
- •Министерство образования и науки
- •Рецензенты:
- •Введение
- •Section 1 the system of english consonants
- •Assimilation of consonants
- •Types of assimilation
- •1. Train different degrees of aspiration in the following pairs of words:
- •2. Train the loss of aspiration in the following words:
- •3. Read aloud the following words and word combinations. Mind the nasal plosion within the words and at word boundaries:
- •4. Read aloud the following words and word combinations. Mind the lateral plosion within the words and word boundaries:
- •Practise palataization of some consonants:
- •Train ”light” and ”dark” variants of the phoneme [l]:
- •Train a slight palatalization of the following consonants. To achieve this raise the front of the tongue towards the soft palate:
- •7. Train the loss of plosion in the following words and at word boundaries:
- •12. Train the following cases of false assimilation. Try to pronounce distinctly sound combinations:
- •13. Find the examples of true and false assimilation in the following words and word combinations written in transcription:
- •14. Read in a loud voice the following combinations of words with consonant clusters. Mind different phonetic phenomena in them:
- •15. Identify different phonetic phenomena in the following rhyme. Read the rhyme:
- •I’ll meet you any time you want,
- •Section 2 the system of english vowels
- •Phonetic peculiarities of english vowels
- •Practical material
- •Practice to pronounce the combinations of two vowels smoothly:
- •2. Mind positional length of the phonemes [j] and [l] in the following chains of words:
- •3. Train the phonetic syllabication in the following phrases:
- •5. Train the pronunciation of the linking [r] in the following phrases:
- •6. Make vowel rhymes choosing the correct word on the right:
- •7. Cross out the word which does not contain the vowel sound on the left:
- •8. Read aloud the phrases below. Pay attention to the pronunciation of front vowels:
- •9. Read aloud the sentences below. Be careful to pronounce correctly the front vowels:
- •10. Read aloud the phrases below. Pay attention to the pronunciation of the back vowels:
- •11. Read aloud the sentences below. Be careful to pronounce correctly the back vowels:
- •12. From each line write out one word in which the stressed vowel is pronounced differently.
- •Our queer language
- •Section 3 reduction of vowels
- •3. The following words are never reduced:
- •Indefinite pronoun ”some” in the meaning of “certain”
- •The table of weak and strong forms of form words
- •Practical material
- •1. Pronounce each of the following expressions as a blend unit. Be careful to weaken unstressed syllables properly:
- •2. Read and transcribe the following sentences:
- •3. Compare the full forms of the vowels in the words from the left column with the reduced form in the words from the right column:
- •4. Read the following sentences, paying attention to prepositions before final pronouns. The prepositions may have no stress, but they are used in their strong forms:
- •Section 4 accentual sructure of english words
- •Practical exercises
- •Pronounce the following words observing full or partial stress. Then read the sentences paying special attention to the words with two stresses:
- •6. Read the following sentences paying attention to the differentiating function of stress in the italized words:
- •7. Find the meaning of the following words which may be used either as nouns and verbs. Write these words in transcription. Mind their pronunciation:
- •9. Put the following countries into the correct stress columns below:
- •10. Write the nationality words next to each country.
- •11. Read the following sentences aloud. Mind the sentence stress.
- •12. Mark the sentence stress in the following sentences. Practice reading the sentences aloud:
- •13.* Listen to the following sentences and mark the sentence stress in them:
- •14. Give the stress patterns for these sentences.
- •15. * Listen to the poem and mark the sentence stress. The first verse is done for you. Then read aloud the verse. Future intentions
- •16. Read the poem and mark the sentence stress. Learn it by heart:
- •17. By using the logical stress, make the following sentences serve as an answer to each of the following questions.
- •I put my black coat away.
- •She lost her pocketbook.
- •18. Read the following sentences according to the indications given in brackets.
- •19. In the following sentences, the words which are logically stressed are in bold type. Read the sentences, note the shift of nucleus in them.
- •20. Read the following sentences paying attention to the unstressed as…as:
- •21. Care should be taken not to put a stress on as…as:
- •23. Read the following sentences, paying attention to prepositions preceded by the verb “to be”. They are usually stressed when there is no stressed word before them.
- •Section 5 english rhythm
- •Practical exercises
- •2. Break the following sentences into rhythmical groups and read them fluently beating the time:
- •3. The following exercise will help you to maintain the regular beat of the stresses. Read the lines aloud:
- •4. Read the following sentences, paying attention to the number of syllables in each group in bold type and changing the rate of speech accordingly.
- •6.* Listen to the following dialogues and imitate the rhythm in them:
- •7.* Let’s sing a song!
- •8. Read the following rhymes. Mind the English rhythm:
- •9. Mark the sentence stress in the following sentences. Match them with the rhythmic patterns given below. One sentence is odd:
- •10. Sentences for rapid reading. Note the loss of stress:
- •Section 6 english intonation
- •Intonation is a complex unity of variations in pitch, stress, tempo and timbre.
- •Low fall
- •Practical exercises
- •1. Reading practice. Read the following sentences and write tonograms to each of them:
- •2. Read the following short imperatives and then expand them using the words in brackets. Observe the change of the position of the Low Fall in them:
- •Low rise
- •Practical material
- •1. Reading practice. Read the following sentences and write tonograms for each of them:
- •Intonation of enumeration
- •Practical material
- •1. Train the intonation of enumeration in the following sentences:
- •2. Intone the following poem and read it:
- •Intonation of commands, violations, requests and advice
- •Practical material
- •Sequence of tones in alternative sentences
- •Practical material
- •1. Read the following alternative questions:
- •Practical exercises
- •1. Reading practice. Read the following sentences and write tonograms to each of them:
- •2. Reading practice. Train the Low Fall, Low Rise and High Fall in the following sentences:
- •High rise
- •Practical material
- •1. Reading practice. Read the following sentences and write tonograms for each of them:
- •2. Reading practice. Work in pairs training the High Rise. Change the roles:
- •Accidental Rise (Special Rise)
- •Fall rise
- •Practical material
- •1. Reading practice. Train the Fall-Rise in pairs. Change the roles:
- •2. Train the “undivided” Fall-Rise in the following sentences:
- •3. Train the “divided” Fall-Rise in the following sentences. Write tonograms for them:
- •4. Reading practice. Train 5 Nuclear Tones:
- •Rise-fall
- •Practical material
- •1. Train the Rise-Fall in the following sentences.
- •2. Reading practice. Train 6 Nuclear Tones:
- •Rise-fall-rise
- •Level tones
- •Intonation of parentheses
- •Intonation of vocatives
- •Intonation of the author’s words (reporting phrases)
- •Sequence of tones Sequence of Tones in simple sentences
- •Sequence of Tones in complex sentences
- •Practical material
- •Read the following sentences; practise the Rising Intonation in
- •2. Read the following sentences; practice the Falling Intonation in the first sense-group. It is frequently heard in grammatically complete non-final groups:
- •3. Read the following sentences; practise the Rising Intonation of final phrases and clauses added to a statement as an afterthought:
- •Sequence of Tones in alternative questions
- •1. Read the following alternative questions, paying attention to the combination of tones:
- •The scheme of the phonetic analysis
- •1. Analize the following sentences according to the scheme:
- •Section 7 supplementary material Limerics
- •In England once there lived a big
- •Reading dialogues
- •Sightseeing
- •2. Catching a bus
- •3. Dinner invitation
- •4. Discussing a new story
- •5. Daily needs
- •6. Greetings a. Acquaintances
- •B. Good friends
- •Elevenses (Lunch)
- •8. About prices
- •9. At the Police
- •10. Gossips
- •In this dialogue train the Rise-Fall in short general questions to show surprise.
- •11. Home-made food
- •In the following dialogue choose the right Nuclear Tones while pronouncing the interjection “mm”. It has several meanings. “Mm” means “What did you said?”, “Yes” and “How nice!”
- •12. At the shop
- •Reading Texts
12. At the shop
A: Morning.
B: Good morning.
A: How can I help you?
B: I’d like some orange juice, please.
A: Er…sorry. There’s apple juice, but no orange juice.
B: Oh! What’s that? Isn’t that orange juice?
A: Oh, yes. So it is! My eyes! There you are.
B: Thank you. And some potatoes, please.
A: A bag like this?
B: Yes, fine. Now, some milk.
A: Sorry. I sold the last bottle just two minutes ago.
B: Oh, dear! What about some coffee?
A: Yes. There you are .
B: Thanks. Orange juice, potatoes, milk, coffee… A kilo of apples, please.
A: I don’t sell apples.
B: Really? That’s strange. What about cheese? Do you have any cheeses?
A: No, I don’t sell cheese, either.
B: No cheese? That’s incredible! OK. Now. I want some pizza, do you? But I’m sure you don’t sell pizza, do you?
A: Yes, sir. Pizza with mushrooms, pizza with cheese and ham, pizza with sausage, and pizza with tomatoes.
B: Wow! Can I have some… pizza with cheese and ham, please?
A: Sorry, sir. Usually I have pizza but not on Thursdays. Today’s Thursday.
B: I see. I don’t suppose you have any bread.
A: You’re right.
B: Pardon?
A: You’re right. There isn’t any bread.
B: Tell me. Do you do a lot of business?
A: Oh, yes, sir. The shop’s open all the time.
B: What do people buy?
A: All the things you can see.
B: Well, that’s all for me. How much?
A: One pound twenty, please.
B: Thank you. Goodbye.
A: See you again soon, sir.
B: (to himself) I don’t think so.
Reading Texts
1.
Godfather Drosselmeier removed his hat with a flourish, then motioned to a helper, who pulled out a large wooden puppet theatre. As the children and their parents gathered around, Godpapa climbed up behind the theatre and took hold of the puppet strings.
The curtains opened to reveal a prince and princess dressed in white. As they walked together across the stage, the third puppet entered. It was a wicked-looking mouse, wearing a jeweled crown and carrying a sword. The mouse challenged the prince, who drew a sword of his own, and a fight began. With the children shouting encouragement, the prince held off his attacker. Then he moved forward. A moment later, the mouse lay at his feet.
The prince put away his sword and went to the princess. Kneeling, he kissed her hand. As he did, it seemed to Clara that the puppet strings and wooden stage and party guests melted away, leaving only the prince and princess in a land beyond care and time. It even seemed, that the briefest of moments, that Clara could feel the touch of the prince’s kiss on the back of her own hand.
(from “ The Nutcracker”)
2.
The drawing room was dark, but Clara had no trouble picking out the gaily-painted face of the nutcracker beneath the Christmas tree. She went over to her new friend, lay down beside him, and fell into a deep sleep.
As the hour approached midnight, there was a noise in the room. Clara awoke and peered into the darkness.
Slinking toward her was a mouse as big as a man. Its eyes were red, and its fur was a dull, matted grey.
Clara rubbed her eyes, then looked again. The mouse had been joined by ten other just like it. They circled around her, drawing closer and closer. When they were near enough to touch, the clock chimed the first stroke of midnight.
Next to her, the nutcracker moved. Yawning and stretching, he climbed to his feet. Then, as the clock kept striking, he began to grow. By the time the twelfth chime died away, he was no longer a small wooden nutcracker. He was Nutcracker, a real-life soldier standing six feet tall.
(from “ The Nutcracker”)
3.
Clara rushed to the fallen Nutcracker and knelt beside him. She took his hand, smoothed his brows, searching for signs of life. She saw none.
In the silence, there were footsteps, Clara looked up and saw her godfather standing over her.
She threw herself into his arms. “Oh, Godfather,” she cried, “What can I do?”
Her godfather held her close and murmured, “Don’t worry, Clara. Godfather Drosselmeier will fix your dream.” He reached down and touched the fallen warrior’s shoulder.
Nutcracker’s eyes popped open.
“Oh!” Clara gasped, then watched in awe as his face began to change. The bright colours melted together, and the gaping mouth and eyes took on a pleasing shape. Seconds later, Clara was looking at dashing prince.
“Thank you, Godpapa,” she said, hugging the old man tight. “Thank you for saving him.”
“Ah, but Clara,” he replied, smiling, “It was you who saved him with the power of your love.”
“My lady,” said a voice from behind Clara. She turned and saw the new, handsome Nutcracker holding out his hand. She took it, and he pulled her close and kissed her. As he did, her nightdress was transformed into a long silk gown, and the air to shimmer.
(from “The Nutcracker”)
4.
“My lady,” said Nutcracker, “this next dance is the best, for it is ours.”
He took her into his arms, and the music began. As they circled the floor together, sunbeams shone through a window and bathed the couple in golden light.
Then a shadow passed in front of the window, and an icy wind blew. Out of the corner of her eye, Clara saw Godfather Drossemeier standing at the edge of the crowd.
The music grew slow and somehow sad. It began to fade, and with it faded the room and the crowd and finally, no matter how tightly she clung to him, Nutcracker himself faded.
Clara found herself back in the drawing room, alone on the floor beside a small wooden nutcracker. Taking a figure in her arms, she went to the front door and peered out into the night.
Snow was falling in the streets of the village, but Clara didn’t see it. She was looking beyond to a land of dancers and white horses and a prince whose face glowed with love.
(from “The Nutcracker”)
5.
Scrooge found himself face to face with the unearthy visitor. It was a strange figure – like a child; yet not so like a child as like an old man. It wore a tunic of the purest white; and round its waist was bound a lustrous belt. But the strangest thing about it was, that from the crown of its head there sprung a bright, clear jet of light.
“Are you the Spirit, sir, whose coming was foretold to me?” asked Scrooge.
“I am!”
“Who, and what are you?” Scrooge demanded.
“I am the Ghost of Christmas Past.”
“Long Past?” inquired Scrooge.
“No. Your Past. Rise and walk with me.”
They passed through the wall, and stood upon an open country road, with fields on either hand. The city had entirely vanished. It was a clear, cold, winter day, with snow upon the ground.
(from “ A Christmas carol” by Ch. Dickens)
6.
Running to the window, Scrooge opened it, and put out his head. No fog, no mist; clear, bright, jovial cold; golden sunlight; heavenly sky; sweet fresh air.
“What’s to-day?” cried Scrooge, calling downward to a boy in Sunday clothes.
“Why! Christmas Day!” replied the boy, with all his might of wonder.
“It’s Christmas Day!” said Scrooge to himself. “I haven’t missed it. The Spirits have done it all in one night. They can do anything they like. Of course they can. Hallo, my fine fellow!”
“Hello!” replied the boy.
“Do you know the meat shop at the corner of the next street?”
“Of course I do,” replied the boy.
“What an intelligent boy!” said Scrooge. “Do you know if they have sold the big turkey that was in the shop window yesterday?”
“What, the one as big as me?” asked the boy.
“Yes, that’s the one!”
“It’s hanging there now,” said the boy.
“Go and buy it, and tell the man to bring it here. Come back in less than five minutes and I’ll give you three shillings!”
The boy went off like a bullet of a gun.
(from “A Christmas carol by Ch. Dickens)
Зеленская Марина Александровна
Учебно-методическое пособие по практической фонетике английского языка
Под общей редакцией Г.А. Краснощековой
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Издательство Технологического института
Южного федерального университета
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Типография Технологического института
Южного федерального университета
ГСП17 Ф, Таганрог, 28, Энгельса,1