Тема: «Сочетания согласных звуков в речи. Различные типы ассимиляции»

МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ

Для обеспечения

контролируемой самостоятельной работы студентов (КСР)

по учебной дисциплине «Практическая фонетика»

Для специальности 1-02 03 07 Иностранный язык (английский). Дополнительная специальность 1-02 03 07-03 Иностранный язык (английский). Технология (обслуживающий труд). 2-й курс

Всего КСР- 14 часов, 3 семестр Из них: ПЗ – 14 ч.

Материалы подготовлены: преподавателями кафедры Козляк Е.В., Абибак О.А., Романовичем С.С., Пытель О.П., ст. преподавателем Манкевич Ж.Б. (в соответствии с Положением о контролируемой самостоятельной работе студентов БарГУ, утверждённым 26.06.2012 № 01-16)

 

Барановичи, 2012 г.

Тема: «Сочетания согласных звуков в речи. Различные типы ассимиляции»

I. Краткая аннотация

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме: «Сочетания согласных звуков в речи. Различные типы ассимиляции». Комплекс заданий составлен в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель: совершенствование слухо-произносительных навыков.

Задачи: углубить теоретические знания, развивать память, закрепить навыки идентификации, анализа и соблюдения в речи звуковых явлений.

II. Тематический план

2 курс, 3 семестр.

Тема «Сочетания согласных звуков в речи. Различные типы ассимиляции».

III. Список основной и дополнительной литературы.

Основная литература

1. Карневская, Е.Б. Практическая фонетика английского языка: Учеб. / Е.Б. Карневская, Е.А Мисуно, Л.Д. Раковская; Под общ. ред. Е.Б. Карневской. — 2-е изд. — Минск: «Симон», 2005. — 400 с.

Дополнительная литература

2. O’Connor, J.D. Better English Pronunciation/ J.D. O’Connor. – Cambridge, 1997.

 

IV. Информационный блок.

Combinations of English consonants in speech are characterized by close co-articulation and different types of assimilations.

All assimilations are defined according to several main criteria:

1. The direction of the influence:

a. Progressive assimilations (when the preceding sound influences the following one)

b. Regressive assimilations (when the following sound influences the preceding one)

c. Double (reciprocal) assimilations (when we observe mutual influence of both sounds)

2. The aspect of influence:

a. Assimilations affecting the place of articulation. As a result one of the contacting consonants changes its original place of articulation. (eg. Alveolar consonants are replaced by their dental allophones)

b. Assimilations affecting the manner of articulation. As a result one of the contacting consonants is pronounced a bit differently in the given cluster in comparison with its original characteristics. (eg. Sonorant [r] becomes fricative)

c. Assimilations affecting the work of the vocal cords. As a result there is some devoicing of the following sound. (There’s no regressive assimilation according to this aspect)

d. Assimilations affecting the position of lips. As a result one of the adjacent consonants is labialized (or lip-rounded).

1. Loss of plosion

When two plosive consonants having the same place of articulation, are in contact within a word or at a word junction, there is a complete loss of plosion of the first consonant, i.e. the obstruction is removed and a plosion is heard only after the second consonant.

e.g.: Midday, big girl, deep purple, back gate, bad times. What time? What day?

When the contacting plosives have different places of articulation (pt, tk, db, gd) the obstruction of the first consonant is not removed until the articulation of the second consonant has started. The release of the first consonant is, therefore, very weak, and there is a perceptible plosion only after the second consonant. Thus, the phenomenon of the loss of plosion actually takes place in any cluster of two plosive consonants.

2. Nasal plosion

At the junction of the plosive consonants [t, d, p, b, k, g] with the nasal sonorants [m, n] the articulation of the sonorant starts when the articulation of the plosive consonant is not yet finished. As a result, instead of removing the obstruction in the mouth cavity, the air stream passes through the nasal cavity producing the effect of a nasal plosion.

Eg. – shouldn’t, wouldn’t, meet my friend.

3. Lateral plosion

At the junction of a plosive consonant with the lateral sonorant [1] the plosion is produced during the pronunciation of the sonorant as the air stream passes along the sides of the tongue, lowered for the articulation of [1]. This phenomenon is known as lateral plosion:

e.g.: place, blow, glance, kettle, I'd like to see you tomorrow.

4. Loss of Aspiration.

English voiceless plosive consonants [p, t, k] are pronounced without aspiration in the position after fricative [s]. Eg.: spider, stone, sky

5. Combinations of plosive and fricative consonants

When a plosive consonant precedes a fricative consonant within a word or at a syllable or word boundary (juncture) it has its release during the pronunciation of the fricative. This phenomenon is the result of close co-articulation of adjacent consonants in English and is called fricative plosion (release):

e. g.: let's, what's, kinds, upside, stops, walks.

6. Alveolar consonants before [θ, ð]

At the juncture of the alveolar consonants [t, d, n, 1, s, z] and the interdental consonants [θ, ð] regressive assimilation affecting the place of articulation is observed: the alveolar consonants are represented by their dental variants (allophones).

Eg.: ninth, sixteenth, about the text.

7. Combinations of consonants with [w]

Consonants preceding [w], especially in a stressed syllable, are lip-rounded (labialized), i.e. regressive assimilation affecting the position of lips takes place.

Eg.: twist, quarter, switch, dweller.

When the sonorant [w] is preceded by a voiceless consonant there is also some devoicing of the sonorant (progressive assimilation effecting the work of the vocal cords). The devoicing is especially strong after [t, k] in a stressed syllable and is weaker in unstressed syllables and at a syllable or word boundary. Thus in the clusters [tw, kw, sw] double (reciprocal) assimilation takes place.

Eg.: twenty, quiet, sweet

8. Linking [r]

When a word ending in [ə] (including [Iə], [еə], etc.), [ɑ:], [ɔ:] or [з:] is immediately followed by a word beginning with a vowel, the sound [r] is very often inserted at the end of the first word joining it to the next one.

When the spelling of the word ends in the letter "r" (or "-re"), the inserted г-sound is called the linking [r]. When there is no "r" in spelling, the inserted r-sound is called the intrusive [r] (e.g., the idea [r] of it).

Learners of English are generally not recommended to use the intrusive [r], while the linking [r] is recognized as a typical feature of the English Standard pronunciation. Notice, however, the absence of linking [r] in such "inconvenient" word sequences as 'a roar of laughter', 'an error of judgment'.

9. CONSONANT CLUSTERS WITH [r]

Combinations of voiceless consonants with [r] - [tr, pr, kr, str, skr, θr, fr, sr]

In the clusters of voiceless consonants with the sonorant [r] complete or partial devoicing of the sonorant takes place — progressive assimilation affecting the work of the vocal cords.

The sound [r] is completely or almost completely devoiced when it is preceded by a voiceless plosive consonant [p, t, or k] in a stressed syllable: train, pride, cry.

In an unstressed position, at a word boundary or when [p, t, k] are preceded by [s] or some other fricative consonant the devoicing of [r] is partial: waitress, temperature, spread, quite right.

A similar effect (of partial devoicing) both in stressed and unstressed syllables is produced when [r] is preceded by a fricative consonant: friend, Geoffrey, shrewd, three, fruit.

Combinations of alveolar and inter-dental consonants with [r] – [tr, dr, \\ θr, ðr]

In some of these clusters assimilation affecting the place and the manner of articulation can be observed. Thus under the influence of the post-alveolar [r] the alveolar consonants [t, d] in the clusters |tr, dr| become post-alveolar. The clusters [tr, dr] are actually characterized by double (reciprocal) assimilation since the sonorant [r] is modified as well: under the influence of the noise consonants [t, d] it becomes fricative, and after |t|, as was mentioned above, it is also devoiced.

10. ABSENCE OF ASSIMILATION IN SOME CONSONANT CLUSTERS

Clusters of alveolar and labio-dental fricatives with interdental sounds and those of labio-dental fricatives with the bilabial sonorant [w] at syllable and word junctures present special difficulty for learners of English because these consonants are only slightly different in their articulation and perception and also because such contrasts as [v — w], [s — θ ] etc., are not to be found in Russian or Belarusian. In pronouncing these clusters care should be taken to avoid assimilation according to the place or manner of articulation, which means that the quality of the adjacent sounds should be preserved.

11. Elision of [t, d, h]

Elision means the dropping of a sound or sounds, either within a word or at a junction of words. Elision is a feature of rapid colloquial speech, while formal speech tends to retain the full form of words under the influence of spelling.

One of the most typical examples of elision is the omission of [t] or [d] between two other consonants: friends [frenz], mostly [məƱslI].

Another example is the dropping of [h] in pronouns and auxiliaries. Pronouns with the initial [h] and the auxiliaries "have, has, had" commonly lose [h] when they are unstressed within an utterance. [h] is pronounced in these words when they are initial in an utterance or when they are stressed:

The people have gone. [ðə 'pi:pl əv gon]

She gave him his breakfast.

It took him half an hour. But: He is going away. [ hI Iz 'gəƱIɳ əweI]

It must be remembered that elisions of consonants in consonant clusters are not always permissible. In general, clusters of two identical consonants at a word junction must not be reduced by elision. The two consonants should be run together smoothly without a break.

Eg.: what time, with this, clean knife

 

V. Учебно-методический блок.

1.Повторите все звуковые явления.

2.В парах подготовьте презентации звуковых явлений и звуковых упражнений:

- Loss of Plosion and Nasal Plosion [1, p.p. 47-48].

- Lateral Plosion and Loss of Aspiration [1, p.p. 48 – 50].

- Alveolar Consonants before Inter-dental and Linking [r] [1, p.p. 51, 55].

- Consonant Clusters with [r] [1, p. 52].

- Consonant Clusters with [w] and Elision [1, p. 53, 57-58].

- Absence of Assimilation [1, p.p. 54-55].

3. Подготовьте выразительное чтение упражнений Ex.4, p49, Ex.2, p51-52, Ex.3, p52-53, Ex.2, p53, Ex.2, p54, соблюдая правильность артикуляции звуков и все типы ассимиляций [1].

 

VI. Вопросы для самоконтроля.

Answer the following questions about different types of assimilations.

1. How are English consonants modified in the position before sonorants [w] and [r]?

2. How is the sonorant [r] modified when combined with different consonants?

3. Explain the difference between complete and partial Loss of Plosion. Give examples.

4. Explain the phenomena of Nasal and Lateral Plosions.

5. What are the principles of pronouncing plosive consonants and fricative [s]?

6. In what consonant clusters do we observe no assimilation? How should such clusters be pronounced?

7. What happens to different consonants in their combination with inter-dental sounds [θ, ð]?

8. In what cases are English words linked together in the speech flow with the help of the sonorant [r]?

9. In what cases do we observe stronger (and weaker) assimilations?

10. When is it possible (and when is it not) to omit sounds in speech?

VII. Контрольный блок.

1. Prepare reading for a mark of Ex. 2, p. 56 (both texts) [1]

2. Do the test in a written form.

Final Test.

I. Краткая аннотация.

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации контролируемой самостоятельной работы студентов по теме: «Особенности фразового ударения в английском языке» углубленного курса практической фонетики английского языка. Комплекс заданий, направленный на достижение поставленных целей и задач КСРС, составлен в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель – совершенствование ритмико-интонационных навыков.

Задачи:

1. Изучить особенности распределения фразового ударения в английском языке.

2. Повторить правила произнесения функциональных (английских) слов в речи.

3. Развивать умение постановки фразового ударения в речи.

II. Тематический план.

2 курс, 3 семестр.

Тема: «Особенности фразового ударения в английском языке»

IV. Информационный блок.

Вопросы для самоконтроля.

1) What’s the peculiarity of the English language from the point of view of utterance-stress?

2) What English words are considered to be functional?

3) What is peculiar about the second group of functional words?

4) What English functional words are never reduced?

 

V. Контрольный блок.

I. Краткая аннотация

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСРC по теме «Влияние ритма на ударность слов во фразе». Комплекс заданий, направленный на достижение поставленных целей и задач КСРC, разработан в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель темы − развитие умения ритмической организации английской фразы в процессе коммуникации.

Задачи:

§ углубить теоретические знания студентов об особенностях влияния ритма на ударность слов во фразе;

§ развивать умение грамотно организовывать структуру фразы с точки зрения ритмики в процессе говорения;

§ развивать память, логическое мышление и воображение студентов.

 

II. Тематический план

2 курс, 3 семестр

Тема: «Влияние ритма на ударность слов во фразе»

III. Список основной литературы:

1. Карневская, Е.Б. Практическая фонетика английского языка: Учеб. / Е.Б. Карневская, Е.А Мисуно, Л.Д. Раковская; Под общ. ред. Е.Б. Карневской. — 2-е изд. — Минск: «Симон», 2005. — 400 с.

 

Список дополнительной литературы:

2. Лебединская, Я. Б. Фонетический практикум по английскому языку /Я.Б. Лебединская. — М.: Междунар. отношения, 1978. — 176 с.

Фономатериалы

1. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course.

 

IV. Информационный блок

V. Учебно-методический блок

1. Изучите теоретический материал по теме «Влияние ритма на ударность слов во фразе».

2. Ответьте на вопросы:

Ø Why is there a tendency to alternate stressed and unstressed syllables?

Ø Do rhythmic groups have even number of syllables?

Ø Is there a tendency to stress consecutive words in an English utterance?

Ø What phenomenon is known as the influence of rhythm on utterance-stress?

Ø Why do many English words have two stresses?

Ø How do English words with two stresses behave in speech?

Ø Which stress – secondary or primary – is usually lost or suppressed in speech?

 

3. Выполните тренировочные упражнения 1-5 [1, с. 115-117], используя аудиозапись.

4. Прослушайте аудиозапись приведенных ниже текстов несколько раз. Расставьте интонационную разметку.

***

I. An absent-minded man was travelling by train. Suddenly he began to search all his pockets and looked very upset. One of his fellow-passengers in the compartment asked him:

- What's the trouble?

- It's my ticket. I can't find it anywhere.

- Well, no need to be upset, you'll certainly find it. Then another passenger said:

- You'd better find the ticket or you'll be in trouble if the inspector comes.

- Oh, it's not that, - answered the absent-minded man, – but I don't know where I am going.

***

II. Proverbs and Sayings

Sit in your place and none can make you rise.

We can live without our friends, but not without our neighbours.

There is no smoke without fire.

5. Выполните упражнения 1 и 2 [1, с. 118-119].

VI. Контрольный блок

I. Краткая аннотация.

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме «Basic Intonation Patterns of English». Комплекс заданий, направленный на достижение поставленных целей и задач КСР разработан в соответствии с программой по дисциплине «Практическая фонетика».

Цель темы – способствовать развитию умений использовать различные интонационные структуры в устной речи

Задачи:

§ формировать умение практической реализации ритмических структур в речи;

§ совершенствовать слухо-произносительные навыки студентов;

§ развивать память, мышление, внимание;

 

II. Тематический план.

2 курс, 3 семестр.

Тема: «Basic Intonation Patterns of English»

 

Фономатериалы

2. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course.

 

IV. Информационный блок.

The number of actual utterances produced by native speakers of English is obviously unlimited. But they can be reduced to a comparatively small list of basic intonation patterns (also called pitch-patterns or contours).

The word “basic” is used to denote several ideas:

- Meaningfulness (the replacement of one pattern by another causes a change in the meaning of an utterance) E.g. – ‘Like to have some ׳ ice-cream to˚night.

- Typical character (the patterns are pronounced and used in much the same way by all educated English speaking people)

- The patterns are associated with a complete communicative unite.

The discrimination of basic intonation patterns relies primarily on the directional type of nuclear pitch change (the rising, falling patterns). Within each of the 4 patterns there’s a further division according to the combination of the nuclear tone with the Head or absence of Head.

The meaning of the intonation patterns (contours) is mostly the sum total of the meanings of the nuclear tones and the heads used in them.

While describing and analyzing the basic contours 2 points should be made clear:

1. The semantic effect of an intonation pattern depends to a degree on the type of the utterance it is used in. The meaning of the pattern may coincide with the communicative nature of the sentence-type (e.g. – finality and assertiveness of the fall with a statement, the interrogative character of a rise with general questions, etc.) In this case the pattern will be regarded as typical for this sentence-type and will be called normal. On the contrary it may not coincide and will be called not-normal. The word “not-normal” here means some additional effect or connotation leading to a modification of the communicative meaning of the sentence-type (e.g. – implicatory statements, insistent or skeptical general questions, friendly special questions, etc.)

2. Intonation patterns differ in the expressiveness of their meaning, which is proportional to the expressiveness of their form. (An utterance with a Scandent Head in combination with any nuclear tone is more expressive and is suitable for a lively conversation while an utterance with a Stepping Head is not so expressive and is suitable for a businesslike talk. Utterances with a Rising-Falling Tone are more colorful than those with a simple Falling Tone)

According to this principle all intonation patterns are subdivided into emotionally neutral and emotionally colored.

VI. Контрольный блок.

Тема: «COMPOUND TUNES»

I. Краткая аннотация.

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации контролируемой самостоятельной работы студентов по теме: «Составные тональные контуры» углубленного курса практической фонетики. Комплекс заданий, направленный на достижение поставленных целей и задач КСР, составлен в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель – формирование ритмико-интонационных навыков употребления составных тональных контуров в эмоционально-окрашенных диалогах.

Задачи:

1. Изучить модально-эмоциональные характеристики предложенных интонационных структур.

2. Систематизировать понятийный аппарат по теме.

3. Развивать умение организации и функционирования предложенных интонационных структур в связной речи.

II. Тематический план.

2 курс, 3 семестр.

Тема: «Составные тональные контуры»

IV. Информационный блок.

COMPOUND TUNES.

Expressiveness of speech is often the result of using more than one kinetic tone in an intonation group. Intonation groups having more than one kinetic tone are called Compound Tunes.

e.g. I’ve ˈ done ‵ nothing but ‵ worry.

The most common types of compound tunes are:

High Rise + High Rise Low Rise + Fall Fall + Fall-Rise Fall-Rise + Fall Fall + Fall

High Rise + High Rise – typically occurs in General questions. It gives them a feeling of surprise or incredulity. The same feeling can be expressed by the High Irregular Prehead before the Emphatic High Rise, but this compound tune has a rather more friendly effect.

e.g. Compare: ¯ Aren’t you ˝ ready yet? ˊ Aren’t you ˝ ready yet?

A compound tune may contain more than one High Rising tone in the Head. This intonation pattern is often used in questions addressed to children. e.g. ˊWon’t you ˊwait for your ˊsister?

Low Rise + Fall – usually gives a feeling of:

ü mystification and puzzlement to questions; ‚ Why didn’t he ‵ wait?

ü persuasiveness to statements and imperatives; ‚ Go and ‶ see him.

ü wonderment to exclamations. ‚ How an ‶ noying!

Fall + Fall-Rise – usually serves to give special emphasis. The Fall-Rise in the Nucleus is very often of a low emphatic variety, which has a more apologetic note than the High Fall-Rise, especially in statements. e.g. I ‵ don’t think he ought to be ‚angry.

Imperatives with this compound tune often have a suggestion of reproachfulness.

e.g. ‵ Don’t make so much ‚fuss about it.

Fall-Rise + Fall – serves to emphasize and to give a sense of contrast to some word or words coming earlier than the Nucleus. Such compound tunes are milder in feeling because of the Fall-Rise in the Head.

e.g. – Will you make another attempt?

– I’d `ˊrather ‵ not.

Fall + Fall – gives emphasis to or expresses a contrast on some prenuclear items. This compound tune often imparts a feeling of: insistence to special and general questions; dogmatism to statements; energy to imperatives; extra emphasis to exclamations.

e.g. Why ‶ ever didn’t you ‶ say so be ‵ fore?

We must ‶ tell him and ‶ worn him im ‵ mediately.

‶ Don’t ever ‶ do that a ‶ gain. ‵ What a ‵ wonderful sur ‵ prise!

 

VI. Контрольный блок.

Transcribe the dialogue “Cross Words, prepare a good reading of the dialogue [2, p. 328].

Тема: “Prosodic Co-ordination and Prosodic Subordination”

 

I. Краткая аннотация.

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСРС по теме «Prosodic Co-ordination and Prosodic subordination». Комплекс заданий, направленный на достижение поставленных целей и задач КСРС составлен в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель темы – совершенствование ритмико-интонационных навыков.

Задачи:

- углубить знания студентов об интонационных особенностях английского языка;

- учить студентов правильному акцентному оформлению фраз;

- учить студентов передавать различную стилистическую окраску речи в зависимости от речевой ситуации;

- развивать логическое мышление, память, воображение студентов

- сформировать способность студентов применять усвоенные знания в практических целях.

 

II. Тематический план.

2 курс, 3 семестр.

Тема: Prosodic Co-ordination and Prosodic Subordination.

IV. Информационный блок.

 

Prosodic Co-Ordination and Prosodic Subordination

The degree of prominence of each of the intonation-groups depends on the semantic relations between the adjacent parts of an utterance. These may be classified into relations of:

a) equality,

b) inequality

c) mutual dependence.

The first type implies a relatively equal degree of semantic importance of the adjacent parts which is often associated with their relative semantic independence. It means that each of them can exist separately.Such tone-sequences can be called coordinative.

eg. It is 'very ^vgenerous of you, | but you 'must be ^vcareful.

The second type means a kind of relationship where one of the two parts is semantically dependent, in other words: it requires either an obligatory continuation or a preceding part containing more important information. These are subordinative tone-sequences.

eg. I shall 'have to 'take `these, | if there is no ˏchoice.

Co-ordinative and subordinative tone-sequences often correlate with grammatical co­ordination and subordination. At the same time semantic relations between the parts of an utterance in oral speech are not strictly bound to the grammatical structure. Thus, co-ordinative relations may often be observed in complex sentences, whereas parts of a compound sentence may sound as unequal in their semantic weight.

The third type - relations of mutual dependence - is intermediate between the first and the second. Both groups are equally important as far as the information message is concerned, yet neither of them can be isolated. Such utterances are frequently characterized by contrastive comparison and parallelism of the lexical and syntactical structure of the adjacent groups, which are symmetrically balanced as a result,

eg. Where there is a ´wish | there is a ^`way.

Since the semantic relations between the parts of a spoken utterance are always reflected in its intonation (prosody), it is possible to identify the same types of prosodic relations between the adjacent intonation-groups.

 

I. Co-ordinative Relations.

One of the specific features here is similarity of nuclear tones in both groups, i.e. tonal reduplication or synonymous tones.

It must be stressed that similarity does not only concern the direction of the nuclear pitch-change. The nuclear tones must also coincide in the width of the pitch interval. The latter feature is most significant,

e.g.: `Yes, `certainly.

We must `do it | without de`lay.

A relevant feature of co-ordinative sequences is also similarity of prenuclear pattern, particularly, the pitch height of the head,

e.g.: I 'couldn't ^{`</sup>see him | as I was in a 'great <sup>`}hurry.

The following combinations of nuclear tones are typical of this kind of prosodic relationship.

1. High (Mid) Fall | High (Mid) Fall || Low Fall | Low Fall

Both parts of an utterance sound decisive, complete and final. Prosodically each group may exist independently. The pattern is used when it is desired to give more emphasis and individuality to both groups, e.g.: We 'told him to _ˎstop | and he im'mediately _ˎdid so.

2. High (Mid) Fall | Rise-Fall

The Rise-Fall in the second group, besides the definiteness of a falling tone, gives a note of either mockery or impatience, or some other kind of emotional colouring according to the context in which it occurs.

e.g.: I was at a ^{`</sup>loss | and ˌthought you <sup>´`}knew what was ˌcoming.

 

3. High Rise | High Rise

This combination occurs mostly when two general questions are asked in succession, their semantic value and the speaker's attitude being identical,

e.g.: ˈDoesn't it ´cost˙ more | and ˈisn't it ˙less a´musing?

4. Low Rise | Low Rise

This sequence is used when an afterthought is added to a perfunctory statement which means keeping the same casual attitude throughout the utterance,

e.g.: He ˌlooked very ˏbusy | and ˌdidn't say a ˏword.

5. Fall-Rise | Fall-Rise

The sequence Fall-Rise + Fall-Rise is used when the two adjacent parts of an utterance contain some implication without being contrasted to each other,

e.g.: I'll 'do it a^vlone | and 'don't need 'anybody's ^vhelp.

II. Subordinative Relations

The most significant feature of prosodic subordination is inequality of the nuclear pitch intervals, i.e. the first interval is wider than the second, or vice versa.

When the nuclear tones are of the same type (tonal reduplication) the difference in their width is very easy to recognize and reproduce. In the case of nuclear tones of an opposite direction, (e.g. a fall in the first group and a rise in the second, or vice versa) it is more difficult to catch.

A point of importance here is that the effect of semantic prominence produced by particular nuclear tones may be different due to the specific inherent meaning of a kinetic tone. Thus a falling tone - final, decisive, complete — is generally associated with greater prominence than a rising tone, which implies incompleteness, non-finality or tentativeness, even though the pitch-change intervals themselves may be the same width. This seems to be an objective cue for the notion of prosodic subordination.

The identification of inequality of the adjacent intonation-groups is facilitated by the difference in the width of the pitch-range of the whole group, the initial pitch-level of the prenuclear part being lower and the general pitch-range narrower in the subordinate group.

Subordinative intonation-groups most frequently stand in post-position to superordinate (major) groups, although the reverse order of intonation-groups -preposed subordination - is not infrequent either.

An essential characteristic of preposed subordination is that the nuclear tones in the adjacent groups are of an opposite direction: a Low Rise, Fall-Rise or Mid Level in the subordinate group and a High or Mid Wide Fall in the superordinate (main) group, e.g.:

1. Low (Narrow/Wide) Rise | High/Mid Wide Fall

eg. 'New 'Oxford ‚Street | was jammed with `traffic.

2. High Narrow Fall | High/Mid Wide Fall

eg. At the ^`bus stop | 'Robinson ΄found a 'queue of a 'dozen ˋ people.

 

3. Mid Level | High/Mid Wide Fall

eg. He >waited ∣a 'quarter of an ˋ hour.

4. Low Fall-Rise | High/Mid Wide Fall

eg. To 'make ΄matters ˎˏworse ∣'each 'traffic light in 'turn was aˋgainst them.

The most typical case of postposed subordination is an afterthought or an insertion added to a statement (or any kind of utterance) conveying the main part of the message. Depending on the speaker's attitude the afterthought takes a rising, a falling or a falling-rising nuclear tone of a low narrow variety.

1. High/Mid Wide Fall | Low Narrow Fall

eg. The ΄king got ˋangry with him | and ˌsent him to ˎprison.

 

2. High/Mid Wide Fall or Fall-Rise | Low Narrow Rise

eg. I 'don't underˋstand you | when you ˌspeak so ˏfast.

 

3. High/Mid Wide Fall or Fall-Rise | Low Fall-Rise or Low Fall-Rise D.

eg. I rather ˋgrudge those prices | for a _v film.

 

III. Mutual Dependence

The following patterns will be found in adjacent intonation-groups perceived as mutually dependent.

1. High Wide Rise | High Wide Fall

eg. 'In for a /penny | 'in for a \pound.

 

2. High Narrow Rise | Low Narrow Fall

eg.In the 'morning she'd ΄say ´Yes |and ˌthat same 'evening she'd ˙say _ˎNo.

 

3. Fall-Rise | Fall-Rise or Fall-Rise Divided

eg. 'I believe in ^vyou | 'more than you be'lieve in yourvself.

 

As is seen from the given examples semantic interdependence is realized:

a) by combinations of contrasting, diametrically opposite tones (High Wide Rise - High Wide Fall, High Narrow Rise - Low Narrow Fall)

b) by the r e d u p 1 i с a t i о n of a Fall-Rise or Rise-Fall, i.e. by tones expressing contrast, comparison and confrontation. It should be noted that the pattern Fall-Rise + Fall-Rise in mutual dependence differs from Fall-Rise + Fall-Rise in co-ordination, firstly, in the position of the nuclear syllable which is typically shifted and marked in the case of mutual dependence and, secondly, in the underlined rhythmical parallelism of both parts.

 

VI. Вопросы для самоконтроля.

1. What types of semantic relations may exist between the adjacent parts of an utterance?

2. Co-ordinative and subordinative tone-sequences always correlate with grammatical coordination and subordination, don’t they?

3. What are the specific features of co-ordinative relations? Subordinative relations? Relations of mutual dependence?

VII. Контрольный блок.

I. Аннотация

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме «Просодические особенности официальной и неофициальной речи». Комплекс заданий, направленный на достижение поставленных целей и задач КСР разработан в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель темы — совершенствование интонационных навыков.

Задачи:

§ углубить теоретические знания студентов о просодических особенностях официальной и неофициальной речи в английском языке;

§ овладеть интонационными навыками, достаточными для реализации коммуникативных намерений в устной речи;

§ учить студентов передавать различную стилистическую окраску речи в зависимости от речевой ситуации;

§ развивать память, логическое мышление и воображение студентов.

 

II. Тематический план

2 курс,3 семестр

Тема: «Просодические особенности официальной и неофициальной речи»

 

III. Список дополнительной литературы:

1. Карневская, Е.Б. и др. Практическая фонетика английского языка на продвинутом этапе обучения: учебник/Е.Б. Карневская, Е.А. Мисуно, Л.Д. Раковская; под общей ред. Е.Б. Карневской. – Мн.: «Аверсэв», 2003. – 400 с.

2. Бурая, Е.А., Галочкина, И.Е., Шевченко Т. И. Фонетика современного английского языка: учебник для студентов лингвистических вузов и факультетов/Е.А. Бурая, И.Е. Галочкина, Т.И. Шевченко. – М.: Издательский центр «Академия», 2006. – 272 с.

Список дополнительной литературы:

1. Baker, A. Tree or Three [kit]: an elementary pronunciation course / Ann Baker. – Cambridge: Cambridge University Press, [2006]. 130 с.: il + 3 эл. апт. Диск

2. Baker, A. Ship or Sheep: an intermediate pronunciation course / Ann Baker. – Cambridge: Cambridge University Press, [2006].224 c.: il + 4 эл. апт. Диск

 

Фономатериалы

1. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course.

V. Контрольный блок

Transcribe the following situations using the appropriate prosodic patterns according to the speech situation

А. - Please remind the members of the board about tomorrow's meeting?

- Shall I tell Mr. White as well?

- Well I don’t think he has come back yet.

B. - Excuse me, do you know where a tobacconist’s is?

- Do you smoke a pipe?

- Yes.

- Well, then you can buy some tobacco at this chemist's.

C. - I'd like to book two seats for tomorrow.

- Would you like something in the front stalls?

- I suppose there is nothing further back, is there?

- Not unless you come to the matinee.

D. - I say, John, if you want to go to the post-office, turn to the right, perhaps it's the shortest way.

- Are you sure? I'm in a hurry, you know.

- Course, I'm sure.

E. - Can I get tickets for the night's show?

- The front row of the dress circle is fairly free.

- Are there any boxes?

- No, I'm afraid that's all there is.

 

МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ

Для обеспечения

контролируемой самостоятельной работы студентов (КСР)

по учебной дисциплине «Практическая фонетика»

Для специальности 1-02 03 07 Иностранный язык (английский). Дополнительная специальность 1-02 03 07-03 Иностранный язык (английский). Технология (обслуживающий труд). 2-й курс

Всего КСР- 14 часов, 3 семестр Из них: ПЗ – 14 ч.

Материалы подготовлены: преподавателями кафедры Козляк Е.В., Абибак О.А., Романовичем С.С., Пытель О.П., ст. преподавателем Манкевич Ж.Б. (в соответствии с Положением о контролируемой самостоятельной работе студентов БарГУ, утверждённым 26.06.2012 № 01-16)

 

Барановичи, 2012 г.

Тема: «Сочетания согласных звуков в речи. Различные типы ассимиляции»

I. Краткая аннотация

Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме: «Сочетания согласных звуков в речи. Различные типы ассимиляции». Комплекс заданий составлен в соответствии с учебной программой по дисциплине «Практическая фонетика».

Цель: совершенствование слухо-произносительных навыков.

Задачи: углубить теоретические знания, развивать память, закрепить навыки идентификации, анализа и соблюдения в речи звуковых явлений.

II. Тематический план

2 курс, 3 семестр.

Тема «Сочетания согласных звуков в речи. Различные типы ассимиляции».