SCIENTIFIC (ACADEMIC) STYLE - раздел Иностранные языки, ПРАКТИЧЕСКАЯ ФОНЕТИКА АНГЛИЙСКОГО ЯЗЫКА 1. This Exercise Is Meant To Develop Your Ability To Hear And Reproduce The K...
1. This exercise is meant to develop your ability to hear and reproduce the kind of intonation used in a lecture on a scientific subject.
(a) Listen to the following lecture carefully, sentence by sentence. Pay attention to the way intonation helps the lecturer to establish a clear and logical progression of ideas as well as to direct the listeners' attention to the subject matter. Take notice of the fact that the lecturer's speed of utterance is determined by his awareness that his listeners may be taking notes of what he is saying.
"You will all have seen from the handouts which you have in front of you that I propose to divide this course of lectures on the urban and architectural development of London into three main sections, and perhaps I could just point out, right at the beginning, that there will be a good deal of overlap between them. They are intended to stand as separate, self-contained units. Indeed, I would go as far as to say that anyone who tried to deal entirely separately with the past, the present, and the course of development in the future, would be misrepresenting the way in which urban growth takes place.
Now by way of introduction, I'd like to try and give some indication of how London itself originated, of how developmental trends were built into it, as it were, from the very outset; and of how these trends affected its growth. It started, of course, not as one, but as two cities. The Romans built a bridge across the Thames at a point where the estuary was narrow enough to make this a practical proposition, and the encampment associated with this bridge grew up on the north bank of the river. The principal fort of this encampment was on the site now occupied by the Tower. Further to the west, at a point where the river was fordable, an abbee — the Abbee of Westminster — was founded, and the towns grew up side by side — one centred on the Roman camp, and the other on the Abbee.
Now in my next lecture I hope to demonstrate in detail that this state of affairs — this double focus, as we might
call it — was of crucial importance for the subsequent growth of London as a city."
(O. Davy. "Advanced English Course")
(b) Mark internal boundaries (pausation). Underline the communicative centre and the nuclear word of each intonation group. Mark the stresses and tunes. It is not expected that each student will intone the texts in the same way. Your teacher will help you and all the members of the class .to correct your variant. Make a careful note of your errors and work to avoid them.
(c) Practise reading each sentence of your corrected variant after the tape-recorder.
(d) Record your reading. Play the recording back immediately for your teacher and fellow-students to detect your errors.
(e) Listen to your fellow-student reading the text. Tell him what his errors in pronunciation are.
(f) Identify and make as full list as possible of scientific style peculiarities as they are displayed in the text.
2. This exercise is meant to develop your ability to introduce teaching material in class with correct intonation.
(a) Read the following extract silently to make sure that you understand each sentence.
"To the question: 'What is language?' many and varied answers have been given. Some linguists, fastening upon the phonetic aspect of speech, have defined language as being basically a series of sounds produced by certain human organs and received by others. Another school replies that since the main characteristic of language is meaning-fulness, and since a transfer of meaning can take place without the medium of sound, as witnessed by semaphoric or gestural systems of communication, the phonetic aspect of language is secondary to the semantic feature. To the grammarian, language is primarily a series of grammatical forms, roots, and endings. To the literary specialist, language is a series of words so arranged as to produce a harmonious or logical effect. To the lexicographer, language is fundamentally a list of words with their separate derivations, histories, and meanings. To the man in the street,
language is what he uses, quite unconsciously, to communicate with his fellow man. Obviously, these partial definitions are all correct. But precisely because they are ALL correct, the sum total of language amounts to something greater than any of them. Sounds in themselves do not constitute language; yet the spoken language consists of sounds. Meaningfulness may be achieved in a number of nonlinguistic ways, therefore meaningfulness alone does not constitute language; yet language, to be worthy of the name, must be meaningful. Grammatical forms and grammatical categories, taken by themselves, axe dead things, as will be attested by many former students who 'went through' Latin and French in certain educational institutions; yet language is characterized by their presence to the extent that there is no language, however primitive, that does not possess some system of grammar. Spoken and written language consists of separate words; but unless these words are arranged in certain sequences, they will not only fail to convey beauty or logic but will even fail to convey complete meaning. Lastly, a language that does not serve as a medium of communication is a traitor to its function."
(M. Pei. "The Story of Language")
(b) Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are fo be made prominent with. Mark the stresses ancP tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.
(c| Make an oral presentation of this text in class as if you were a university lecturer. Let the teacher and fellow-students listen to you and decide whether your lecture conforms to the required pattern. Introduce alterations in the text, if necessary, and use some hesitation phenomena to obtain a balance between formality and informality. It will enable you to establish a closer contact with the audience. Remember that the success of any kind of lecturing depends on your ability to do so.
3. Find texts dealing with various aspects of general linguistics,
phonetics, grammar, lexicology or literature and prepare
them for oral presentation in class as:
(a) a university lecture; (b) a micro-lesson at an institute; (c) a micro-lesson at school.
Take into account the suggestions given above. Let the teacher and members of the group act as your students or pupils.
4. This exercise is intended to develop your ability to hear and
reproduce the kind of intonation used in reading aloud scien
tific prose.
(a) Listen to the following extract carefully, sentence by sentence.
"In the last chapter it was argued that in order to be fully adequate a theory of style must be capable of application to both literary and non-literary uses of language. It was further maintained that this distinction between uses, even though in no sense an absolute distinction, is not a factitious one; and evidence was adduced to show that it is both real, and moreover, essential to the study of stylistic theory and method.
At this point, it becomes necessary as a preliminary exercise- to review some of the more influential ways in which the term 'style* has been used in the past. This review must be undertaken for two reasons: first, to ensure that the definition of style which it is hoped to arrive at in this book may be seen in a proper relation to other relevant definitions put forward in the past; and second, so that a number of theoretical confusions implicit in seme of those definitions may be identified and cleared from the path of argument.
Style has often been seen as some kind of additive by which a basic content of thought may be modified. Stated in a somewhat different way this view of style sees it as the variable means by which a fixed message may be communicated in a more effective — or, possibly, less effective — manner. The danger of too uncritical an assumption of these and similar notions of style is that they accept as axiomatic the possibility of distinguishing between a thought in some prelinguistic form and the same thought as it issues in words.
That individual writers or speakers may in certain circumstances bv. identified through specimens of their dis-* course has given rise to another highly influential notion of style — as a set of individual characteristics.
Taken to extremes, this view ends up by equating an individual with his style: the style is said to be the man."
(D. Davy. "Advanced English Course")
(Ы Mark internal boundaries (pausation). Underline the communicative centre and the nuclear word of each intonation group. Mark the stresses and tunes. It is not expected that each student will intone the texts in the same way. Your teacher will help you and all the members of the class tc correct your variant. Make a careful note of your errors and work to avoid them.
(c) Practise reading each sentence of your corrected variant after the tape-recorder.
(d) Record your reading. Play the recording back immediately for your teacher and fellow-students to detect your errors.
(e) Listen to your fellow-student reading the text. Tell him what his errors in pronunciation are.
(f) Make up as full list as possible of scientific style peculiarities as they are displayed in the text. Compare it with the lecture on a scientific subject given above. Identify and account for the differences.
5. This exercise is intended to develop your ability to read aloud scientific prose with correct intonation.
(a) Read the following text silenjly to make sure that you understand each sentence.
"Sociolinguistics studies the ways in which language interacts with society. It is the study of the way in which language's structure changes in response to its different social functions, and the definition of what these functions are. 'Society' here is used in its broadest sense, to cover a spectrum of prenomena to do with race, nationality, more restricted regional, social and political groups, and the interactions of individuals within groups. Different labels have sometimes been applied to various parts of this spectrum. 'Ethnolinguistics' is sometimes distinguished from the rest, referring to the linguistic correlates and problems
32?
of ethnic groups — illustrated at a practical level by the linguistic consequences of immigration; there U a language side to race relations, as anyone working in this field is all too readily aware."
(D. Crystal. "Linguistics")
(b) Split up sentences into intonation groups. Single out the communicative centre and the nuclear word cf each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between sentences and intonation groups.
(c) Read the texts aloud in class. Let the teacher and fellow-students listen to you and decide whether your reading is expressive enough to be easily understood without reference to the printed version.
(d) Make some alterations in the texts, if necessary, and
present them in class as micro-lectures.
6. Find texts dealing with various arts and sciences and prepare them for being read aloud in class. Ask your fellow-students to retell these texts in a manner appropriate for introducing teaching material.
Все темы данного раздела:
TO THE STUDENT
When a student can reproduce the natural flow of living speech he will certainly feel an artist's satisfaction. To achieve it three things are necessary: (1) to practise intelligently; (2) to unde
Chapter 1. THE ORGANS OF SPEECH AND THEIR WORK
In any language people speak (if they have no physical defects) using their organs of speech (Fig. 1).
••••-; Hard Palate
Fig. 1.
Larynx
Vocal Cords
The air stream released by the lungs goes through the windpipe and comes to the larynx, which contains the vocal cords
QUESTIONS AND TASKS
Now make sure that you can speak on these items:
1.The direction of theair stream released from the lungs.
2. Three different st
Chapter II. ARTICULATION AND BREATHING PRACTICE
In order to acquire correct pronunciation, to manipulate the organs of speech one is to be taught breathing technique. The first and the most important thing in any system of voice exercises is th
EXERCISES ON DEVELOPING DEEP BREATHING
1. [This exercise should be taken every morning and evening before an open window.] Stand straight with your hands on hips and shoulders back and down. Close the mouth. Now draw a slow
I. Exercises for the Opening Of the Mouth
1.(a) Keep the mouth closed with the lips pressed together (Fig. 2).
(b) Drop the lower jaw as low as possible. The mouth should be wide open (Fig. 3).
(c
Fig. 2. Fig. 3. Fig. 4. Fig. 5.
3. (a) Open the mouth as wide as possible.
(b) Close the mouth gradually in three equal times.
(c) Practise the exercise counting "four" (see Figs. 3, 5, 4, 2).
Fig 6. Fig. 7
3. (a) Press the lips, then make them neutral. Now round them. (b) Now slightly protrude the lips as for the Russian sound [y]. (c ) Take the position of the lips pressed together.
Fig. 10. Fig. 11.
10. (a) Take a thin sheet of paper and put it before your lips (Fig. 12, a).
(b) Press the lips together.
(c) Push air through the mouth as strongly as possible, pronouncing the
Exercises for the Tongue
1.(a) Open the mouth so that the separation of the jaws could be considerable and you could see the tongue.
(b) Put the tip of the tongue against the lower teeth (Fig. 13,
Fig. 14. Fig. 15.
5. (a) The mouth is wide open.
(b) Put the blade of the tongue on the teeth ridge.
(c) Push the air through the mouth very quickly so that the strong friction is heard.
(
IV. Exercises for the Soft Palate
1.(a) Take a mirror, turn your back to the light, open the mouth
wide, keep the tongue as low as possible and say "Ah", as if the doctor wanted to examine your t
Chapter I. SOUNDS AND PHONEMES
Speech sounds are grouped into language units called phonemes. A phoneme may be thought of as the smallest contras-tive language unit which exists in the speech of all people belonging to the sam
THE DEGREE OF NOISE
According to the degree of noise English and Russian consonants are divided into two big classes:
Class A. Noise consonants.
Class B. Sonorants.
A. In the production of
Main Principles of Classification of Consonants
According to the Degree of Noise
Class A. Noise Consonants
Class B. Sonorants
Vary:
1 .• In the manner
Classification of English Noise Consonants According to the Degree of Noise
Class A. Noise consonants
b, d.g.v, 0.z, 3,03
p, t. k, Г. 0. s.f.!f.h
According to th
THE MANNER OF ARTICULATION
The manner of articulation of consonants is determined by the type of obstruction. The obstructions may be complete, incomplete and momentary. When the obstruction is complete the organs of speech
Classification of the English Noise Consonants and Sonorants According to the Manner of Articulation
Noise Consonants
Sonorants
Occlusive
stops
(plosives)
Constrictive fricatives
Occlusive-constric
THE PLACE OF ARTICULATION
The place of articulation is determined by the active organ of speech against the point of articulation. There may be one place of articulation or focus, or two places of articulation or foci when
The Classification of English an Russian Foreiingual Consonants According to the Position of the Tip of the Tongue
Apical
Dorsal
Cacuminal
English
Russian
English
Russian
English
Articulation
Labial
Lingual
Glottal
Bilabial
English Stops
^~"-~~-^_^ According to the place —^_^ of articulation According ^~^~-^___^ to the force of articulation-^-^^^
Bilabial
Fore
Fig. 19.
Definition,[t, d] are occlusive, plosive, forelingual, apical, alveolar; [tj is strong and voiceless, [dj is weak and voiced, in final position it is partly devoiced.
Fig. 21
voice
Definition,[k, g) are occlusive, plosive, backlingual, velar; [k] is strong and voiceless, [g] is weak and voiced, in final position it is partly devoiced.
QUESTIONS AND TASKS
1. Why are the occlusive plosive consonants called 'stops'?
2. Define the stops according to the place of articulation.
3. How are stops divided according to the work of the vocal
Kg. 22. Fig. 23.
Definition,[f, vj are constrictive fricative, labio-dental; [f] is strong and voiceless, [v] is weak and voiced, in the final position it is partly devoiced.
Artic
Fig. 24. Fig. 25.
Articulation.1. The tip of the tongue is either close to the edge of the upper teeth or slightly projected between the teeth.
2. For [9] the vocal cords do not vibrat
Fig. 28.
Definition, [f,3] are constrictive fricative, forelingual, apical, palate-alveolar, bicentral; [Г] is strong and voiceless, [3] is weak <md voiced, in final positio
QUESTIONS AND TASKS
1. What consonant sounds are called 'fricatives'?
2. What fricatives are bicentral?
3. How are fricatives classified according to the place of articula-
tion?
4.
QUESTIONS AND TASKS
1. What consonants are called 'affricates' and why?
2. What is the main difference between occlusive and occlusive-constrictive consonants in the manner of releasing the obstruction?
English Sonorants
^ч. Place of ^•n. articulation
Manner of ^ч. articulation ^v.
Labial
Forelin-gual apical alveolar
Forelin-gual apical post
OCCLUSIVE NASAL SONORANTS
|m] occurs in all word positions, spelt "m, mm, mb, mn", eg mean, summer, seam, comb, autumn
Definition,
Definition.(1] is constrictive, lateral, forelingual, apical, alveo-l.ii.
Articulation. 1. The tip of the tongue is in firm contact with llie alveolar ridge.
If the word is formed of a verb, no [gj is pronounced, eg sing — «i/ii/w. han
Fig. 36. Fig. 37.
2. The soft palate is raised and the air goes freely to the mouth.
3. The sides of the tongue are lowered and the air can pass between them and the palate.
4. The vocal cords are
QUESTIONS AND TASKS
1. What is the main feature of sonorous consonants? Enumerate the English sonorants.
2. What advice regarding the position of the soft palate would you give to a fellow-student who
Chapter III. MODIFICATION OF CONSONANTS IN CONNECTED SPEECH
The complete articulation of a speech sound — a vowel or a consonant — when said by itself in isolation consists of three stages:
1. The on-glide stage during which the articulating
CONSONANT INFLUENCES CONSONANT
In Modern English it is mainly consonants that are assimilated. When the two adjacent sounds are consonants there occur most striking assimilative changes. Since the articulation of any speech sou
FUNDAMENTAL CONSONANT ALLOPHONES
Since all the allophones of the same phoneme differ according to the phonetic context in which they occur, it is necessary to give examples of those allophones which exhibit striking changes of ph
QUESTIONS AND TASKS
1. What is assimilation?
2. What features of the articulation of a consonant may be affected by assimilation?
3. Give three examples illustrating different degrees of assimila-
Fig. 45.
Definition,[d] is back, open (broad variant), rounded, short.
Articulation.This vowel is articulated with the mouth wide open and slight open lip-rounding
Fig. 46.
Definition,[э:] is back, open (narrow variant), rounded, long.
Articulation.The tongue is in the back part of the mouth. The back of the tongue is ra
Fig. 47.
Definition,[u] is back-advanced, close (broad variant), rounded, short.
Articulation.The whole body of the tongue is in the back part of the mouth. -The p
Fig. 49.
Definition,[з:] is central, mid (narrow variant), unrounded, long.
Articulation.The tongue is almost flat. The central part of the tongue is slightly high
Fig. 52.
Definition, [u:]is back, close (narrow variant), rounded, long. Articulation.The tongue is in ,the back part of the mouth. The back of the tongue is rather high in
QUESTIONS AND TASKS
1. Suppose that a fellow-student pronounces the Russian {и] in stead of the English (ij. Keeping in mind what you know about the articulation of the English vowel tell him what to do t
Ai, ay ei, ey
[a]
■ take, paper, made ea
- main, say eigh
■ vein, grey, they
great, break eight, neighbour
Fig. 53.
Definition. The nucleus of the diphthong is front, mid (narrow variant), unrounded.
Articulation. The nucleus is the vowel [ej (see p. 91). For the qiide the tongue moves upward in the di
Fig. 56.
The sound [зо] occurs in all positions of the word, eg орел, road, no.
Allophones.The nucleus of the diphthong [зо] is longer in the open syllable, it is shorter in
Fig. 57.
Definition.The nucleus of the diphthong is central, open (broad variant), unrounded.
Articulation.The starting point of the diphthong is between the back
Fig. 58.
Definition.The nucleus of the diphthong is the front-retracted, close (broad variant), unrounded vowel [i] (not [t]).
Articulation. The nucleus is the vowel [ij
Fig. 60.
Definition.The nucleus of the diphthong is back-advanced, close (broad variant), slightly rounded.
Articulation.The nucleus of the diphthong
English and Russian Vowels
^x The Part x. of the x. Tongue n^ Raised
The Height . of the Tongue X.
Front
Front-retracted
Central
Back-adva
QUESTIONS AND TASKS
1. How would your fellow-student probably pronounce the English diphthong [eij?
2. Suppose that a fellow-student pronounces the Russian sound combination [ajj instead of the English
QUESTIONS AND TASKS
1. Suppose your fellow-student pronounces the Russian [j] and [y] instead of the correct second elements in the English vowel sequences [aia, аиэ). What would you advise him to do in order to perf
Chapter V. MODIFICATION OF VOWELS IN CONNECTED SPEECH
' ->
REDUCTION
In English as well as in Russian vowels in unstressed syllables! are usually reduced. The laws of reduction, in these languages are not the
QUESTIONS AND TASKS
1. What phenomenon is called 'reduction'?
2. Name the sounds which are commonly found in the unstressed syllables.
3. In what kind of words do non-reduced vowels occur in unstre
Strong and Weak Forma
Words
Strong Forms
Weak Forms (quantitative reduction, qualitative reduction, elision of sounds)
Examples
С — consonant; "V — vowel 126
Table II, continued
Words
Strong Forms
Weak Forms
Examples
she
Jb
QUESTIONS AND TASKS
1. Mark sentence-stresses and underline all the content words in the sentence: 'I sent them a photo of the children.' What parts of speech are content words?
2. Mark sentence-stresses and
Chapter I. SYLLABLE FORMATION
A syllable is a speech unit consisting of a sound or a sound sequence one of which is heard to be more prominent than the others. The most prominent sound being the peak or the nucleus of a syllabl
Chapter II. SYLLABLE DIVISION
Syllable formation and syllable division rules appear to be a matter of great practical value to the language learner. They are especially important when it is necessary to know the numbeT of sylla
QUESTIONS AND TASKS
1. What is a syllable?
2. What sounds can form the 'peak' of a syllable?
3. What sonorous sounds are syllabic?
4. What are the two possible ways to pronounce a word with
Chapter I. MANIFESTATION OF WORD STRESS AND ITS LINGUISTIC FUNCTION
i ■ -■ ■ ........................... i
One or more syllables of a polysyllabic word have greater promin
THE DEGREES OF WORD STRESS
In English there are three degrees of word stress: stressed syllables (primary stress), half-stressed syllables (secondary stress) and weak or unstressed syllables. A la
THE POSITION OF WORD STRESS
Word stress in English as well as in Russian is free, in the sense that the primary stress is not tied to any particular syllable m all the words. But it always falls on a particular syllable of an
WORDS WITH PRIMARY AND SECONDARY STRESS
The secondary stress is manifested in polysyllabic words with the primary stress on the third or on the fourth syllable from the beginning, eg ,popu'larity, responsibility.
WORDS WITH TWO PRIMARY STRESSES
The following groups of words have two primary stresses:
1. Polysyllables with separable prefixes having a distinct ueaning of their own.
Negative prefixes un-, dis-, non-, in- (a
STRESS IN COMPOUND WORDS
Words composed of separable root morphemes are called compounds.
The spelling of compound words differs. They may be spelled as one word, with a hyphen or as two separate words. Among comp
WORD STRESS AND RHYTHM
All the above-mentioned words with two equally strong stresses are subjected to the influence of English rhythm in connected speech.
Thus in a double-stressed word the first element is we
THE DISTINCTIVE FUNCTION OF WORD STRESS
A relatively small number of words of the same morphological structure differ in the position of word stress. In this case the opposition of accentual structures differentiates the meaning. T
QUESTIONS AND TASKS
1. What factors create the effect of stress in the English words torment (n) ['to:ment] — torment (v) fto:'ment], concert (n) ['konsatl — concert fv) [kan's3:t] and in Russian
Intonation
Chapter I. MANIFESTATION OF INTONATION AND ITSLINGUISTIC FUNCTION
ii
The information conveyed by a sentence is expressed not only by proper words and gramm
Chapter II. BASIC INTONATION PATTERNS
THE ANATOMY OF INTONATION PATTERNS
It is generally acknowledged that voice pitch or speech melody and sentence stress or accent are the two main components of intonation. Though these ele
THE HEAD
The head in English is an extremely flexible segment. It stretches from the first stressed syllable up to (but not including) the nuclear tone.
Head patterns are classified into three majo
The Low Pre-Head The Low Pre-Nucleus
The Low Pre-Head may occur before any head and the Low Pre-Nucleus is usually heard before all the nuclear tones.
(b) If unstressed or partially stressed syllables are pronounced highe
Ie High Pre-Head The High Pre-Nucleus
The High Pre-Head usually occurs before descending and <iigh or medium level heads. The High Pre-Nucleus can be leard before almost any nuclear tone.
So the рге-heads may
Table of Notation in the Text
Pre-Heads
Heads
Nuclear and
Terminal
Tones
Tails
|~1 — the High
Pre-Head
I,J — partially
stre
EMPHASIS
Intonation groups and sentences can be made to sound more lively, more emotional and more emphatic by means of pitch, i.e. various sections of pitch-and-stress patterns, cf:
I ^didn't with
QUESTIONS AND TASKS
1. By means of what sections of pitch-and-stress patterns can intonation groups and sentences be made to sound more emphatic?
2. How can the High Pre-Head intensify the meaning of
CLASSIFICATION OF INTONATION PATTERNS
Different combinations of pitch sections (pre-heads, heads and nuclei) may result in more than one hundred pitch-and-stress patterns. But it is not necessary to deal with all of them because some p
INTONATION PATTERNS AND MEANING
This section provides the description of meanings and attitudes conveyed by the patterns of the eight pitch-and-stress groups with no reference to various sentence types. It should be pointed out
Pitch-And-SLress Groupe Usage
Low Fall
High Fall
Rise-Fall
Low Rise
High Rise
Fall-Rise
Rise-Fall
QUESTIONS AND TASKS
1. How are the patterns of Group I divided according to their usage?
2. Why can Patterns One, Two, Three be referred to the same group according to the expressed attitude?
3. What
Y1-- -Л1.--Л.1---У
QUESTIONS AND TASKS
1. Why do all the patterns with the Rise-Fall have occasional emphatic usage?
2. How do they all sound? Give your own examples.
3. Suppose you want to sound impressed, awed, smug
Level Head Level Head
eg Statements: I ,know it. (No Head)
I'll re^pair it as 'soon as I /Can.
(F. H.) It's "»all ,right. (H. L. H.) It's _, no trouble at ,all. (M. L. H.)
General questio
Scandent Head
eg Statements:
General questions:
Special questions:
Imperatives (requests):
Exclamations:
There's vno 'need t
Continued
Common Emphatic Usage
Pattern Four (L L. H.)
guarded, reserving some judgement, critical, disapproving, wondering, resentful; in
QUESTIONS AND TASKS
1. How are the patterns of Group IV divided according to their usage?
2. Give examples with every sentence type pronounced with Patterns One, Two, Three. Say what attitudes are conveyed in
Quot;Л1------- Л
eg Statements:
High Level Head Medium Level Head
I ""* don't revmember I'm a,fraid.
(H. L. H.) I _»d
QUESTIONS AND TASKS
1. What attitudes are conveyed by the speaker in phrases pronounced with Patterns One and Two?
2. If a speaker wants to contradict somebody, sound grumbling and reproachful, what pattern
Chapter 111. INTONATION PATTERNS AND SENTENCE TYPES
In this chapter we shall consider the effect of theintonation patterns in association with each of the five main sentence types: statements, special questions (very often called 'w
I. STATEMENTS
1. Statements are most widely used with the Low (Medium) Fall preceded by the Falling Head or the High (Medium) Level Head. In all these cases they are final, complete and definite, eg:
It
III. GENERAL QUESTIONS
1. General questions are most common with the low risincj tone preceded by the Falling Head or the High (Medium) Level Head. With these patterns they sound genuinely interested, eg:
B. Requests
1.Requests with the Low Rise preceded by the Falling or the High (Medium) Level Heads sound soothing, encouraging, per haps calmly patronising, eg:
-* Don't ,move
The falling-rising tone may be also treated as a more expressive variant I l he rising tone.
The terminal tone of the final intonation group is generally determined by the communicative sentence type and the attitudes conveyed by the speaker. Statements commonly sound ■ itti the Low
Adverbial Phrases
Adverbial phrases at the beginning of a simple sentence normally form a separate intonation group pronounced with the Low Rise or the Mid Level, eg:
> Yesterday | I "* stayed ^ in
Enumeration
Enumeration in simple sentences is represented by a number of homogeneous parts. Each of them is pronounced as a separate intonation group.
The terminal tone of the final intonation group
Disjunctive Questions
Disjunctive questions being simple sentences consist of at least two sense-groups represented by a statement (affirmative or negative) and a tag question (negative or affirmative), corresponding t
Direct Address
Direct address can stand in sentence initial, medial and final positions. In sentence initial position it commonly forms an intonation group pronounced with the Low Fall in formal, serious speech
Parentheses
Parentheses, consisting of a word, word combination or a clause show the speaker's attitude towards the idea expressed in the sentence, connect the sentence with another one or summarize what is s
Parentheses
Parentheses, consisting of a word, word combination or a clause show the speaker's attitude towards the idea expressed in the sentence, connect the sentence with another one or summarize what is s
COMPOUND SENTENCES
The sequence of tones in compound sentences consisting of two or more coordinated clauses depends on the degree of their semantic unity. If the non-final intonation group (a clause) is
COMPLEX SENTENCES
Complex sentences contain the principal clause and one or more subordinate clauses. The latter may follow the principal clause, precede it or break the main clause into two parts.
If the s
QUESTIONS AND TASKS
1. What determines the choice of the final terminal tone?
2. Explain the use of the low rising tone in the sentence:
'/Sometimes | I Vcome 'home xearly.'
What
QUESTIONS AND T.SKS
1. In what way are tie words in a sentence made prominent?
2. How is the promnence of words realized?
3. What is the mail function of sentence-stress?
4. Which is the mot
QUESTIONS AND TASKS
1. What is speech rhythm?
2. What are the characteristic features of English rhythm?
3. How does the English rhythm differ from Russian?
4. What is a rhythmic group?
Chapter I. GENERAL CONSIDERATIONS
Phonostylistics came into existence as an attempt to start bridging the gap between linguistic and extra-linguistic factors in analysing stylistic differentiation of oral texts.
Phonostyli
Words that Imitate Sounds Produced by Animals
RUSSIAN
ENGUSH
SPANISH
DANISH
JAPANESE
гав-гав
bow-wow
guau-guag
QUESTIONS AND TASKS
1. Speak on linguistic and extra-linguistic factors. What is the difference between them?
2. How did phonostylistics come into existence?
3. What does the term "phonostylisti
Chapter II. STYLISTICUSE OF INTONATION
Intonation plays a central role in stylistic differentiation of oral texts. Stylistically explicable deviations from intonational norms reveal conventional patterns differing from language to langu
Intonational Styles and Speech Typoliogy Correlation
Speech typology-
Intona- tional styles
Varieties of language
Forms of communication
Degrete of speeich preparedness
Pattern Two: (Low Pre-Head +) FalUng Head + High FaU (+ ТаШ
Statement
Attitude:final, categoric, complete, definite, involved, eg: Stimulus: It's his turn now. Response: I Iquite 'thought it was VMINE.
Pattern Six: (Low Pre-Head +) Scandent Head + Low Rise (+Tail) on
Pattern Seven: High Pre-Nucleus + Low Rise (+ Tail)
The attitudesare basically the same as those conveyed by Patterns 1—3, but the meaning is intensified.
Pattern Three: (Low Pre-Head +) Rising Head + High (Medium) Rise (+ Tail).
Special Question
Attitude:unpleasantly surprised, puzzled, sometimes disapproving, eg:
Stimulus: They behaved like a couple of stuffed dummies.
Pattern Four: (Low Pre-Head +) Climbing Head + High (Medium) Rise (+ Tail).
The attitudesare basically the same as those conveyed by Pattern Three but the meaning is intensified.
Special Question
Stimulus: Why didn't you write to t
Pattern Two: (Low Pre-Head +) Falling Head + Fall-Rise (+ Tail).
Statement
Attitude:grudgingly admitting, reluctantly or defensively dissenting, concerned, reproachful, hurt/reserved, tentatively sug? gesting, eg:
Stimulus:
Pattern One: (Low Pre-Nucleus +) Mid-Level (+ Tail) or
Pattern Two: (Low Pre-Head +) High (Medium) Level Head + Mid-Level (+Tail)
Attitude:conveying the impression of non-finality, expectancy, hesitation; some
QUESTIONS AND TASKS
I
1. What are the characteristic features of informational (formal) ( style? Analyse and read extracts exemplifying this style. Take ', into
Assimilation
1. This exercise illustrates some special pronunciation which the stops have When immediately followed by [n] or [m]. There is no sound at all between the stop and [n] or [mj. Learners must endeavo
Diphthongoids
1.Listen how the speaker on the tape reads the following words.
easy, eager, sea, tea, seem, please, meat, weak
2. Read the words yourself. Pay attention to the v
Diphthongs
(ei]
1.Listen how the speaker on the tape pronounces the following words:
aim, aid, day, bay, name, same, late, fate
2. Read the wor
MODIFICATION OF VOWELS IN CONNECTED SPEECH
Reduction
1. Transcribe the following words, paying particular attention to the location of the stresses and to the vowels in the unstressed syllables. Underline them.
hopeless, e
INFORMATIONAL (FORMAL) STYLE
1. This exercise is meant to develop your ability to hear and reproduce the kind of intonation used in informational style (news coverage).
(a) Listen to the following broadcast ne
DECLAMATORY STYLE
1. This exercise is meant to develop your ability to hear and reproduce the kind of intonation used'in reading aloud a piece of descriptive prose.
(a) Listen to the following text carefull
Those Evening Bells
Those evening bells! Those evening bells! How many a tale their music tells, Of love, and home, and that sweet time, When last I heard their soothing chime! Those joyous hours are passed away! And
Bonnie Bell
The smiling spring comes in rejoicing.
And surly winter grimly flies:
Now crystal clear are the falling waters.
And bonnie blue are the sunny skies;
Fresh o'er t
PUBLICISTIC STYLE
1. This exercise is intended to develop your ability to hear and reproduce the kind of intonation used in publicistic style (oratory and speeches).
(a) Listen to the following text carefu
FAMILIAR (CONVERSATIONAL) STYLE
All the exercises given here for Groups I—VIII are meant to develop your ability to reproduce intonation patterns in proper speech situations. Work at the conversational contexts in the way suggest
In this conversation in a cafe the woman is very cold and re served. Listen carefully and concentrate on what she says
Make up similar conversational situations and act them with your fellow-student.
— Do you mind if I sit here?
— No.
— Nice day today, isn't it?
— Yes.
Pattern Three. (Low Pre-Head +) High (Medium) Head + High
Fall (+Tail)
Model: What was the ~* First * rate.
show like?
Stimulus Response
When's the concert? Next Sunday.
It's going to be
Pattern Five. (Low Pre-Head +) Stepping Head + High Fall
(+Tail)
Pattern Six. (Low Pre-Head +) Sliding Head (High Falls) + High
Fall (+Tail)
Model: I can't find my vAre you ^sure you
purse anywhere. ^didn'tvleave it at
the office?
iAi
Pattern Five. (Low Pre-Head +) Stepping Head + High Fall
(♦Tail)
Stimulus Response
Do you think I should Mightn't it be better to wait?
ring him?
I hate the thought of Ought we to delay it
Pattern Four. (Low Pre-Head +) Stepping Head + Rise-Fall
(♦Tail)
Model: Jane was quite You can vhardly 'blame the
at a loss. л girl.
Stimulus Response
Are you fond of
Pattern Four. (Low Pre-Head +) Stepping Head + Rise Fall
(+Tail)
Stimulus Response
Why are you so angry with I don't think you're aware of
her? what she's done.
She refused to help us again. Wha
Pattern Five. (Low Pre-Head +) Stepping Head + Low Rise
(+Tail)
Model: I can't take all Well then Чаке as 'many
of them. as you, can.
Stimulus Response
Have you finished with I'll do it
Pattern Five. (Low Pre-Head +) Stepping Head + Low Rise
(+Tail)
Stimulus Response
I feel very tired these days. You mustn't work too hard at
night. I'll be seeing you on Tuesday. I shan't be coming here
Pattern Two. (Low Рте-Head +) Falling Head + Fall-Rise
(+Tail)
Model: One more game? You'llv miss your v train.
Stimulus Response
It shouldn't take long. It'll take at least a mon
Pattern Two. (Low Pre-Head+) Falling Head + Fall-Rise
(+ Tail)
Stimulus Response
You liked the film, didn't It's more interesting than I ex-
you? pected.
I shan't go with you. What made you c
Pattern Two. (Low Pre-Head +) High (Medium) Head + Mid
Level (+Tail)
Model: What shall we do?
Ring her > up f an
Adverbials
1.Listen how the speaker on the tape reads the following sen tences with adverbial phrases. Concentrate on sequence of tones. Imitate the reading. Practise reading them. B
Commands
1. Listen how the speaker on the tape reads the following com mands. Concentrate on their intonation. Imitate the reading.
(a) Fetch a chair, will you? Write it down, will you?
Direct Address
Listen how the speaker on the tape reads the following sentences with direct address at the beginning of the sentence. Imitate the reading.
Porter, will you see to my luggage, please? Pat
Direct Address
Listen how the speaker on the tape reads the following sentences with direct address at the beginning of the sentence. Imitate the reading.
Porter, will you see to my luggage, please? Pat
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