- •Contents
- •Preface
- •The System of Phonetic Notation
- •Section I
- •Vowels Contrasted
- •1. A). Listen and practise the following pairs of words. Mind the positional variation of vowel length:
- •2. Identify the speaker’s attitude in the replies.
- •3. Extend the following situations. Give greater prominence to the words carrying new information, observing the difference in the accentual patterns of utterances.
- •Laboratory work
- •1. Identify the component parts of the tunes.
- •2. Read the following pairs of utterances. State the difference in their form and meaning.
- •3. Extend the following tunes using one of the given phrases (I think, I believe, I hear, I am told, they say, I wonder, I hope, I expect) as the head.
- •4. Extend the following tunes adding the phrases given above as the prehead.
- •5. Identify the position of the nucleus in the following utterances. Think of a suitable situation for each of the utterances.
- •6. This exercise is meant to test your ability to read and reproduce a story with correct intonation.
- •Teachers and Actors
- •Additional Training
- •2. Read the poem, using intonation patterns you find suitable and answer the questions: Leisure
- •In view of the contents of the poem, what is hinted at in the title “Leisure”.
- •Section II
- •Vowels Contrasted
- •1. A). Listen and practise the following pairs of words:
- •1. B). Learn the following proverbs. Lay stresses, tone marks. Give tonograms.
- •1. C). Complete the following using one of the proverbs:
- •2. Express agreement or disagreement with the following statements choosing the suitable prompts.
- •3. Choose the appropriate intonation pattern of general questions according to the situation:
- •Laboratory Work
- •1. Add General questions to the stimulus utterance. Express a light, airy attitude to the subject matter.
- •2. Ask your friends about their relatives (age, profession, appearance, etc). Express interest in your general questions.
- •4. A). Read the following conversational situations. Concentrate your attention on the intonation of the replies. Say what attitude you mean to render:
- •5. Give your own replies to the Verbal Context:
- •6. This exercise is meant to test your ability to analyze and reproduce material for reading and retelling.
- •Tell the jokes in indirect speech. Entitle them.
- •7. B). Answer the following questions using intonation patterns of the text.
- •7. C). Listen to the following dialogues. Mark the stresses and tunes. Practise the dialogues using substitutions.
- •7. E). Reproduce the text so that a question is asked about each sentence said by the patient or the doctor. Present the dialogue in class, using the same intonation patterns.
- •8. B). Listen to the story twice /”Reward for Virtue”/. Complete the following sentences imitating the speaker’s intonation:
- •8. C). Some sentences from this text given below are not true to fact. One of the students will read a sentence, another will correct them, using proper intonation patterns.
- •Additional Training
- •1. A). Listen to the dialogue and answer the questions in your course book.
- •1. B). Listen to the 10 utterances in your coursebook and mark the stressed syllables.
- •1. C). Act out the dialogue in pairs using original language where possible and improvising when necessary.
- •2. Read the poem according to the intonation marked. Learn it by heart, be ready to recite it in class. Nothing will Die
- •Section III
- •Vowels Contrasted
- •1. A). Listen and practise the following pairs of words:
- •3. A). In the following conversational contexts compare the modal meaning of the reactions: first within a contour and then within a communicative type:
- •3. B). Think of the situations where the following utterances will sound natural. Comment on your attitude.
- •Laboratory Work
- •2. A). Present appropriate intonation patterns in replies according to the suggested attitude
- •2. B). Supply your own replies according to the attitude conveyed in them. Pronounce them, present their intonation patterns. Do it in writing.
- •3. Provide a conversational context for each of the utterances in the given pairs.
- •4. Act out the following conversational situations using various kinds of interrogative repetitions in the responses. Mark the type of the nuclear tone you take.
- •5. Practise reading the poem according to the given stresses and tone marks. Learn it by heart, be ready to recite it in class.
- •In Memoriom
- •6. This exercise is meant to test your ability to analyze and reproduce material for reading and retelling.
- •7. Listen to dialogue 42 from e.L.C. (Sports and Games)
- •8. 1. Listen to the text “One Man in a Boat”
- •2. A). Listen to the story “The Last One?” twice and then finish the following sentences, imitating the speaker’s intonation.
- •Additional Training
- •1. Listen to short stories.
- •2. Listen to the poem, lay stresses and tone marks. Learn it by heart. No Enemies
- •3. A). Read the following conversation, using intonational patterns you find suitable. Use them in conversational situations of your own. The Football Match
- •4. A). Listen to two dialogues. Repeat each utterance trying to watch pronunciation on the cassette. Practice reading the dialogues.
- •4. B). Listen to the eight utterances which appear in your course book and mark the syllables which carry the main stress.
- •Section IV Consonants in comparison
- •Laboratory Work
- •1. Choose the appropriate reply for the given context:
- •2. Correct the following statements or contradict them:
- •3. Answer the following questions expressing hesitation, doubt, uncertainty:
- •4. Respond to the following utterances expressing warning or apology.
- •5. Extend the following utterances by adding a concluding remark that sounds as an afterthought.
- •Sightseeing
- •8. Listen to the text, divide it into communicative blocks, entitle them. After listening to the text twice answer the question: ‘Do the English Speak English?’ Additional Training
- •1. A). Listen to the text “a street in London” (l.L.C. 29). Practise reading it imitating the speaker’s intonation
- •A street in London
- •2. Listen to the text “a Visit to London” (l.L.C. 31), discuss it with your group-mates. A visit to London
- •If you had a chance what place of interest would you like to see first in London?
- •3. Listen to two poems. Lay stresses and tone marks according to the model suggested. Practise reading them. London
- •Sonnet composed upon Westminster bridge
- •Section V Consonants in comparison
- •1. A). Listen and practise the following pairs of words:
- •1. B). Practise reading the following conversational contexts. Define the intonation and accentual patterns of all utterances.
- •1. C). Learn the proverbs. Lay stresses and tone marks:
- •1. D). Use one of the proverbs to comment on the following situation:
- •2. Identify the difference in the expressiveness of the replies.
- •It must be remembered that to emphasize the whole of the utterance we can:
- •Widen the range of the utterance or narrow it.
- •I can’t under stand it.
- •I don’t know that
- •Emphatic Nuclear Tones
- •Laboratory Work
- •2. Choose the appropriate reaction to convey the suggested attitude. Justify your choice.
- •4. Act out the following conversational situations expressing contrast and emphasis in the replies through nuclear shifts and emphatic tones.
- •5. Read the following conversational situations. Observe the position of logical stress in the replies. Make the stress emphatic wherever possible. Give your own replies to the same verbal context.
- •Additional Training
- •At the Station
- •2. A). Listen to the text “Travelling by Sea and Air” (e.L.C. 27). Practise reading it according to the model. Travelling by Sea and Air
- •3. Listen and practise reading the poem imitating speaker’s intonation. Lay stresses and tone marks. Choose a piece of the poem you like best and learn it by heart. Travel
- •Section VI Consonants in comparison
- •The Six o’Clock News Good evening. And here’s the Six o’Clock News from Washington with j.C. Kennedy and Warren Wolf.
- •Descending Scale
- •I. Formal:
- •II. Informal:
- •3. Choose the appropriate reaction (a, b) for the given stimulus-utterances according to the speech situation:
- •Laboratory Work
- •1. Listen to the following texts, lay stresses and tone marks, recognize phonetic styles. Practise reading the texts aloud.
- •3. Act out the following conversations using appropriate intonational patterns according to the speech situation:
- •4. Practise reading the poem to the given stresses tone marks. Learn it by heart, be ready to recite it in class. Sonnet cxxx by w.Shakespeare
- •Theatres, Music-Halls and Cinemas
- •Additional Training
- •After the Cinema
- •At the Theatre
- •2. A) Listen and read the following stories with proper intonation patterns. After reading each story answer the question “What would you have done?”.
- •The Reader’s Page
- •That's my beer...Or was
- •In deep water
- •That's a no-no
- •Strangers in the night!
- •Deep fried
- •Or else
- •Honesty is the best policy
- •3. A) Practise the following poem according to the intonation marked. Bonnie bell by Robert Burns
- •4. B). While watching the film pay special attention to how the characters speak.
- •English language: levels of usage
- •The First Four Minutes
- •Literature used
3. A). In the following conversational contexts compare the modal meaning of the reactions: first within a contour and then within a communicative type:
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– I’d like to talk to Mr. Wellar, please.
– Could you call back later? He’s very busy at the moment.
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– Please don’t use the phone without asking.
– Sorry. I didn’t realize you felt so strongly about it.
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– Nice and bright this morning.
– Yes. Much better than yesterday.
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– Do you think I can go now?
– Wait for the others.
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– Tom is constantly missing his classes.
– He hasn’t missed a single lesson this week.
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– Was he really so bad?
– Absolutely terrible.
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– I can get you one, if you like.
– That would be wonderful.
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– Come and have a game, Pete.
– Will you stop bothering me?
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– I’m afraid I’ve lot it.
– Never mind.
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– And this is Ann.
– Good morning, Ann.
Mind that in complex tones it is the final part that is more informative. “Fall-Rise is an implicit tone. It always gives the impression that something has been left unsaid, and that the speaker expects his listener to imagine the extra meaning” (R. Kington)
The exact character of the implication is always deduced from the concrete situation in which fall-rise is used. There is no need to use words to express what the fall-rise hints at, because it is known both to the speaker and to the listener. For e.g.
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Let’s telephone Bill.
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It’s rather late.
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May I use your phone?
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I’m afr aid you can’t.
Sometimes the implication consists of signalling to the listener that “the speaker hesitates to make his statement too confidently, and at other times it conveys a warning or an apology” (R.Kingdon)
Rise-Fall implies all the definiteness, finality, etc, associated with other falling tone contours. It particularly shows that the speaker is generally impressed (whether favourably or not). This tone has an intensifying function very similar to the use of the word “even”.
For e.g.
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I can’t do it.
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You aren’t trying = … even trying.
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Did you finish that job?
-
Ages ago.
3. B). Think of the situations where the following utterances will sound natural. Comment on your attitude.
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I am not sure whether I’ll manage to do it alone.
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It’s terribly exp ensive.
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You’d better leave it for some other day.
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They are deli ghtful.
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Suggest it to him.
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Can she though?
Laboratory Work
1. It’s well known, that the distinctive function of intonation is apparent from the fact that communicatively different types of sentences are distinguished by intonation alone. So reveal the communicative aim and attitudinal meaning of the utterance according to intonation patterns.
Model:
He’s passed his exam. – a categoric, reserved, statement
He’s passed his exam? – a formal question
He’s passed his exam? – a question + surprise
He’s passed his exam. – an exclamation, personal interest
He’s passed his exam. – a statement + implication
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a) It’s no use sending for the doctor.
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It’s no use sending for the doctor.
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It’s no use sending for the doctor.
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It’s no use sending for the doctor.
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It’s no use sending for the doctor.
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-
a) Wait here!
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Wait here!
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Wait here!
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a) Isn’t she a nice girl?
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Isn’t she a nice girl?
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Isn’t she a nice girl?
-