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Файл:Практическая фонетика английского языка. Часть 1. Практикум
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UNIT 14
Типы шкал в английском языке
Цели: 1) рассмотреть типы шкал в английском языке; 2) обу-
чить правильной артикуляции дифтонга [au]
Знания: типы шкал в английском языке
Умения: оперирование фонетической терминологией при об-
суждении темы, воспроизведение различных типов шкал, артикулирование дифтонга [au]
Формируемые компетенции: ОПК-3 и ОПК-8 (фонетиче-
ский компонент).
Актуальность темы обусловлена статусом фонетики как осно-
вополагающего аспекта языка, без которого невозможно реализовать
речевое высказывание и сформировать иноязычную компетенцию.
Section 1
Types of Heads
The head in English is an extremely flexible segment of the intona-
tion pattern. One and the same sentence may be pronounced with different scales
(=heads), which results in changing the emotional coloring of the
utterance and the meaning implied.
According to their general pitch direction head patterns are classi-
fied into
3 main groups: I. descending, II. ascending and III. level.
I. In descending heads the voice moves down from a medium/high
pitch level to the low one. The first stressed syllable is the highest.
e.g. He doesn’t 'want to 'go there on `foot.
Phoneticians elicit 4 variations of the descending head:
a) stepping (when stressed syllable go down by steps and unstressed
or partially stressed syllables are pronounced on the same level):
*Gradually descending stepping scales is a typical feature of English
intonation.
b) falling (is similar to the stepping head but the unstressed or par-
tially stressed syllables are uttered lower than the preceding stressed
segments):
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c) scandent (when unstressed or partially stressed syllables are
pronounced higher than the stressed ones):
d) sliding (when the voice moves down by slides within stressed
syllables):
Thus, one can draw a conclusion that the first three scales only differ
in the pronunciation of their unstressed or partially stressed syllables.
Quite often gradually descending heads are broken by the so-called
«accidental (special) rise». It is typical of emotionally coloured speech
when the speaker wants to single out one particular word in a phrase.
e.g. I got ac'quainted with ↑lots of 'interesting `people there.
II. In ascending heads the voice goes up, the first stressed syllable
being low in the pitch.
e.g. He doesn’t 'want to 'go there on `foot.
a) If the voice moves up by steps, the head is called rising:
b) If the voice moves up by slides, the head is called climbing:
III. In level heads all the syllables are pronounced on the same note.
They only differ in the level and, accordingly, fall into 3 variations:
a) High Level Head
e.g. He doesn’t 'want to 'go there on `foot.
b) Medium Level Head
e.g. He doesn’t 'want to 'go there on `foot.
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c) Low Level Head
e.g. He doesn’t 'want to 'go there on `foot.
Section 2
[au]
(the nucleus is central, open (broad variant), unrounded)
I. Observe the position of the lips and the tongue for the sound
[au]. Make the glide very smooth. Pay attention to the positional length
of the diphthong [au].
bow bowed bout [α:- au]car – cow
cow cowed count bar – bow
how hound house bra – brow
row round rout grass – grouse
plough ploughed doubt arch – ouch
now loud louse tarn – town
II. Read the sentences. Follow the tonetic marks.
1. Out of doubt. Несомненно.
[aut əv daut]
2. How about an outing? Может быть, устроим пикник?
[ˉhau əbaut ən ˏautıŋ]
3. Count Brown out. На Брауна не рассчитывайте.
['kaunt Braun `aut]
4. Fowler’s down and out. Фаулер разорен.
['fauləz 'daun ənd ˎaut]
5. Miss Brown brought Мисс Браун вызвала бурю
out the house. аплодисментов
[mıs 'braun ˙brɔ:t 'aut ðə `haus]
6. Lowrie’s down in Лаури в подавленном настроении.
the mouth.
['laurız 'daun ın ðə ˎmauθ]
7. Out of the house Ну-ка, все на свежий воздух!
to the grounds!
['aut əv ðə 'haus tə ðə ˇgraund]
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III. Observe the correct pronunciation of the rhythmic groups and
the diphthong [au].
`How? || 'How have you 'found `out? || 'How have you 'found out
a`bout it? || 'How have you 'found out a'bout that `row? ||
IV. Match the following English idioms, proverbs and sayings
with their Russian equivalents. Make up situations to illustrate their
usage.
1. From mouth to mouth. a. вне пределов
2. take the words out of smb’s mouth b. из уст в уста
3. be up and about c. предвосхитить чьи-то слова
4. out of bounds d. выздороветь
Section 2
I. Test. Tick the words you recognize in the sentences you hear:
1. a) car; b) cow
2. a) grass; b) grouse
3. a) bra; b) brow
4. a) ha; b) how
5. a) ah; b) ow!
6. a) tarn; b) town
II. Listen to the dialogue and learn it by heart.
A Mouse in the House
Mrs. Brown: (shouting loudly) I’ve found a mouse!
Mr. Brown: Oh! You’re shouting too loudly. Sit down and
don’t shout.
Mrs. Brown: (sitting down) I’ve found a mouse in the house.
Mr. Brown: A brown mouse?
Mrs. Brown: Yes. A little round mouse. It’s running around
in the lounge.
Mr. Brown: On the ground?
Mrs. Brown: Yes. It’s under the couch now.
Mr. Brown: Well, get it out.
Mrs. Brown: How?
Mr. Brown: Turn the couch upside-down. Get it out some-
how. We don’t want a mouse in our house.
Ours is the cleanest house in the town!
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Review questions and tasks
1. Remember the structure of the intonation pattern and define its
sections.
2. How are the heads grouped in English?
3. Why is it necessary to differentiate the four types of descending
heads?
4. State the main difference between the falling, stepping and
scandent heads.
5. How are the syllables pronounced in the sliding head?
6. What is meant by «the accidental rise»?
7. Give an example with the broken descending head.
8. Describe each type of ascending heads.
9. What heads are called level?
10. Mark stressed and tunes in the following sentences and picture
them on the staves. Present all possible variants in writing and pronounce them.
a) How did you manage to do that?
b) I thought we ought to have a talk.
c) It’s such a pity that you can’t come.
11. What words in the following sentences call for the accidental rise?
a) I think that’s a very good idea.
b) He was one of the greatest men that ever lived.
c) She was extremely shortsighted.
75
UNIT 15
Понятие смысловой группы (синтагмы)
Цели: 1) рассмотреть понятие смысловой группы (синтагмы) в
английском языке; 2) обучить правильной артикуляции дифтонга [əu]
Знания: членение текста на смысловые группы
Умения: синтагматическое деление речевой цепи, артикули-
рование дифтонга [əu]
Формируемые компетенции: ОПК-3 и ОПК-8 (фонетиче-
ский компонент).
Актуальность темы обусловлена статусом фонетики как осно-
вополагающего аспекта языка, без которого невозможно реализовать
речевое высказывание и сформировать иноязычную компетенцию.
Section 1
Sense-groups (Syntagms)
In the process of speaking our thoughts are shaped into sentences.
Each sentence expresses a more or less complete idea, which has a definite communicative aim: it represents either a statement, or a question,
or a command, or an exclamation. The aim of the utterance is made
clear by intonation.
Often a sentence is made up of two or more parts, which are called
sense-groups or syntagms. The division of a sentence into sensegroups depends on the idea to be expressed:
cf. “One of the travellers”, says Mr. Michael Collins “was calm…”
One of the travellers says Mr. Michael Collins was calm.
Each syntagm contains a meaningful word or a number of words and
cannot be subdivided into smaller units without destroying the sense.
e.g. In ad'dition to >this | he had a ↑fine 'musical `taste, | 'carefully
cultiˎvated.
Phonetically, a sense-group represents one of the intonation con-
tours typical of the language.
In general, sense-groups may be defined as delimited by pauses
the shortest possible units of speech (though variable in size) from
the point of view of meaning, grammatical structure and intonation. Final syntagms are the most important ones: their intonation con-
tours (chiefly their nuclei) determine the communicative type of the
whole sentence. Non-final sense-groups may have different degrees of
76
semantic completeness, finality and independence: falling tones denote
a complete meaning, whilst rising tones signify incompleteness, nonfinality and dependence on the following sense-groups.
The number of sense-groups in a sentence is variable and closely
connected with the style of speech. Particular attention should be paid
to the intonation of specifically conversational English structures, consisting of two sense-groups:
1. Disjunctive questions:
e.g. It’s 'rather `difficult, ˎisn’t it?
2. Imperative utterances with will you / won’t you / shall we / can’t
you as a tag:
e.g. ˇMeet me, | `won’t you?
'Put these 'things on a ˎtaxi, | ˏwill you?
Let’s go, | ˏshall we?
'Hold 'on to the `rope, | `can’t you?
Section 2
[əu]
(the nucleus is central, mid (narrow variant), unrounded)
I. Observe the position of the lips and the tongue for the sound
[əu]. Read the words in the columns. Make the glide very smooth. Pay
attention to the positional length of [əu].
bow bone boat [ɔ:- əu]or – oh
doe dome dote caught – coat
so soul soak naught – note
toe toad toast bought – boat
roe road roast ball – bowl
low load loaf cork – coke
hoe hoed host walk – woke
II. Read the sentences. Follow the tonetic marks.
1. No go. Не пойдет.
['nəu ˏgəu]
2. I suppose so. Да.
[aı səˇpəuz səu]
3. Follow your nose. Иди прямо.
['fɔləu jɔ `nəuz]
4. Nobody home. Винтика не хватает (в голове).
[ˌnəubədı ˎhəum]
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5. Don’t grow cold. Не злись.
['dəunt grəu ˏkəuld]
6. This road goes to Soho. Эта дорога ведёт в Сохо.
['ðıs 'rəud gəuz tə `səuhəu]
III. Match the following English idioms, proverbs and sayings with
their Russian equivalents. Make up situations to illustrate their usage.
1. to hope against hope a. перекати-поле (о человеке)
2. As you sow you shall mow. b. надеяться вопреки всему
3. a poky hole c. быть в курсе дела
4. adopt a low profile d. захолустье, «дыра»
5. hold one’s own e. В гостях хорошо, а дома
лучше.
6. a slow-coach f. оказывать холодный прием
7. rolling stones g. Что посеешь, то и пожнешь.
8. give the cold shoulder h. этот номер не пройдет.
9. no soap i. тугодум, копуша
IV. Observe the correct articulation of [əu] in the following tongue
twisters.
1. Amidst the mists and coldest frosts,
He trusts his fist against the posts
And still insists he sees the ghosts.
With stoutest wrists and loudest boasts,
2. A wise old owl lived in an oak,
The more he saw the less he spoke.
Section 3
I. Test. Tick the words you recognize in the sentences you hear:
1. a) cork; b) coke
2. a) fern; b) phone
3. a) or; b) Oh!
4. a) ball; b) bowl
5. a) burn; b) bone
6. a) walk; b) work; c) woke
II. Listen to the dialogue and learn it by heart.
Snow in October
(Joe Jones is sleeping, but Joan woke up a few minutes ago.)
Joan: Joe! Joe! Joe! Hello!
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Joe: (groans) Oh! What is it, Joan?
Joan: Look out of the window.
Joe: No. My eyes are closed, and I’m going to go to sleep
again.
Joan: Don’t go to sleep, Joe. Look at the snow!
Joe: Snow? But it’s only October. I know there’s no snow.
Joan: Come over to the window, Joe.
Joe: You’re joking, Joan. There’s no snow.
Joan: OK. I’ll put my coat on and make a snowball and throw
it at your nose, Joe Jones!
Review questions and tasks
1. What types of sentences can be revealed according to their
communicative aim?
2. Define a sense-group / syntagm.
3. What general meaning is usually conveyed by falling and rising
nuclei?
4. Summarize up the rules concerning the pronunciation of two-
syntagm conversational structures. Illustrate these rules with your own
examples.
5. Divide the following sentences into sense-groups. Mark stresses
and tunes:
1) Take good care of it, won’t you?
2) Sometimes I get to town by the 8.30.
3) In private he was good-humoured and good-natured.
4) Stand here out of the rain while I get a fax.
5) At this game, without any training or practice, he was a per-
fect master.
6) In an adjoining room a woman was cooking supper.
7) When I arrived there was nobody at home.
79
UNIT 16
Семантическая функция ядерного тона
Цели: 1) рассмотреть семантические функции разных ядер-
ных тонов в английском языке
2) обучить правильной артикуляции дифтонга [ıə]
Знания: ядерные тоны и их семантика
Умения: оперирование фонетической терминологией при об-
суждении темы, артикулирование дифтонга [ıə]
Формируемые компетенции: ОПК-3 и ОПК-8 (фонетиче-
ский компонент).
Актуальность темы обусловлена статусом фонетики как осно-
вополагающего аспекта языка, без которого невозможно реализовать
речевое высказывание и сформировать иноязычную компетенцию.
Section 1
Semantic Function of the Nucleus
Falling and rising tones enable the speaker to convey in his utter-
ance either an impression of finality, completeness, definiteness or reso-
luteness (Low Fall, High Fall, Rise-Fall) or, on the contrary, a feeling
of non-finality and incompleteness (Low Rise, High Rise, Fall-Rise).
The Low Fall is categoric in character and indicates a number of
attitudes ranging from neutral to grim, cool, detached and phlegmatic.
The Low Rise is non-categoric. It often implies hesitation and a guarded, perfunctory attitude.
cf. I 'think you 'ought to aˎpologize. (definite, categoric)
I 'think you 'ought to aˏpologize. (hesitant, non-categoric)
The opposition based on the range of the pitch movement
(Low/High Fall, Low/High Rise) serve a different purpose. The High
Fall adds personal concern, liveliness, interest and warmth to the fi-
nality and definiteness of the Low Fall. With the High Fall the utterance
sounds much more emotional.
cf. I 'hear you’ve 'got ˎmarried. (matter-of-fact)
I 'hear you’ve 'got `married. (with interest and warmth)
The High Rise is essentially an interrogatory tone. It expresses the
speaker’s active searching for information. This is obvious in state-
ments, which are turned into a question by the high-rising tone.
e.g. You ΄like it?
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