- •Phonetics as a subject (general notes).
- •Phonetics as a subject, its branches.
- •Connection of phonetics with other sciences.
- •The phoneme theory (the definition of a phoneme, its functions).
- •Phonological schools. Methods of Phonological analysis.
- •Methods of the phonemic analysis
- •The English Vowel system.
- •1. Stability of articulation
- •2. Position of the tongue
- •3. Position of the lips
- •Classification of the English vowels.
- •1. Stability of articulation
- •2. Position of the tongue
- •3. Position of the lips
- •The English Consonant system.
- •9. Classification of the English consonants.
- •Assimilation. Types of assimilation.
- •Word-stress or accent in English (its nature, functions, position in words).
- •Word stress in a language performs three functions.
- •Place of word stress in English.
- •Syllable formation and syllable division.
- •Word-stress and sentence-stress, their difference.
- •Theories of syllable formation and syllable division.
- •English Intonation (general notes).
- •Intonation in unemphatic speech.
- •17. Intonation in emphatic speech.
- •The ascending scale; the sliding scale; the level scale; the scandent scale.
- •18. Functions of intonation.
- •D. Crystal distinguishes the following functions of intonation.
- •19. The English Tunes.
- •20. Received pronunciation and general American pronunciation.
English Intonation (general notes).
Intonation is a complex unity of non-segmental features of speech: 1. melody, pitch of the voice; 2. sentence stress; 3. temporal characteristics (duration, tempo, pausation); 4. rhythm; 5. tamber.
Intonation organizes a sentence, determines communicative types of sentences and clauses, divides sentences into intonation groups, gives prominence to words and phrases, expresses contrasts and attitudes. The two main functions of intonation are: communicative and expressive.
There are two main approaches to the problem of intonation in Great Britain. One is known as a contour analysis and the other may be called grammatical.
The first is represented by a large group of phoneticians: H. Sweet, D. Jones, L. Armstrong, and others. According to this approach the smallest unit to which linguistic meaning can be attached is a sense-group. Their theory is based that intonation consists of basic functional "blocks".
The grammatical approach to the study of intonation was worked out by M. Halliday. The main unit of intonation is a clause. Intonation is a complex of three systemic variables: tonality, tonicity and tone, which are connected with grammatical categories. Tonality marks the beginning and the end of a tone-group. Tonicity marks the focal point of each tone-group. Tones can be primary and secondary. They convey the attitude of the speaker. Halliday's theory is based on the syntactical function of intonation.
The tone unit is one of the most important of intonation theory. The interval between the highest and the lowest pitch syllable is called the range of a sence group. The higher the pitch, the wider the range. The change of pitch within the last stressed syllable of the tone group is called a nuclear tone. It may occur not only in the nucleus, but extend to the tail terminal tone.
Intonation is a language universal. There are no languages which are spoken without any change of prosodic parameters but intonation functions in various languages in a different way.
There is wide agreement among Russian linguists that on perception level intonation is a complex, a whole, formed by significant variations of pitch, loudness and tempo closely related. Some Russian linguists regard speech timbre as the fourth component of intonation. Neither its material form nor its linguistic function has been thoroughly described. Though speech timbre definitely conveys certain shades of attitudinal or emotional meaning there is no good reason to consider it alongside with the three prosodic components of intonation, i.e. pitch, loudness and tempo.
Many foreign scholars (A. Gimson, R. Kingdon) restrict the formal definition of intonation to pitch movement alone, though occasionally allowing in variations of loudness as well. According to D. Crystal, the most important prosodic effects are those conveyed by the linguistic use of pitch movement, or melody. It is clearly not possible to restrict the term intonation by the pitch parameters only because generally all the three prosodic parameters function as a whole though in many cases the priority of the pitch parameter is quite evident.