elements of intonation. The main elements of intonation (logical stress, pause, increase - decrease in voice, tone of speech, etc.) The main component of intonation is
Currently, the study of intonation is the area of knowledge that has undergone the most noticeable changes over the past 15-20 years. This focus on intonation studies is primarily due to the fact that advances in speech technology have made it possible to conduct studies of acoustic parameters associated with prosodic phenomena, especially pitch frequency and duration, to an extent that was not possible in other areas of study. speech. This is also explained by the fact that recently significant theoretical advances have been made in linguistics and, in particular, phonetics, which have made it possible to better understand the mechanism of the functioning of intonation components when expressing various types of meanings in the languages of the world.
The term "intonation" itself arose in the 60-70s of the XX century, but it is still a very complex and far from established concept in linguistics. Researchers define the concept of intonation in different ways, based on the goals and objectives they solve. Some linguists F. F. Fortunatov, A. M. Peshkovsky, V. V. Kolesov interpret this term too narrowly, meaning only raising and lowering the voice, others A.B. Shapiro, S.F. Ivanova, V.A. Labunskaya is wider, emphasizing that the intonation combines the rate of speech, strength, height and timbre of the voice. But they all agree on one thing: intonation is not only a means of expression, it is an important means of forming an utterance and revealing its meaning. Intonation is a mandatory feature of oral, sounding speech. Speech without intonation is impossible. The richness and content of speech, its expressive possibilities are provided not only by the richness of the dictionary and the mastery of verbal expression, but also by its intonational flexibility, expressiveness and diversity [Kataeva, 2005: 15].
From the point of view of Soviet phoneticians such as V.A. Artemov, G.P. Torsuev, V.A. Vasiliev, the definition of intonation is as follows: Intonation is “a complex unity of melody, stress, temporal components, duration and pause” [Trubetskoy, 1960]. I.G. Torsueva gives the following definition of intonation: “Intonation is an interrelated change in the frequency of the main tone and intensity, unfolding over time” [Torsueva, 1976].
In theoretical studies in the field of intonation conducted in the UK, two main areas can be distinguished: one of them is represented by a large group of linguists, supporters of the so-called contour theory (G. Sweet, D. Jones, G. Palmer, I. Ward, L. Armstrong, R. Kingdon, J. O "Connor, A. Gimson, etc.) and can be called traditional, as it has deep roots and wide distribution. So, G. Palmer claims that all changes associated with this musical height or tone are defined by the term intonation. L. Armstrong and I. Ward believe that intonation is the rise and fall of the pitch of the voice when we speak. D. Jones considers intonation as a change in the pitch of the voice tone, i.e. a change in the pitch of the musical note created by vibration of the vocal cords... Similar approaches to intonation can be found in the works of other foreign scientists.
Another direction in British linguistics can be called grammatical. Its development belongs to M. Halliday (Halliday, 1967). The basis intonation system the grammatical unit - the sentence (clause) is put. Intonation units form and express grammatical categories. There is no direct connection between intonation and grammatical units. Intonation in the M. Halliday system is devoid of its own meaning, but can express grammatical contrasting meanings. Intonation is considered on a par with others, not intonation means expressions of grammatical categories. Unlike the contour theory, M. Halliday's theory is based on the close interaction of intonational and grammatical aspects. This side of the theory is the most developed and the most logical. However, the consideration of intonational means on a par with grammatical and lexical means in transmission specific values leads to the fact that the intonational aspect loses its specificity. Comparing the two main directions in British linguistics on the problems of intonation - contour and grammatical, we can say that both directions are united by a common understanding of intonation as a change in pitch. The main difference is that the approach to the study of intonation is carried out from different positions: from the standpoint of the specifics of the intonational phenomena themselves (contour theory) and from the standpoint of grammatical structure (grammatical theory).
In its communicative aspect, intonation has the following meanings:
- - divides speech into intonation-semantic segments (syntagms). According to L.V. Shcherba: “syntagma is a phonetic unity expressing a semantic whole in the flow of speech-thought” [Shcherba, 1957: 87].
- - draws up various syntactic constructions and types of sentences (with the help of intonation, the listener understands which declarative, interrogative or exclamatory sentence he hears).
The main components of intonation are speech melody, phrasal stress, tempo, timbre and pause. The most active component of intonation is melody. M.G. Kravchenko, M.A. Zykova, N.D. Svetozarova understands melody as a change in the pitch of a voice tone in the process of speaking or reading. With the help of melodics, the most important segment of the speaker's phrase is highlighted, emotions, feelings or subtext are expressed. Melodica consists of two main tones: - descending and ascending. As S.F. Leontiev, in English, the most common is the descending tone used to express the completeness or certainty of a statement, statement or order (What a nice picture!) And the ascending tone used in statements that require continuation and completion of thoughts or in questions (Is there anybody here? ). All components of intonation, except for a pause, are necessarily present in an utterance, because no element of it can be pronounced without some kind of pitch, and so on. Therefore, all components of intonation closely interact with each other.
M.A. Sokolova, K.P. Gintovt, I.S. Tikhonov and R.M. Tikhonov distinguish 3 prosodic components of intonation - rhythm, loudness and tempo. As for the timbre, in their opinion, there are no sufficient grounds to consider it on a par with these components. For a long time A.M. Antipova, N.B. Svetozarova, E. Stock considered rhythm as a component of intonation. Recently, rhythm has been considered as a phenomenon that is not included in the concept of intonation. N.V. Cheremsina believes that rhythm is created by a complex of intonational components in their interconnection and is a component of prosody as a broader concept, which includes all suprasegmental means of sound, including intonation [Cheremsina, 1989: 98]. Thus, rhythm is one of the most important characteristics of colloquial speech and in English it is characterized by a tendency to alternate stressed syllables of a semantic group with unstressed ones and pronounce these stressed syllables at more or less equal intervals. According to M. A. Sokolova: the rhythm of speech is the orderliness of its sound, verbal and syntactic composition, determined by the semantic load [Sokolova, 2003]. The most vivid speech rhythm is expressed in poetic texts, the least - in spontaneous dialogical speech. In English, a syllable can act as a unit of rhythm, but for English, as well as for Russian, German and Dutch, a beat-counting rhythm is more typical. “In tact-counting languages, it seems that stressed syllables are pronounced at regular intervals” [Buraya, 2006: 239]. Other languages such as French, Spanish, Italian, Greek, Hindi have a syllabic rhythm. Rhythm of spontaneous speech due to more secondary (or tertiary) accents inherent in English, combined with a relatively narrow range, gives the impression of a smooth and monotonous. This is especially true for "American" English. In RP, each stressed syllable corresponds to approximately two unstressed syllables (1:2). In British speech, there is a greater contrast in the duration of stressed and unstressed syllables [Buraya, 2006: 210].
Tempo (along with rhythm) refers to temporal prosodic characteristics. From the point of view of modern linguists such as L. Borisova and S.F. Leontiev’s definition of tempo is as follows: “the tempo of speech is the speed of speech in time, its acceleration or deceleration, which determines the degree of its articulatory tension and auditory distinctness” [Borisova, 1980]. The pace of speech is determined by various factors: the number of listeners, individual characteristics speaker, etc. There is also a more detailed classification of tempo: simple tempo and complex tempo. A simple tempo is characterized by its relative constancy and immutability. This type of tempo is found in simple sentences and simple utterances. A complex type of tempo is typical for long utterances, with complex grammatical structures and polysyllabic words, it is characterized by sharp slowdowns or, on the contrary, acceleration of the speed of pronunciation of utterances. Speaking of spontaneous speech, it should be noted that here a complex type of tempo is found even in simple statements. Slowing down his speech, the speaker focuses on a certain part of his statement.
Thus, in the flow, speech is divided into semantic parts of different lengths. This division is carried out through pauses. A pause is understood as “a larger or smaller break in sound, which is a signal of the boundary between two more or less independent segments of speech” [Kravchenko, 1973:42]. The main function of pauses is to divide coherent speech into phrases and intonation groups. Pauses are interrelated with the rate of speech: the number and length of pauses affect the overall rate of the speaker's speech. Pauses can be: mute or not voiced, pauses of perception and voiced pauses (pauses of hesitation).
A mute or unvoiced pause is a stop of phonation (the work of the vocal cords). They can be short, long or very long.
Hesitation pauses are not characterized by a phonation stop period, but there is a pause effect, because it is achieved by a sharp change in the direction of movement of intonation. In spontaneous speech, with its unpreparedness and creative nature, hesitation pauses perform various functions: firstly, they are stops in speech, during which the speaker chooses a word and plans an utterance; secondly, the designation of various additions, corrections and returns. According to linguists, however, too many hesitation pauses can impede communication; on the other hand, their absence in spontaneous speech may characterize artificial speech rather than spontaneous speech. Thus, the phenomena of hesitation, i.e. pauses of reflection, among which there may be voiced and unvoiced, are very important for planning the speaker's speech and as a signal to continue the conversation. Self-interruptions and repetitions are also allowed. For those who speak or read, pauses are needed in order to catch their breath and gather their thoughts. The time periods of phonation and pause are balanced, but not at all equal. They give the listener the opportunity to receive and process the speech signal - in other words, to learn what he hears.
As for such a prosodic component of intonation as timbre, then, as mentioned above, many Russian phoneticians, and in particular M.A. Sokolova, K.P. Gintovt, I.S. Tikhonov believe that timbre is not included in the totality of intonation elements. In addition, the timbre has not yet been sufficiently studied by scientists in terms of its material form and linguistic function. However, some Russian researchers give the following definition of timbre: “timbre, otherwise the timbre coloring of speech is a specific characteristic of sounding speech perceived by a person, which depends partly on the physical parameters of the speech apparatus (low, hoarse timbre, high piercing voice, etc.), partially regulated by the speaker due to special changes in the state of the organs of speech (mainly due to different emotional states at the time of speech). Timbre allows you to distinguish one sound from another, to distinguish the sounds of different faces, male or female speech. The timbre of each person is strictly individual and absolutely unique. Differences in timbre do not participate in the transmission of the main communicative functions of intonation and appear only when certain specific emotions are expressed (contempt, anger, ridicule, etc.). Thus, the study of emotional speech provides rich material for describing and classifying timbres and the meanings they express, and the close connection of timbre features with such, undoubtedly, intonation means as melody (register, range, direction, rate of change in the fundamental tone frequency), duration, intensity, pause, confirm the legitimacy of classifying timbre as one of the components of intonation, so important for a diverse emotional regarding spoken language.
Intonation is a combination of rhythmic and melodic components of speech: melodics (i.e., movements of the main tone), intensity, duration, tempo of speech and timbre of pronunciation (indicating the general emotional coloring of speech). Intonation is one of the most important means of formulating an utterance, revealing its meaning. With the help of intonation, continuous tone movement, the speech flow is divided into semantic segments with further detailing of their semantic relationships. Therefore, intonation is often defined as the rhythmic-melodic side of speech, which is a means of expressing syntactic meanings and emotionally expressive coloring of an utterance. Intonation includes a whole range of elements, including:
1) the melody of speech: the main component of intonation, it is carried out by raising and lowering the voice in a phrase (cf., for example, the pronunciation of interrogative and declarative sentences), it is the melody of speech that organizes the phrase, dividing it into syntagmas and rhythmic groups, linking its parts;
2) the rhythm of speech: i.e. regular repetition of stressed and unstressed, long and short syllables. The rhythm of speech serves as the basis for the aesthetic organization of an artistic text - poetic and prose. The basic unit of speech rhythm is a rhythmic group consisting of stressed and unstressed syllables adjoining it;
3) the intensity of speech, i.e. the degree of its loudness, the strength or weakness of the utterance of the statement (compare the different intensity of speech at a rally and in a room);
4) the pace of speech, i.e. the speed of pronunciation of its elements (sounds, syllables, words), the speed of its flow, the duration of the sound in time (for example, by the end of the utterance, the pace of speech slows down, segments containing secondary information are pronounced faster than informatively significant segments that are pronounced in slow motion );
5) the timbre of speech, i.e. sound coloring of speech, conveying its emotional and expressive shades (for example, intonation of distrust, playful intonation, etc.),
Intonation is an essential feature of a sentence. In the utterance, it performs the following functions: 1) forms the utterance into a single whole (compare the intonation of completeness and incompleteness of the sentence); 2) distinguishes between types of statements in terms of their purposefulness (cf. intonation of motivation, question, narration, etc.); 3) conveys syntactic relations between parts of a sentence or sentences (cf. intonation of enumeration, introduction, explanation, comparison, etc.); 4) expresses emotional coloring (cf. exclamatory intonation); 5) reveals the subtext of the statement; 6) characterizes the speaker and the situation of communication as a whole. Within the framework of texts belonging to different styles of language or literary genres, intonation performs emotional, aesthetic and pictorial functions (cf., for example, different intonational coloring of the speech of good and evil characters in fairy tales).
The study of the intonations of individual languages indicates that many languages differ in intonation, for example, intonation in Lithuanian has an ascending character; in Russian, it can be of several types: descending, ascending, descending-ascending, ascending-descending.
Intonation is a sign not only of a sentence, but also of a syllable, especially in Indo-European and Proto-Slavic languages. In Indo-European languages, in particular, two types of syllable intonation are restored - ascending (acute) and descending (circumflex). These intonations still exist today in some languages (for example, in Slovenian, Serbian, Croatian). Traces of them have been preserved in the Russian language in full-vowel combinations -oro-, -olo-, -ere-(compare, for example, the rising intonation in the word Crow and descending in the word Crow).
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From the history of linguistics
Linguistics as a science of language originated in ancient times (presumably in the Ancient East, in India, China, Egypt). The conscious study of language began with the invention of writing and speech.
Essence of Language
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Literary and linguistic norm, its codification and distribution
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Prospects for the development of languages in the future
The question of the prospects for the development of languages in the future has several solutions. According to one point of view, the future of languages lies in language unions: the development of languages, according to scientists, will follow the path of their
Phonetics
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Interaction of sounds in a speech stream
In the flow of speech, the articulation of sounds undergoes changes. Sound modifications can be of two types: 1) combinatorial; 2) positional. combinatorial changes are phonetic changes
Phoneme as a unit of language
Every language has a huge variety of sounds. But the whole variety of speech sounds can be reduced to a small number of language units (phonemes) involved in the semantic differentiation of words or their forms.
Melodica.
The main component is the melody, i.e. the change in pitch throughout the utterance. This component is so important that sometimes it is completely identified with intonation and called intonation in the narrow sense of the word, for example, they talk about interrogative, exclamatory, affirmative, etc. intonation. In addition, since the voice is the “material carrier” of melodic changes, the melody (and intonation in general) is often mistakenly identified with the voice, for example, they speak of “gentle, rough, hard, etc. intonation”, attributing to it the properties that characterize just the voice.
With all the variety of potential melodic changes, two main types of melodics are important for the Russian language: descending and ascending.
The descending melody is characterized by a decrease in the pitch of the voice and is used in declarative and imperative sentences, as well as in interrogative sentences with a question word and some types of exclamatory sentences.
Rising melody is characterized by an increase in pitch and is characteristic of interrogative sentences without an interrogative word (general question), and is also realized in non-final parts of a common statement and some exclamatory sentences.
Of course, other types of melodic changes are realized in a sounding phrase, for example, ascending-descending or descending-ascending, segments of speech are also possible, characterized by an even movement of tone.
The main indicators by which the nature of melodic changes in a phrase is assessed are the pitch change interval, as well as the overall tonal range of the phrase. The interval is the amount of change in tone (up or down). Thus, a general question is characterized by a large interval of rise in tone compared to that which occurs in the unfinished parts of the statement. It is believed that the value of the tone change interval determines the expressive coloring of the phrase.
Timbre is a specific (super-segmental) coloring of speech, which gives it certain expressive-emotional properties. Timbre is considered as a very important, but additional means of enriching the melody of speech and is organically connected with it, determines it. Each person has his own characteristics of the sound of speech, associated with the structure and operation of his speech apparatus, the nature of the sounds of his voice. By the combination of these signs, even without seeing a person, you can find out what he is saying.
But the coloring of speech can change, deviate from the usual norm, depending on emotions. The stronger the emotions, the more deviations from the usual sound. The expressiveness of speech is reported by this deviation. “If you are sick, poorly tuned, on the contrary, happy and cheerful, the timbre of your voice will“ tell ”all this. If you are active in expressing thoughts, if your emotions are not hidden, again, first of all, the timbre will bring this to your interlocutor's attention. The reasons for this may be different, depending or not depending on the will of the speaker.
The timbre of the voice as a component of intonation performs mainly an expressive function, giving speech emotionality and expressiveness. The intonation timbre is determined by the state of the vocal cords, namely their configuration and the degree of tension.
The rate of speech is the speed of pronouncing the elements of speech (sounds, syllables, words). In phonetic studies, the duration of sounds is used to characterize the tempo, but in practice they use the indicator of the number of sounds (syllables, words) uttered per unit of time (second or minute). The physiological regularity of the change in the tempo of speech throughout the utterance is that at the end of the utterance the tempo is, as a rule, slower than at the beginning. The pace should be medium, avoid long pauses - they annoy the audience, especially well-prepared. Pauses before and after important places (prepare for the perception of information and call for reflection). This is not silence, this is an effective element of our speech. A pause can attract attention, increase the emphasis on the desired phrase. Pauses give the opportunity to think during speech and control words. The rate of speech performs important semantic functions. It serves as a means:
- 1. Expressions of the degree of importance of the content (more important content is characterized by a slow pace, and less important content is characterized by a fast pace);
- 2. Attracting the attention of the listener (by slowing down the pace);
- 3. Facilitate understanding and memorization (a slower pace gives the listener time to understand and remember the perceived content);
- 4. Expressions of the emotional state of the speaker (emotional states that activate human activity - as a rule, positive emotions - accelerate the pace, and emotional states that reduce activity - negative emotions - slow it down);
- 5. Making speech expressive (by accelerating or slowing down the tempo, speech reflects the speed of events, actions that the speaker talks about; similarly, when the speech tempo of other people is imitated).
The average rate of speech is considered to be a pronunciation rate of approximately 120 words per minute.
Poorly trained speakers, not knowing the tempo-rhythm of speech, try to compensate for this lack of loudness, they begin to shout, raising the strength of each sentence compared to the previous ones: their speech becomes monotonous and loud and its quality not only does not improve, but worsens even more.
Tonal range is the difference between the minimum and maximum pitch within an utterance. As we have already said, the value of the tonal range primarily characterizes the voice, but the use of all the possibilities of the tonal range in speech helps to increase its expressiveness.
If the intervals of pitch change are small or if the speech has a small tonal range, then the listeners have a feeling of monotony of speech. According to psychologists, a person listening to monotonous speech turns on protective inhibition. nervous system leading to distraction and fatigue. Information presented monotonously is perceived by the listeners more captiously, critically, the strongest arguments are regarded as unconvincing, examples seem inexpressive. A person speaking in such a tone is suspected of indifference to the problem under discussion and partners.
When pronouncing words, we exhale air from the lungs, which passes through the respiratory tract into the larynx, where, as a result of closing and opening of the vocal cords, it forms a sound called voice. The voice has the following properties: strength, pitch, duration (tempo), flight quality, quality (timbre). These properties of the voice are an important condition for expressiveness.
should be distinguished sound intensity and loudness. Loudness should be understood as the fullness of the voice. Change strength voice is used as one of the means of expression. You can speak loudly, medium and softly, depending on the content of what is being read. Reading only aloud or only quiet gives the impression of monotony.
During a certain segment of speech, the tone consistently changes in height: goes up and down. In order for the voice to easily move from low to high and vice versa, it is necessary to develop its flexibility and range.
Flight- this is the ability of sound to fly into the distance, spread over long distances, stand out from other sounds.
Intonation- a complex phenomenon of oral speech. In linguistic works, intonation is understood as a set of means for organizing sounding speech.
With the help of intonation, one can express the specific meaning of the statement, its purpose; feeling, the attitude of the speaker to what is being said, and to the interlocutor, the listener.
Intonation organizes speech: it divides it into sentences and phrases (bars), draws out the semantic relationship between parts of the sentence, tells the spoken text the meaning of the message, question, order, request, etc.
The main components of speech intonation are as follows:
1) the force that determines the dynamics of speech and is expressed in stress;
2) the direction that determines the melody of speech and is expressed in the movement of the voice over sounds of different pitches;
3) speed, which determines the pace and rhythm of speech and is expressed in the duration of the sound and stops (pauses);
4) timbre (shade), which determines the nature of the sound (emotional coloring of speech).
logical and phrasal stress.
A group of words representing a single semantic whole has an accent on one of its members. This unity stands out as a segment of speech between two pauses. In a sentence Here is this k_n_i_g_u | put on _p_o_l_k_u_- two phrases (two measures). Phrases are separated by a short pause |. In each phrase, one of the words attracts stress. In the first sentence, the word book, in the second - shelf. This phrasal stress(here it is underlined with a weak dotted line). From pause to pause, the words are pronounced together. This unity is dictated by the meaning, the content of the sentence.
From phrasal stress should be distinguished logical stress. In the same sentence, we can single out the phrase on the shelf voice and exhalation power more than we highlight the word in the first phrase book. Combination on the shelfsounds stronger, “moves forward” in a semantic sense. The speaker gives this word a special meaning. This word is the "key" to the whole sentence., the most meaningful. In our example (in the second phrase), the logical stress coincided with the phrasal stress, so to speak, “overlapped it” as being stronger. The main words in the sentence are highlighted, they are brought to the fore by the tone of voice and the force of exhalation, subordinating other words to themselves.
By the will of the speaker (or his plan), the logical stress can take any word in the sentence.
Will you be at the theater today?(and not anyone else?)
Will you be at the theater today?(Will you come or not?)
Are you going to the theater today?(and not tomorrow, not the day after tomorrow?)
Will you be at the theater today?(and not at work, not at home?)
Each simple sentence usually has one logical stress. Sometimes there are sentences in which not one, but two or more logical stresses are distinguished, for example: It became quiet on the wide fields, on green meadows, where rye grew up where buckwheat bloomed.
Logical stress is very important as a component of intonation, K. S. Stanislavsky called logical stress index finger, marking the most important word in the sentence. “In the highlighted word,” he said, “the soul, the inner essence, the main points of the subtext are hidden!” one
The most important components of intonation are melody of speech- the movement of the tone along the sounds of different pitches, the rise and fall of the tone, its various variations, somewhere in the middle of the phrase - after the climax - there will be a change in tone, for example
punchline- the stressed syllable of a word, provided that the logical stress falls on this word. All other words are in a lower register. The melody can be descending, ascending, monotonous with slight ups and downs, etc.
The tempo-rhythm of speech.
The meaning of what has been said is perceived in a continuous stream of speech. The listener interprets the statement, delves into the meaning of the speech, using phrasing (divided into phrases).
Working on expressiveness, includes the concept logical and psychological pause.
A pause combines words into a continuous series of sounds, but at the same time separates groups of words, limits them. This logical pause.
The offer is separated pause. This semantic (logical) pause denoted by a single line /, and long pause– two strokes ||. Observing logical pauses, the speaker pronounces a segment of speech, concluded between pauses, together. At the same time, a pause unites the sentence. The duration of pauses can be different, from short to long. If the pause is prolonged, then it, according to K. S. Stanislavsky, is reborn from an inactive logical into an active psychological, is filled with internal content, sharpens the attention and awakens the listener's imagination (this pause will be denoted by the letter [P]).
Psychological pause- this is a stop that enhances, reveals the psychological meaning of a phrase, passage. It is rich in internal content, active, as it is determined by the attitude of the reader to the event, to the character, to his actions.
Pausing is very important for understanding the read and spoken text. It is between two pauses following one after another that a segment of speech stands out, which is the main intonation unit.
Pace is the speed of reading (pronunciation of speech). For tempo to become an expressive means of utterance or reading, it is necessary to understand the purpose of the utterance, the nature of events and people, as well as the expected reactions of listeners.
Closest to the tempo is speech rhythm. K. S. Stanislavsky does not even separate tempo and rhythm and calls this speech concept tempo-rhythm.
Rhythm- this is a uniform alternation of acceleration and deceleration, tension and relaxation, longitude and brevity, similar and different in speech. The easiest way to observe the rhythm in a poem.
The rhythm of this quatrain is based on the repeatability of the number of stressed and unstressed syllables in comparable segments of speech:
Everything was not easy for us, But the main thing is not to lose heart. The Workers' and Peasants' Power fought against all enemies.
The rhythm scheme of this work (^ unstressed, - stressed syllable):
Rhythm should not be confused with the meter of the verse: the meter indicates the main features of the unit of the verse - the foot.
Timbre- this is a specific (supra-segmental) coloring of speech, giving it certain expressive-emotional properties. Timbre is considered as a very important, but additional means of enriching the melody of speech and is organically connected with it, determines it.
Timbre- a spokesman for the artistic interpretation of the text, the reader not only conveys it in accordance with the understanding of the creative tasks of the author of the work, but also enriches the sound with his own creative ideas
Emotional coloring of speech - and there is timbre. There are no recipes for "timbre coloring". Thoughtful reading of the text, "getting used to" the images of the writer, the poet - this is what gives the basis for emotionally expressive reading.
Expressive movements of the muscles of the face, which are one of the forms of manifestation of various feelings, are called facial expressions. Through facial expression, the eye of the narrator conveys his experiences, his attitude to events, persons and circumstances.
Gesture is also a special means of expression.
A special means of expression is gesture. Skillful selection of certain gestures helps the reader to reveal the essential aspects of the life depicted in the story. The most valuable psychological gesture. He seeks to reveal the subtext, to reveal the intention. Filling the psychological pause, he brightens the following words, enhancing the effect of intonation. It can precede the word, accompany it or follow it, emphasizing the meaning of what is being said, convincing the listener.
To designate various phenomena in oral speech, there are generally accepted signs of text markup.
1 Stress in a word (in difficult cases) is indicated by the sign "above the letter, above e no accent mark.
2. Stress is phrasal - the stressed word is underlined with a dotted line, the logical one is underlined with one line, the psychological one is indicated by the letter [P] before the word or sentence; emphatic stress is indicated by the letter [E] before the word.
3 Pauses are indicated as follows: short - by a vertical dotted line (|), medium - by one vertical line (|), long - by two vertical lines (||).
4. Continuous pronunciation is indicated by an arc ^ above the words.
5. The melody of the sentence is indicated as follows: the rise (raising) of the voice is indicated by an up arrow above the stressed vowel of the word (/) the fall (decrease) of the voice is indicated by a down arrow above the stressed syllable (\), the monotone is indicated by a continuous horizontal line under the words. The usual (normative) melody of interrogative, declarative and exclamatory sentences is not indicated, it is indicated by punctuation marks
7. Remarks about the pace and color of reading are put in the margins on the right in words quickly, slowly, accelerating etc.
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ACCENT AND ITS TYPES
1. Word stress.
2. Syntagmatic stress.
3. Logical stress.
4. Phrase stress.
1. word stress - this is the selection of a syllable in a word using phonetic means (vocal strength, longitude of sound, pitch).
Phonetic types of stress. In the languages of the world, emphasis stressed syllable happens differently:
2) pitch (the stressed syllable is distinguished by an increase or decrease in tone) = tone, musical( Chinese, Japanese, Swedish);
3) length of pronunciation (the stressed syllable is lengthened, but not intensified) = longitudinal, quantitative, quantitative(Modern Greek, Indonesian, Javanese).
In Russian, the stress is quantitative-dynamic (quantitative-power). This means that the stressed syllable in Russian is characterized by lengthening of the vowel, greater volume, and is pronounced with greater force.
In Russian and English, word stress has another important phonetic property: it causes a reduction (weakening) of vowels that are in an unstressed position:
five - p I so - p I T but choke; amusement- entertainment, fun
This phenomenon is also well represented in German and Danish, where unstressed vowels are strongly reduced, while in Spanish the reduction is very weak, and in many languages it is not observed at all (cf., for example, in Italian or Georgian).
Structural types. Emphasis is placed on the place of stress in a word free And related.Free accent - this is an unfixed stress that can fall on any syllable of a word (Russian: beetroot, sorrel, provision). Associated stress - this is a fixed stress tied to a specific syllable in a word (French - on the last syllable: blinds, protege, in Polish - on the penultimate, in Czech - on the first, in Lezgi - on the second).
In relation to the morphological structure of the word, the stress can be mobile And motionless . Movable stress is the stress that moves when changing (in different word forms) the word: water: unit im.p. water, win.p. water, plural im.p. water. motionless stress is a constant stress that does not change place when the form of a word changes: book, book, books. In English, stress is fixed: the place of stress in a word does not change, no matter what affixes are added to the stem.
The word usually has one stress, but sometimes (as a rule, in compound words) a second (collateral) stress occurs (for example, four-storey, pedagogical institute, extermination - destruction, extermination).
Each significant word has its own stress. Functional words (prepositions, conjunctions, particles, articles, etc.) are devoid of stress. These unstressed auxiliary words are called clitics, among which there are proclitics and enclitics. Proclitics are unstressed auxiliary words adjacent to stressed ones in front ( over the valleys, over the mountains). Enclitics are unstressed auxiliary words adjacent to the stressed ones from behind ( I would go, right). However, sometimes service words can "pull" the stress on themselves ( P about water, n but word, but on I years).
Functions of word stress:
1) phonetic association of the word, ensuring the integrity and separateness of the word by highlighting its intonational center;
2) word-distinctive (stress serves to distinguish words or word forms ( castle - castle, im.p.pl. country- genus.p.s.h. country);
3) expressive (with the help of stress, stretching of the stressed vowel, an emotionally expressive coloring of the word is created: what a beautiful-and-vy).
In some languages, there is no word stress (Paleo-Asiatic - the languages of northern Asia, North America).
2. Syntagmatic stress. Syntagmatic stress is a stronger emphasis on the stressed syllable of the last word in a syntagma ( bad weather). Syntagma (speech tact) is a semantic-syntactic unit of speech formed by a group of words as part of a sentence. Troekurov's usual occupations / consisted of traveling / around his vast possessions(three syntagmas).
3. Logical stress - is the selection of one of the words of the sentence to enhance its semantic load (We today let's go on a tour).
4. Phrase stress - this is the selection of the most important speech tact (syntagma) in the semantic sense. Last night(1 syntagma), when the clock struck ten(2 syntagmas), I arrived brother (3 syntagmas).
INTONATION, ITS ELEMENTS AND FUNCTIONS
Intonation- this is a set of rhythmic-melodic components of speech: melody, intensity, duration, tempo of speech and timbre.
Elements of intonation:
1) melodic speech - the main component of intonation, raising - lowering the voice in a phrase (cf., the pronunciation of interrogative and declarative sentences);
2) rhythm speech - regular repetition of stressed and unstressed, long and short syllables. The rhythm of speech serves to organize poetic and prose texts;
3) volume speech - the strength or weakness of pronouncing an utterance (cf. the different intensity of speech at a rally and in a room);
4) pace speech - the speed of pronunciation (sounds, syllables, words), the speed of the flow of speech, the duration of the sound of speech in time (for example, by the end of the utterance, the pace of speech slows down,
segments containing secondary information are pronounced quickly, informatively significant segments are pronounced in slow motion);
5) timbre speech - the sound coloring of speech, conveying its emotionally expressive shades (for example, intonation of distrust, playful intonation, etc.).
intonation functions.
1) A means of formalizing an utterance, revealing its meaning. With the help of intonation, the speech flow is divided into semantic segments (cf. intonation of completeness and incompleteness of a sentence).
2) Distinguishes types of statements according to purposefulness (cf. intonation of motivation, question, narration, etc.).
3) Conveys syntactic relations between parts of a sentence or sentences (cf. intonation of enumeration, explanation, comparison).
4) Expresses emotional coloring (cf. exclamatory intonation, non-exclamatory).
5) Reveals the subtext of the statement (a special meaning that does not follow from the meanings of words).
6) Characterizes the speaker and the communication situation as a whole (emotionally neutral, elevated tone, mystery, secrecy, importance, intimacy).
