V. Учебно-методический блок.

Intone and then act out the following dialogues using different intonation patterns. Comment on your choice. Do it in a written form.

– I want to ask you if you are ready to go.

– Wait a minute, honey.

– Aren’t you ready to go?

– Just a second. I’m putting on my shirt, my skirt, my tights … Oh, I believe this blouse is better …

– OK. I’ve only one question: “Shall I go to the disco alone or with our new pretty servant?”

____________________________________________________________ _________________

– Good students attend their lessons regularly, don’t they?

– What do you want to say? Do you think I’m lazy?

– As a matter of fact I didn’t mention your name.

– It’s not a problem for a clever girl to see your mind.

– Helen, clever girls never talk too much.

 

– You must do your lessons regularly”, said the mother in a loud voice.

– What will it give me? Will it make me happy?

– You’ll be a clever person. I’ll be proud of you. So, you’ll be happy too, won’t you?

– Don’t you know that very clever people are never happy? As for me, I consider stupidness and happiness to be synonyms.

 

– What kind of school do you go to, Ann?

– Well, now to a private one.

– It means your parents are rather rich. Am I right?

– It means my parents want me to get a good education.

– You are absolutely right, dear. As the proverb “runs”: if you consider education to be too expensive, try to pay for ignorance.

 

VI. Контрольный блок.

Give broad written answers to the following questions.

1. What is the number of actual utterances produced by a native speaker of English?

2. How do you understand the term “basic I.P.”?

3. What plays the most important role in the differentiation of basic I.P-s?

4. What does the meaning of the contour depend on?

5. What do we understand under “normal”, “not normal” patterns?

How do I.P-s differ in expressiveness?

 

 

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»

III. Список основной и дополнительной литературы.

Основная литература.

1. Карневская, Е.Б. и др. Практикум по фонетике английского языка для студентов 2-го курса: учебно-методическое пособие для студентов языковых факультетов/Е.Б. Карневская, М.С. Рогачевская, Т.П. Митева. – Мн.: Бестпринт, 1999. – 50 с.

2. 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.

Дополнительная литература.

3. 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.

4. Корчажкина, О.М., Тихонова, З.М. Мои любимые звуки: Фонетико-орфографический справочник английского языка; под общ. ред. доц. Р.М.Тихоновой - М.: Гуманит. Изд. Центр ВЛАДОС, 1996.- 256 с

5. Соколова, М.А. Практическая фонетика английского языка: Учеб для студ. высш. учеб. заведений. – М.: Гуманит. изд. Центр ВЛАДОС, 2003. – 384 с.: ил.

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

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

 

 

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!

 

V. Учебно-методический блок.

1. Study the theoretical material & information given in the previous block.

2. Do ear-training exercises [2, p. 323-325].

3. Answer the questions:

A. How can you comment on the phenomenon “Expressiveness”?

B. What are the most common types of compound tunes?

C. What compound tune may be used in questions addressed to children?

D. What is peculiar about Low Rise + Fall –pattern?

E. Fall + Fall – pattern expresses a contrast on some prenuclear items, doesn’t it?

 

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.

III. Список основной и дополнительной литературы.

Основная литература

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.

Дополнительная литература

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.

 

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.