- •Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Use a friendly general question as a reaction to the following statement.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •React the following expressing contradiction.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •Card 14
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
I. Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
Are you still studying /Spanish?
\Yes, but I haven’t got enough \time for it. I have so many \other things to do.
It’s the same with \/me. I can \read /Spanish now without any \difficulty. But I still find it rather /difficult to \speak Spanish. And I don’t always under\stand Spanish when I listen to other \people speaking it.
We don’t hear spoken Spanish e\nough I sup/pose. Do you listen to radio /programmes from Spain?
\Yes, I listen to the \news /mostly.
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
- On sure ground of fact
- A unique and overwhelming charm
It can be reached by road or rail
b) Read the following utterances according to the suggested rhythmic structure.
What subjects are you majoring in? (3 stress-rhythm)
He drank five big mugs of German light beer. (4 stress-rhythm)
III. Use of pitch contours*.
a) Express an apology in your reaction.
I’ve been waiting for you for an hour already.
I’ve been awfully busy.
b) Ask an uncertainty disjunctive question.
- You haven’t eaten anything since morning, have you?
Yes, I have. I had lunch at the university canteen.
Iy. Auditory memory check.
Act out the following situational context by analogy with “University Students”. (London Course).
What are you going to study?
Mathematics. I hope to work for a computer company in a few years. And what about your plans?
I’ll be taking a course of chemistry. I don’t know yet how long it’ll last. I think I’ll find it fairly interesting.
*A pitch contour is an overall tone pattern of an intonation group. It is formed by the type of Prehead, Head and nuclear tone.
e.g. That’s the 'best ·news I’ve heard for a \long time.
The pitch contour of this statement is defined as a high falling contour with a normal prehead and a stepping head.
CARD 10
I. Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
I want a \hat, please.
What \size, sir? Do you /know?
\No, I don’t \know the size.
Put \this hat /on, please. That’s too \large, \isn’t it? That’s size seven and a \half. \Here’s a size /seven.
Too \small. Have you got a seven and a /quarter?
\Here is a seven and a /quarter.
This is the right /size but I don’t like the \/colour. Have you got a \grey hat the same size as /this?
\Here you /are, sir.
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
- An endless field of discussion
- Predict the gloomiest consequences
They learn to be more independent and confident
b) Read the following utterances according to the suggested rhythmic structure.
The district is some distance from the centre. (3 stress-rhythm)
He is dreaming of a career of a newspaper reporter. (4 stress-rhythm)