl-l with the unstressed syl-s(called clitics) that either precede it(proclitics) or follow it(enclitics). Line-a graphic representation of one or two intonation groups, normally with an equal number of feet in them. Stanza-part of the poem with the fixed number of lines, in a classic verse with a patterned order of rhymes b/the lines.
Experiment.analyses have shown that the beginning of a line in any poetic text is generally marked by the tone maximum and the intensity max.The end of a line is marked by a tone min., intensity min., usually a falling tone, by a short pause.
Lines belonging to the same stanza usually have the same number of rhythm.groups. Stanza:
E.g. I `wandered `lonely `as a cloud
That `floats on `high o’`er(over) ↑vales and hills
When `all at` once I ↑saw a crowd
A `host of ^golden daffo,dils.
The beginning of each unit is brought out by maximal pitch and intensity values, while the end is accompanied by a relative drop of pitch and intensity, which is especially noticeable at the end of a line. A line normally finishes with slowing down of tempo and a pause; in case it coincides with end of stanza, the pause is longer.→major generalizations about R.units:
In prose we can single out semant.units: sense-group, sentence, superphras.unity. each of them may become a R.unit if it meets a requirements (similarity in prosodic organization).If any of sem.groups doesn’t display prosodic similarity then it can’t be regarded a rhythm.unit. a phrase or a sentence of text doesn’t display commensurability, for phrases usually vary in length. In such texts a phrase is not considered a rhythm.unit and usually a sense –group and a SPU show most stable regularity in their prosodic organization and are recognized as rhythm.units in prose. The major R.unit for all types of texts is a R.group; then in poetry-line, stanza; in prose- sense-group,SPU.
+( ïî Øåâ÷åíêî)Units of R. are style specific: in speaking or prose reading the basic R.units are: R.group, intonation group and a SPU. It was found, that a long sentence in prose which consists of a number of intonation groups and practically functions as a SPU falls into smaller periods uniting intonation groups by two or three. Practically identical units are named dif-ly in prose and verse. The smallest R.unit is foot(or R.group). Units of R. are actually units of meaning: there is correlation b/foot and word, intonation group and a clause, a speech paragraph and a theme.
Áèëåò 4
THE DEFINITION OF INTONATION. COMPONENTES OF INTONATION. STRUCTURAL AND FUNCTIONAL APPROACHES TO THE PROBLEM OF ITS COMPONENTS (28)
Broadly speaking, intonation is a complex unity of closely related prosodic means, which convey different intonational (logical) and emotional attitudes.
Intonation can show how close or loose the links between the parts çà a compound or complex sentence are, and which is the main clause. Much comment is given by phoneticians to the ability of intonation to change a statement into a question, and that also referred to as a gr-l meaning
The existing definitions of intonation differ to a very great extent. It manifests itself in:
- different number of components (from 1 to 9)
- a different inventory of components
The main reason for this can be seen in different approaches of linguists to the function of these components.