Ministry of Education of the Republic of Belarus
educational institution
"Mogilev State University
them. A.A. Kuleshov"
Department of English, General and Slavic Linguistics
Filippovich Angelina Yurievna
Phonetic features of English spontaneous speechCourse work
Supervisor -
Senior Lecturer
Astrashevskaya Raisa Davydovna
Mogilev 2009
ESSAY
Workload: the volume of the course work is 25 pages of text. The work consists of a theoretical part, which provides an overview of the literature used and subsequent conclusions, as well as a practical part, where a study is conducted on the basis of audiovisual material in order to solve the problems posed in this work.
Keywords: spontaneous speech, intonation, rhythm, loudness, pause, hesitation, tempo, assimilation.
Object of study: phonetic features of English spontaneous speech.
Purpose of the study: the purpose of this study is to identify the main phonetic features of English spontaneous speech, and in particular, intonation, rhythm, volume, tempo, pause and sound phonetic processes to improve phonemic hearing in English learners
Research methods:
Research results: Significant qualitative and quantitative variability of the phonetic design of the utterance is observed in the spontaneous speech of the English language. The melodic-intonational design of the utterance is determined by personal attitude speaker to utterance. The most significant linguistic factor leading to quantitative modifications of sounds is the rate of speech.
Scope of results: in the course of practical phonetics of the English language, the results of the study can serve as the basis for specific recommendations aimed at the effectiveness of teaching pronunciation and listening comprehension of foreign speech.
INTRODUCTION
1. Phonetic modifications of English spontaneous speech
1.1 general characteristics spontaneous speech
1.2 Intonation
1.3 Volume
1.7 Sound phonetic processes
Conclusion
List of sources used
INTRODUCTION
A number of modifications of standard forms, which linguists consider as indicators of the change and development of the language, and society condemns as a violation of norms, go unnoticed and naturally in colloquial spontaneous speech. At the same time, in official prepared, especially public speech, control over the form is significantly increased and standard forms of pronunciation prevail.
Violation of the norms of pronunciation in official speech, including the decrease in prosodic indicators of loudness, tempo and voice quality, can be regarded as a manifestation of disrespect for the audience. On the other hand, the use of full, unreduced forms in an informal setting can be perceived either as a deliberate affectation and a desire to emphasize social distance, or as a thoroughness and artificiality of a foreigner's speech. Language, being an extremely flexible phenomenon, reserves the need for its constant study. As for a foreign language - and especially English, this need is doubled here, because due to its regional variability and constant changes in the standard, English is one of the most difficult in terms of the development of phonemic hearing, and therefore requires special attention. A feature of the study of this problem is the fact that, no matter what stage of study it is, it is unlikely that anyone will be able to put an end to their conclusions, because we are dealing, perhaps, with the most “living” and fickle invention of mankind - language.
Relevance: The need for communication has never been more evident and has never been realized everywhere on such a huge scale. More and more "non-canonized forms" of the codified literary language are coming to the forefront of everyday verbal communication.
The practical significance of studying this problem lies in the need to master literary and colloquial speech, which actually dominates modern oral communication. Difficulties in understanding original speech by ear, especially distant ones, as well as in the production of speech, can occur even among graduates of special universities, since teaching English is based on one option ("British English").
Object of study: the object of the study is the phonetic features of English spontaneous speech
Subject of study: the subject of this study are deviations from the phonetic norm of the English language in spontaneous speech
Purpose of the study: The purpose of this study is to identify the main phonetic features of English spontaneous speech, and in particular, intonation, rhythm, volume, tempo, pause and sound phonetic processes in order to improve phonemic hearing in English learners.
Research objectives:
1. carrying out a theoretical analysis in order to study the main patterns of spontaneous speech and determine the main differences with the phonetic norm of the English language
2. identification of the most significant factors that determine quantitative modifications in English spontaneous speech.
3. carrying out a comparative analysis of the phonetic norm of the English language with its modifications in English spontaneous speech on the basis of audiovisual material.
Research results: significant qualitative and quantitative variability of the phonetic formulation of the utterance is observed in the spontaneous speech of the English language. The melodic and intonational design of the utterance is determined by the speaker's personal attitude to the utterance. The most significant linguistic factor leading to quantitative modifications of sounds is the rate of speech.
Practical/theoretical significance: The practical significance of the work lies in the fact that the results obtained are important for applied and experimental research. The main conclusions and provisions of the study on such problematic issues as the phonetic features of English spontaneous speech, their causes and nature, can be used in the course of theoretical phonetics. In the course of practical phonetics of the English language, the results of the study can serve as the basis for specific recommendations aimed at the effectiveness of teaching the pronunciation and listening comprehension of foreign speech. The obtained acoustic data on phonetic modifications of English spontaneous speech can be essential for further experimental phonetic research.
Research methods: literature review, practical analysis audiovisual material.
1. Phonetic modifications of English spontaneous speech
1.1 General characteristics of spontaneous speech
A.M. Antipova in the book "The Rhythmic System of English Speech" considers spontaneous speech as a kind of oral speech in a dialogic form, characterized in that the participants in the dialogue do not prepare for the act of communication, do not think in advance what they intend to say.
Spontaneous speech can be monologue and dialogic. Some types of dialogic speech, such as interviews, may consist of a proper dialogic part and significant monologue inclusions.
We list the main factors that determine the situation:
* the sphere of communication (academic, business, family and household, transport, service, entertainment, intimate, mass communication);
* the physical setting (location and size of the auditorium);
* communication channel (personal communication, telephone, public speaking, radio and telecommunications);
* social role (doctor, patient, parent, child, boss, secretary, buyer, seller, etc.);
* the topic of the conversation (news of politics or culture, study, sports, life, personal relationships);
* the goal of each speaker (to inform, impress;, convince, encourage action, entertain, just spend time for the sake of communication).
officiality / the informality of the situation depends on the situation, the interlocutor and the topic. The situation allows the individual to express himself by choosing one of two forms of behavior: politeness or solidarity. Phonetically, this is manifested in the use of either prestigious, standard forms of pronunciation, or avant-garde, but condemned forms of speech. Usually established, conservative forms are considered "correct", and innovations are condemned. The emphasis on the informal situation of communication is not accidental, because it is for informal communication that such a concept as spontaneous speech is most characteristic, and therefore the phonetic modifications inherent in it. With the increase in the atmosphere of officiality in communication, the attention of the interlocutors to the design of their speech is also growing, in other words, the speech is approaching the phonetic standard. Therefore, in order to determine what phonetic features are characteristic of spontaneous speech, it is mainly worth paying attention to the relaxed nature of communication, which manifests itself in informal situations of communication.
1.2 Intonation
Intonation is a complex unity of melody, stress, temporal components, duration, pause. Intonation forms the statement, conveys the emotions of the speaker, expresses his attitude towards the interlocutor and the subject of speech. Its choice depends on the nature and situation of communication, on the purpose of communication, on the emotional state of the interlocutors. But, given the problem studied in this work, I would like to add that intonation is also determined by the language of the speaker, or rather, by those intonation characteristics that are inherent in this language. It is known that in English the descending tone is the most common, which is mainly used in statements, orders, messages and expresses categoricalness and completeness, but is also characteristic of special questions. The ascending kinetic tone is used in unfinished statements, questions, repeated questions, enumerations and informs about the need to continue the statement.
The use of a descending-rising tone indicates the special semantic importance of the statement, as well as its incompleteness, and is used to express various implications in English.
Intonation plays an important role in spontaneous speech in determining the type of communication, semantic centers, and the transfer of emotional-modal meanings. Spontaneous speech, written in traditional orthography, which does not convey intonational structure, often seems meaningless. The sentence, as a grammatically organized structure, is often violated. The organizing function, in this case, is performed only by intonation. All types of spontaneous speech are characterized by a significant number of elliptical sentences (most often the subject group is omitted), interrupted sentences, repetitions (words, phrases), overlays, an abundance of simple sentences, stuttering, etc. Pickups and overlays are frequent in dialogical spontaneous speech.
Outside the normative range of tone movement, there are emphatic sub-ranges, defined by British phonetists as "squeak range" (for rising tone movement) and "growl range" (for falling tone).
Compared to RP, the intonation contour of spontaneous speech begins at a lower level (as in Russian), but then the pattern is typically English, which resembles Scottish or Irish intonation: there is a sliding in each accent group within a narrow range. The terminal tone usually contains a melodic high in the form of a rising tone. By ear, this part of the contour is the most expressive: in the sentence, the most important information of the message is highlighted. Indeed, 80% of spontaneous melodic contours are strongly finite, with a tonal maximum at the end.
At the same time, statements in spontaneous speech are not always so categorical. One of the features of the functioning of intonation in spontaneous speech is the use of a rising tone to convert an affirmative statement into an interrogative one. In the technical literature, there is a particular tendency to use evenly rising tones (as in Irish and Australian speech), mainly in cases where a statement or a special question could be pronounced with a falling tone.
For example:
- " What" s your nand those?
- Bradford.
Linguists explain that in this case, the incomplete tone sounds like a call to the interlocutor, as if the speaker wants to make sure that his question is understood correctly, whether he is being listened to. The respondent also pronounces his last name with an ascending tone, as if asking if they are waiting for him at the reception at the office. This means that the address to the listener is transmitted in parallel with the answer, which, in a categorical statement, would be accompanied by a downward tone. How unusual a dialogue between an American and an Irishman can sound, in which both use an incomplete rising tone, one in special issue, and the other in the answer:
- What's a ruff?
- Kind of birds
Complex tones are especially frequent in full utterances. Dialogic spontaneous speech is perhaps the area in which complex tones are most used. The general melodic pattern of syntagmas is indented, however, the general direction of melodic movement in a syntagma can be characterized as descending or ascending-descending, and in long syntagmas - as wavy. Compound contours of various types are also widespread in spontaneous speech. Such a variety of tones is explained by the need to express a personal attitude, emotionality and expressiveness, which often characterizes spontaneous speech. Expressive intonation of spontaneous speech is also achieved through the frequent use of emphatic tones, high prescale, sliding scale:
Harry: We shall be awfully late home, if "that" number "12 ` bus "doesn" t "come soon ... Let" s "stand in this doorway" out of the wind.
Nora: "All right, but we must be careful" not to miss the bus. "How did you enjoy the" movie?
Harry: I "d "never have gone if I had known it was "going to be" so silly.
Nora: Why, what was silly a bout it?
Harry: The whole "story was absurd." No sane people would have acted as they did. I "wish we "hadn" t stayed to the very end. Such awaste of "time" and money.
In general, we can say that in spontaneous speech there are no restrictions in intonational expression, but nevertheless, no matter what regional features of the English language are observed in our speech, in secular communication we all strive to sound more expressive and involuntarily bring our speech closer to the standard, t .e. its dependence on the socio-cultural level is observed.
1.3 Volume
Loudness is an auditory sensation obtained by perceiving the energy of sound norms.
During a conversation, speech etiquette tells us the order of remarks and the volume level that is acceptable in this company. Speaking loudly is a way to get attention, as is not taking turns and interrupting others. All this can lead to serious misunderstandings: people who are used to speaking quietly may perceive a loud voice as imperious or vulgar; however, those who speak loudly often perceive the interlocutor with a quieter voice as cold, closed, or intimidated.
If we take as a standard the volume level adopted for different socio-communicative situations for codified speech, then under similar conditions for spontaneous speech, a slightly increased or decreased volume level will be more typical. This is due to the greater degree of emotionality of spontaneous speech.
1.4 Tempo
Tempo is the frequency, the speed of pronouncing a phrase or its elements. The rate of speech is determined by various factors: the size of the audience, its acoustic characteristics, the number of listeners, the individual characteristics of the speaker, etc. The rate of speech, whatever this speech is, is subject to a certain norm. On average, our speech is 130 words per minute. Both fast and slow speech will be abnormal. 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. By slowing down his speech, the speaker focuses directly on this part of his statement, thus emphasizing its semantic importance:
E.g. Hundreds of `time have I told you to leave that jam a`lone.
And vice versa, by increasing the rate of speech, the speaker wishes to weaken the semantic importance of the statement:
E.g. Nothingta||seriousdon"tworry
The pace of spontaneous conversational speech depends on the situation. At the same time, comparing the pace of conversational speech with reading a dialogic text, it can be noted that the pace of speaking is somewhat slower compared to the pace of reading. This circumstance is explained by the fact that during a conversation, thinking about the topic of conversation occurs, so to speak, "on the go." While reading, the process of comprehension and reproduction of the already prepared text takes place. The pace of spontaneous speech is unstable. Stretching of syllables and words is very frequent when expressing uncertainty and emphasizing. Contrasting temporal transitions make speech mobile and expressive.
1.5 Rhythm
There are sociocultural norms according to which interlocutors should speak in turn, and talking for a long time to only one is considered indecent, unless we are talking about people of unequal social status. In a conversation, the development of the topic occurs at least two interlocutors. At the end of the topic or its change, a long pause is possible, but not necessary. Usually, people find a way to signal the start of a new topic by signaling it with an increase in volume and a higher voice tone. Thus, even in spontaneous speech, in the presence of common topics for interlocutors, there are prosodic markers for separating one part of the conversation from another. The difference between a monologue and a dialogue (or polylogue) is that in the latter, each participant speaks for a limited amount of time. The temporal equilibrium of the lines, i.e., the periods of speaking of each participant, depends on social factors, including the situation, status, abilities and pragmatic goal of each individual.
The rhythmic organization of spontaneous speech is very complex and changing. In dialogical speech, terminal tones play an important role in rhythmization, periodically repeating at relatively equal intervals of time. In monologue speech, the main rhythmic units are the rhythmic group and the syntagma. Forms of a simple and complex rhythm, when combined, create a very peculiar, mobile rhythm. This circumstance gives reason to some researchers to believe that colloquial speech is not rhythmic.
Although the rhythm of spontaneous speech is not as obvious and certainly more varied and flexible than that of reading or verse, their basic units are similar. It has been experimentally proved that the average duration of an intonation group is approximately 2-3 s. There are physical and cognitive conditions of speech production and speech perception that determine the quantization of speech into similar commensurate units. It was suggested that the duration of the percussion measure is equal to the time of one heart beat, and the duration of the intonation group (or phonation period) is equal to the expiration time. We speak as fast as the work of the brain allows, controlling the motor activity of the organs of articulation and synchronizing them with respiratory activity.
The results of psycholinguistic and phonetic experiments show that there is a multi-level time grid in which the syllable acts as minimum unit motor activity (the average duration of a syllable is approximately 200 ms); then follows a higher level in the form of a rhythmic group (feet, accent group), synchronized with the human pulse (its duration varies in the range of 400 - 600 ms); above it is an intonation group (syntagma, phrase), synchronized with the breathing period (about 2 - 3 s). The duration of the theme (superphrasal unity) is approximately 30 s.
In English, a syllable can also 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 other languages, such as French, Spanish, Italian, Greek, Hindi, Indonesian and Yoruba, there is a syllable-counting rhythm. The term itself suggests that syllables are pronounced at equal intervals, it takes approximately the same amount of time to produce them. For example, in Japanese, the expression tokoro- dokoro(here and there) it sounds as if all syllables have equal duration: to- ko- ro- do- ko- ro.
In beat-counting languages such as English, Russian, Arabic, German, Swedish, Brazilian, Portuguese, and spoken Thai, stressed syllables appear to be pronounced at regular intervals. Although both English and Japanese are beat counters, they are at opposite ends of the scale when you consider how they use syllabic rhythm and stress distribution: Japanese > French > Spanish > Greek > Portuguese > English.
The rhythm of spontaneous speech, due to the greater number of secondary (or tertiary) stresses inherent in the English language, in combination with a relatively narrow range, gives the impression of a smooth and monotonous (smooth, slurred). 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. So, for example, in female speech, each stressed syllable is 1.7 times longer than unstressed syllables in English women and 1.5 times in American women. In Russian female speech, the contrast is even less - 1.3. British women have a noticeably higher pitch, which generally creates the effect of a strong, sharp contrast of percussiveness and a clear, chased rhythm (clipped, pointed).
1.6 Pauses
In the flow, speech is divided into semantic parts of different lengths. This division is carried out through pauses. 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.
Pauses of perception are not characterized by a period of phonation stop, but there is a pause effect, because it is achieved by a sharp change in the direction of movement of intonation. Graphically, this pause is indicated by a wavy line, in contrast to unvoiced pauses, which can be indicated by a dotted line, a straight line, or two straight lines, depending on the length:
The teacher sais John is very bright.| She is proud of him||
For those who speak or read, pauses are needed in order to catch their breath and gather their thoughts. They give the listener the opportunity to receive and process the speech signal - in other words, to learn what he hears. The time periods of phonation and pause are balanced, but not at all equal. For example, when reading a fable, most English readers adhered to a ratio of 2: 1, that is, they spent twice as much time on speech as on pauses. Perhaps such a text is most easily perceived by ear and understandable even to a child. But a completely different situation is observed in spontaneous speech, where this ratio is 3.6:1, which is a difficult task for listeners.
Of particular interest for the study of spontaneous speech are voiced pauses - the phenomenon of hesitation.
In interpersonal communication, one of two behavioral strategies is possible: competitive, when a person seeks to attract attention and lead in a conversation, or cooperation, when the interlocutor tries to keep the conversation going, to create an atmosphere comfortable for all participants in the conversation. The means of entering into a conversation are interruptions, picking up remarks, which, when the volume and pitch level increase, signal a desire to speak out and seize the initiative in a general conversation. A participant in a conversation whose speech is interrupted can choose one of two methods to complete his remark: either turn up the volume and finish the phrase especially clearly and slowly to show that he has finished his thought, or muffle his voice and shut up, yielding to the one who wants to speak. The unwillingness to give in and thereby retain the right to continue the conversation is expressed with the help of a vocalized (voiced) pause - hesitation, during which the invasion of another interlocutor stops: a simultaneous conversation of two or more people (overlaps) can be very short.
In order to let the interlocutor open up, it is necessary to express approval towards him, to encourage him, and “difficult”, i.e. provocative, questions should be preceded by a small introduction with the phenomena of hesitation. Thus, the negative effect of an aggressive attack on a person is removed.
The interviewee, in order to make the most favorable impression, must quickly respond to the question. a short phrase, showing that the question is understood and accepted, after which, thanks to hesitation, you can buy time to find the right wording, argument, exact word. 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. The phenomena of hesitation often take place during interviews, because answers are not always active, motivated on the part of the respondent, they are often arbitrary and selective, which requires some time to think.
Below is an example of how American teenagers answer questions during an interview. Hesitation is manifested in voiced pauses such as er, ett, as well as in the drawn out pronunciation of conjunctions, prepositions and articles and, the, at before the word to be remembered. A young man has more phenomena of unsmooth speech than a girl, and they even extend to significant words (underlined in the text):
"Yeah | I`have, | "I"ve one sister, | she is e`leven years `old, | her "name is Bethany ... | -er...| "she-is in -->the ...| `fifty ,grade, I "think, | `yeah| she is in the `fifth ,grade | ... and "she-plays| -- soccer-ball.|| my-Dad | is an accountant | -at | ,air construction company. || "My -"motherworks | for a`bid-store.| | (Lesley, age 18, Alaska, East Anchorage high school student)
- Er-mm ... | My "father is a" builder, my "mother is teacher, | "she teaches `eighth ,grade English. | -And| I "have a brother, | he is twenty | and "he is in the rings |and "living in `Georgia | right now | -- andhe will be married in April. | | "He" s| twenty. | | (Julia, age 18, Alaska, East Anchorage high school student).
In interpersonal communication, for each speech group there are accepted social norms for varying loudness, pitch, melodic patterns, tempo, change of remarks and other prosodic forms of speech etiquette. A cooperation strategy is recommended, which manifests itself in pickups, prompts, active involvement in the conversation by raising the level of pitch and volume, maintaining the right to continue speaking through voiced pauses of hesitation and the drawling of unions, articles, prepositions and other words necessary for reflection. The introductory part, which precedes the “difficult” questions for the interlocutor, removes the negative effect of tension. The rapid pronunciation of the beginning of the response cue signals understanding and readiness to answer, after which hesitation phenomena can be fully used within the cue.
1.7 Sound phonetic processes
Sounds undergo significant changes in the flow of speech. Phonemes appear in speech in the form of their allophones, the articulation of which differs from the articulation of isolated phonemes, i.e. in speech, articulation is not divided into all 3 phases of phoneme articulation (excursion, exposure, recursion) so clearly, because the organs of speech do not return to a state of rest, but enter into a close connection with the neighboring sound. Partial or complete changes in the articulation of sounds are called assimilation.
In English, there are forms of changing the literary orthoepic pronunciation norm (RP), corresponding to informal speech, which must be followed to preserve natural sound. Modifications of English pronunciation are common to all regional variants given language manifested in oral and especially in spontaneous speech.
In the spontaneous speech of the English language, the following sound processes take place in the vowel system:
a) front and back vowels strive for their design in the form of a neutral sound: the vowel is weakened in duration and quality - reduction:
Spelling Formal Informal
it"s not?ts"n?t?ts"n?t
because b?"k?z b?k?z
according to? "ko:d?? t? ?"k?d?? t?
b) diphthongs are often monophthongized:
Spelling Formal Informal
here and there "hi?r?nd"?e? "h?(?)r ?n "??
really strange "r??l? "str?nd? "rel? "str?nd?
now they "na? ?e? "na ?e(?)
yes or now "jes ?:"ne? "jes?"n?
c) long ones are replaced by short ones:
Spelling Formal Informal
It seems to be ?t "s?:mz t? b? ?t "s?mz t? b?
A new aspect ?"nju: "?spekt ? "n(j)? "?spekt
d) elision of neutral sound:
Spelling Formal Informal
Collective k?"lekt?v "klekt?v
Prisoner "pr?z?n? "pr?zn?
Political p?l?t?kl "pl?t?kl
It "s paid well? ts" pe? d wel ts "pe? d wel
Extremely ?ks"tr?:ml? "kstr?:ml?
All these examples characterize the natural process of compression and simplification of spoken words, which is typical for all languages, for example, Russian:
Spelling Formal Informal
Please p^sorry p^sorry
Now with "and h" as sh "as
ok
e) the degree of rounding of vowels depends on the individual characteristics of the speaker;
The following modifications are characteristic of English consonants:
a) assimilation:
If words end in consonants [t], [d], [n], and sometimes [m] [s] [z], they are modified by the following velar or labial consonants:
Spelling Formal Informal
that man "??t "m?n" ??p "m?n
great burden "gre?t"b??dn "gre?p "b??dn
government "g?vnm?nt "g?v(?)m?nt
hundred places "h?ndr?d" ple?s?z "h?ndr?b "ple?s?z
b) elision or disappearance in consonant combinations, especially characteristic of consonants [t] and [d]:
Spelling Formal Informal
second group "sek?nd "gru:p "sek?? "gru:p
next point "nekst"p??nt "neks"p??nt
c) contraction as a result of the complete reduction of vowels: literary ["litri];
d) insert / g / - pronunciation / g / between vowels in the case when it is not in the spelling; even BBC announcers say: Asia(r) and africa, law (r) and order.
e) glottalization [t] before consonants or a pause: not that , eat ice
Conclusions to the chapter:
Spontaneous speech is characterized by descending and even tones, unstable tempo, speech is marked by an unstable volume level, unstable tempo, fractional syntagmatic articulation, resonant voice quality.
Dialogic spontaneous speech is characterized by fractional articulation into syntagmas. Syntagmas often contain no more than two semantic words. In the monologues, along with a short syntagma, there are also long ones containing 4-5 stressed words.
The rhythmic organization of spontaneous speech is very complex and changing. In dialogical speech, terminal tones play an important role in rhythmization, periodically repeating at relatively equal intervals of time. In monologue speech, the main rhythmic units are the rhythmic group and the syntagma. The forms of a simple and complex rhythm, when combined, create a very peculiar, mobile rhythm. This circumstance gives some researchers reason to believe that colloquial speech is not rhythmic.
Spontaneous speech is replete with pauses. Sometimes the total duration of pauses is 50% of the total duration of a segment of speech. In spontaneous speech, especially dialogic, there are frequent pauses of uncertainty that occur before a word in which the speaker hesitates, or at the beginning of a sentence (phrase), since the thought has not yet been formulated by the speaker. Pauses play a significant rhythmic role in spontaneous speech. The alternation of short sections of phonation with long pauses and vice versa creates a kind of alternation and balancing of phonation segments and pauses in time.
A pause of uncertainty is usually preceded by flat or rising tones. A logical pause can be preceded by any tone, more often descending.
Sound phonetic processes:
In spontaneous speech, the following sound processes take place:
a) front and back vowels strive for their design in the form of a neutral sound;
b) the degree of rounding of vowels depends on the individual characteristics of the speaker;
c) diphthongs are often monophthongized;
d) elision of neutral sound;
e) adaptation [ t ], [ d ], [ n ], [ m ], f z ], [ s ] before velar or labial;
e) elision of consonants.
2. Comparative analysis of the phonetic features of English spontaneous speech with the phonetic norm of the English language based on audiovisual material
In the practical part of this work, it is proposed to consider a fragment of a dialogue taken from the film directed by Clint Eastwood The Bridges of Madison County, which is conducted between the two main characters of the film, covering the episodes of their meeting and acquaintance and, based on the already available theoretical information, to analyze how phonetic modifications manifest themselves in English spontaneous speech:
Robert: Hi. I get the distinct feeling that I "m lost.
Francesca: Are you supposed to be in Iowa?
Francesca: Well, then you "re not that lost ...
Robert: I"m looking for a bridge… One of those covered bridges in this neighborhood.
Francesca: Roseman bridge?
Robert: That's it.
Francesca: Well, you're pretty close. It's only about two miles from here.
Robert: Which way?
Francesca: Well, you go that way and come to Cutter's and turn left.
Robert: To Cu…, to Cutter's?
Francesca: Cutter's is a farm. Small house, close to the road. Big, mean yellow dog.
Robert: Mean, yellow dog? OK.
Francesca: Yeah, then you go along that road until you come to a fork… and… it's only… less than half a mile.
Robert: And then where, after the fork?
Francesca: The right. And then you… No, no. Not that fork. Excuse me. You pass Peterson's.
Robert: Peterson's?
Francesca: Peterson "s is a farm. And pass the old schoolhouse, you turn left. It" s be easier to tell you… if the roads were marked.
Robert: Yeah, it certainly would.
Francesca: Well, I can take you if you want… or I can tell you… I can take you or tell you. Either way, it's up to you. I don't care.
Robert: I wouldn't want to take you away from what you're doing.
Francesca: No. I was just going to have some iced tea, and then… split the atom, but that can wait.
Francesca: Are you from Washington originally?
Robert: Yeah, I lived there till I was in my mid-20s. Then I moved to Chicago when I got married.
Francesca: Oh, when did you move back?
Robert: After the divorce.
Francesca: Oh...
Francesca: Um…(laughs) Long time.
Robert: Long time, huh?
Robert: Italy? Huh?
Francesca: Mm, year.
Robert: From Italy to Iowa. Where about in Italy?
Francesca: We lived in a small town on the eastern side. No one "s ever heard of it. Called Bari.
Francesca: Mm-hm.
Robert: Yeah, I know Bari.
Francesca: Really?!
Robert: Yeah. I was on assignment to Greece… and I had to go through Bari to get the boat in Brindisi. And… I was looking out, it looked like pretty country. So I got off the train and stayed a few days.
So tell me, how long have you lived in Iowa?
Francesca Long. You just got off the train… and stayed without knowing anyone there?
[-`ha? | a? "get ??d?"st??kt fi:l?? ??t a?m l?:st ||
- "a: ju s?"p??z tu bi: ?n a???? ||
Wel "?en ju a: "n?t ??t l?:st ||
A?m "lu:k?? f?: ?br?d? …| "w?n?v?z"k?v?d br?d??z?n??s ne?b? hu:d ||
- "r??zm?n br?d? ||
Wel "ju a:" pr?t? kl??s | ?ts??nl? | ?"ba?t tu `ma?lz fr?:m h?? ||
Wel ju g?? ??t we? ?nd k?m tu: k?t?z ?nd t?:n left ||
Tu k…| tu k?t?z ||
K?t?z?z? fa:m | sm?:l ha?s | kl??s tu?? r??d | b?g mi:n jel?? d?g
Mi:n jel?? d?g?? ke? ||
Je? ?en ju g?? l?? ??t r??d ?nt?l ju k?m tu f?:k… | ?nd ?ts ??nl? …| les ??n ha:f ? ma?l ||
Nd ?en we? | a:ft? f?:k ||
Ra?t | ?nd ?en ju … | n?? | n?? | n?t ??t f?:k | ?ks kjus m? | ju pa:s pi:t?s?nz ||
Pi:t?s?nz?z? fa:m | ?nd pa:s ?? ??ld `sku:lha?s | ju t?:n left | ?tsb? i:z ?? t? tel ju … | ?f?? r??ds w?: ma:kt ||
je? | ?t s?:t(?)nl? wu d ||
wel a? k?n te?k ju ?f ju w?nt | a? k?n tel ju … | a? k?n te?k ju | ?: tel ju | a??? we? | ?ts ?p tu ju | a? d??ntke? ||
A? wu:dnt w?:nt tu te?k ju ? "we? fr?:m w?:t ju a: du:?? ||
N?? | a? w?:z d??st g???? tu h?v s?m a?s ti: | ?nd ?en… spl?t ?? ?t?m | b?t ??t k?n we?t ||
A: ju fr?m w????t?n? r?d?(?)n(?)l? ||
Je? | a? l?vd?e? t?l a? w?z?n ma? m?dtwent?z | ?en a? mu:vd tu
Ka:g?? Wen a? g?t m?r?d ||
- ?? | wen d?d ju mu:v b?k ||
A:ft? ?? d?v?:s ||
Ha? l?? h?v ju bi:n m?r?d ||
M… | l?? ta?m ||
We? a: ju fr?:m ?r?d?(?)n(?)l? | du ju ma?nd mi a:sk?? ||
N?? | a? d??nt ma?nd ju a:sk?? | a?m fr?m… | a?m b?:n ?n ?t(?)l? ||
Fr?m ?t(?)l? tu a???? || we? ? ba? t?n?t(?)l? ||
Wi:l?vd?n? sm?:l ta?n ?n ?? i:st(?)n sa?d | n?? w?nz ev? h?:d ?v ?t | k?ld ba:r? ||
Je? | a? n?? ba:r? ||
Je? | a? w?z?n? sa?nm?nt tu gri:s … | ?nd a? h?v tu g?? andru: ba:r? tu get? b??t ?n br?:nd?s? | … ?nd … | a? w?z lu:k?? a?t | ?t lu:kt la?k pr?t?
k?ntr? | s?? a? g?t?f?? tre?n | ?ndste?d? fju: de?z ||
Jd??st g?t?f?? tre?n b?k?z ?t lu:kt pr?t? ||
Je? …| je? … | je? | a? d?d |…s?? tel m? | ha? l?? h?v ju l?vd ?n a???? ||
L?? | jud??st g?t?f?? tre?n | ?ndste?d | w??a?t n???? en?w?n?e? ||
Transcription option with intonation arranged according to the heard fragment from the film:
[ - `ha | a "ged d?d?"st?n fil?? ?t am l?st ||
- "a j? s?" p? z t? bi?n a??? ||
Wel?n j? "n?t ??t l?st ||
Am "lu:k?n f?br?d? …| "w?n ??z ???z "k?v?d br?d?z ?n ??s ne?bhd ||
- "r?zm?n br?d? ||
Wel "j? "pr?t? kl?s | ?ts ?nl? | "ba?t tu `ma?lz fr?m h? ||
Wel ju go? ??t we? ?n k?m t? k?t?z ?n t?n left ||
T? k…| t? k?t?z ||
K?t?z? fa:m | sm?l ha?s | kl?s t? ?? r?d | b?gmin ?l?? dg ||
Min?l?? d?g? ke? ||
J? en j? go? l?n ?t r?d ?nt?l j? k?mt? f?k… | ?n ?ts ?nl? …| le? ??n a:f ? ma?l ||
en we | a:ft? f?:k ||
Ra?t | ?? ?en ju … | n? | n? | n?? ??f f?:k | ?ks kuz m? | j? pa:s pi:t?s?nz ||
Pi:t?s?nz? fa:m | ?npa:s?? ?ld`skula?s | j? t?n left | tsb? i:z? t? tel ju … | ?f?? r?ds we ma:kt ||
j? | t s?:t(?)nl? w?d ||
wel a k?n te?k j? ?fj? w?nt | ? a k?n tel j? … | a? k?n te?k j? | ?: tel ju | i:?? we? | ts?p tju | a donkke? ||
A w?n w?n t? tekj? "we? fr?m w?t?? du?? ||
N? | a w?z d??sg go??n t? ?v s?m as ti: | ?n en… spl?t ?tm | b?t ??k kn we?t ||
A:j? fr?m w???ntn? r?d?nl? ||
J? | a l?vd?? t?l a w?z ?n ma m?d twent?z | ??n a muv t?
Ka:g? w?n a g?t m?r?d ||
- ?? | wen d?d?? muv b?k ||
A:ft? ?? d?v?s ||
Ha? l?n ?v ju bin m?r?d ||
Mmm... | l?n ta?m ||
We a j? fr?m? r?d?n?l? | dju ma?n mi a:sk?n ||
N? | a don mand?u a sk?n | am fr?m… | am b?n?n?tl? ||
Fr?m ?tl? tu a???? || wer? ba?t?n?tl? ||
Wi l?vd?n? sm?l ta?n?n?? isntsa? | n?? w?nz ev? h?d ?v | ?tk?ldba:r? ||
Je? | a no? ba:r? ||
Je | w?z?n? sa?m?nt? gri:s … | ?n a ?v t? go? and r? ba:r? t? get? bo?t ?n br?:d?s? | …?n… | a w?z luk?n a?t | ?t luk la?k pr?t?
k?ntr? | s? a g?t?f? trend | n sted? fju: de?z ||
J d??sg g?t?f? tren b?k?z ?t lukp pr?t? ||
Jea…| je … | je | a d?d | …s? tel m? | ha? l?n ?v j? l?vd ?n a??? ||
L?n | jud??st g?t?f? trend | ?nste?d | w? ?a?t no??n en? w?n?e
Analysis of the results obtained:
One of the most important factors of prosody is the dynamics of changes in the fundamental tone frequency. In the course of the study, a fundamental difference was found in spontaneous speech, which lies in its rhythmic and melodic design. The features of the rhythmic-melodic design of the syntagma lie in a different quantitative ratio of prosodic models of syntagmas in spontaneously created texts. In accordance with the results of this study, we can conclude that the rhythmic-melodic design of the syntagma in spontaneous speech is characterized by relative incompleteness (increase in the fundamental tone by the end of the syntagma, followed by a decrease in the post-stress part), incomplete completion (general decrease in the fundamental tone by the end of the syntagma, followed by an increase in on the final stressed part), introductory (some lowering of the main tone at the beginning of the syntagma, followed by an even contour at a low level, a tendency to enumeration intonation with a characteristic incompleteness in the final part. The enumeration model prevails in monologic spontaneous speech due to the fact that its specificity dictates such a state , in which the syntagma is formed within the short-term memory block.
In spontaneous speech, there is a higher frequency of phrasal accents. Spontaneity is largely carried out with the help of intonation centers and the strengthening of verbal stresses, which emphasize the semantic and emotional highlighting of individual words and parts of a sentence.
At the level of perception, the melody of spontaneous texts is assessed as "poor" and "monotonous". This is due to the fact that in spontaneous speech the overall range of motion of the fundamental tone is on average lower than in non-spontaneous speech. Thus, spontaneous speech is characterized by reduced volume and a narrower range of voice. But it should be noted that this is always due to the temperament and character of the interlocutors, as well as the nature of their conversation. On the basis of the materials studied in this work, it can be said that the characteristic monotony and poverty of the intonational design of the statement were mainly noticed from the side of the female character, which can be explained by the character of the heroine. The speech of the male character turned out to be more lively and varied in terms of intonation, which was determined by the situation of communication: the man was the initiator of communication, and most of the interrogative remarks came from him:
Robert: How long have you been married?
Francesca: Um… Long time.
Robert: Long time, huh?
Robert: Where are you from originally? Do you mind me asking?
Francesca: No, I don "t mind you asking. I" m from ... I "m born in Italy.
Robert: Italy? Huh?
Francesca: Mm, yeah.
At the same time, in order to prove that the intonational formation of speech does not depend on the gender of the speaker, we will present a situation where a cardinal change in the intonation of a given female character occurs:
Robert: Yeah, I know Bari.
Francesca: Really?!
Robert: Yeah. I was on assignment to Greece…
Francesca: You just got off the train and stayed a few days?
Robert: Yeah... yeah... yeah, I did.
This example proves the influence of the topic of conversation and its interest on the part of the characters on the intonational and melodic design of statements.
The results of the study showed a high percentage of segmentation of a spontaneous text into segments equal to phonetic word. Comparison of the quantitative composition of syntagmas in a spontaneous text with the norm of dividing the flow of English speech into syntagmas revealed a shorter average duration of syntagmas in spontaneous speech, which gives grounds to speak of a greater fragmentation of the spontaneous text. The results of the study indicate a significant mismatch between the syntagmatic structure and the semantic-syntactic structure in spontaneous texts. This allows us to conclude that syntagmas in spontaneous speech do not always have semantic-syntactic unity.
The specificity of spontaneous speech also lies in the greater tempo heterogeneity compared to reading. The tempo is variable and has a complex nature associated with the conditions for generating an utterance. The process of creating and pronouncing a text includes different phases of speech-producing activity: thinking about speech occurs during pauses, and not during speaking as such, as evidenced by a significant number of hesitations and repetitions:
Um… Long time.
Yeah… yeah… yeah, I did.
Hesitations prevailed in the woman's speech, which is determined by the nature of the construction of the conversation of this dialogue: she mostly answered questions rather than asked them. The phenomena of hesitation are also observed in the speech of a man, as soon as he is interrogated by a woman. Therefore, based on the results obtained, it can be concluded that the phenomenon of hesitation is determined by the nature of the conversation of partners and in most cases is characteristic of interviewing.
Of particular interest are the sound changes in English spontaneous speech. Despite the fact that sound changes are characteristic of unprepared speech of any language and some sound modifications are the norm, those sound changes that can be heard, for example, when reading in English, are clearly different from the changes that occur when the same words or phrases are spontaneously pronounced. :
Spelling Formal Informal
been married bi:n m?r?d b?m m?r?d
called Barik?:ld ba:r? k?lb b?r?
just get d??st get d??zg get
train tre?n tren
stayed ste?d sted
And sometimes the phonetic transcription of the same word under different conditions of its pronunciation will vary so much that the word itself can be almost unrecognizable:
Spelling Formal Informal
I get the a get a a ged d?
I wouldn't want a wu: dnt w?: nt a w n w n
what you "re w?: t ju w? t??
neighborhood ne?b?hu:d ne?bhd
Based on the results of practical research, the following conclusions can be drawn regarding sound modifications in spontaneous speech:
sound changes in speech occur with an increase in the speed of pronunciation, since the speech apparatus is simply not physically able to go through all 3 phases of articulation of phonemes. Also not unimportant was such a factor as the weakening of attention to the correctness of articulation, since at such moments the speech apparatus is relatively relaxed.
Conclusion
Significant qualitative and quantitative variability of the phonetic design of the utterance is observed in the spontaneous speech of the English language. The melodic and intonation design of the utterance is determined by the speaker's personal attitude to the utterance, his temperament and character, as well as the interpersonal relations of the interlocutors themselves. The most significant linguistic factor leading to quantitative modifications of sounds is the rate of speech. All these factors must be taken into account when learning English, since the standard variant being studied is at odds with what one has to meet in practice. Of course, in personal, direct communication, whether it is a meeting of friends or an official reception, we strive to present ourselves from the best side, a reliable and trustworthy person. This is one of the most necessary conditions for establishing contact. Until you speak, your facial expressions and body language speak for you (a friendly smile, a firm handshake, a nod, a head turn, proxemics, i.e. keeping a distance between you and the interlocutors). At the same time, this visual information is already 50% (and according to some researchers - 80%) of the impression that we are trying to make. But it is impossible to avoid greetings and other speech formulas.
In a situation of real interpersonal communication, it is necessary to respond to this cultural code verbally, with the appropriate intonation, with the appropriate phonetic features of the given language. A friendly look and a friendly smile, direct eye contact contribute to establishing contact, but cannot replace human speech.
List of sources used
1. Buraya E.A. Phonetics of modern English. Theoretical course / E.A. Buraya, I.E. Galochkina, T.L. Mevchenko.- M.: Publishing Center "Academy", 2006, - 272p.
2. Doshchinskaya Yu.V. Phonetic Features of English Spontaneous Speech / Yu.V. A.A. Kuleshova, 2003, -156p.
3. Antipova A.M. The system of English speech intonation. Tutorial for pedagogical students in the specialty "Foreign Languages" / A.M.Antipova - M .: Higher School, 1979.-130s.
4. Borisova L.V. Theoretical phonetics of the English language. Textbook for institutes and faculties of a foreign language / L.V. Borisova, A.A. Metlyuk. - Minsk: Higher School, 1980, - 142s.
5. Sokolova M.A. Theoretical phonetics of the English language. Textbook for university students / M.A. Sokolova, K.P. Gintovg, I.S. Tikhonov - Vlados Humanitarian Center, 2003, - 288s.
6. Karnevskaya E.B. Practical phonetics of the English language at an advanced stage of education: textbook / E.B. Karnevskaya, E.A. Misuno, L.D. Rakovskaya - 2nd ed. - Minsk: Aversev, 2005. - 400s.
7. The Bridges of Madison Country [electronic resource]: Bridges of Madison County. - Electron. Dan. (7 GB). - M., 2008 - 1 electron. opt. disc (CD-Rom): sound, color
Send your good work in the knowledge base is simple. Use the form below
Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.
Posted on http://www.allbest.ru/
Posted on http://www.allbest.ru/
Phonopragmatic approach to the analysis of English TV news
Demina M.A.
The study of the prosodic side of the news discourse helps to highlight the implicitly expressed ideas, intentions and even attitudes hidden under the general idea of the objectivity and impartiality of the news, that is, the true communicative orientation of the speakers' speech.
This article presents the results of an audit analysis of some news reports, different in subject matter and emotional mood. The focus is mainly on melodic tones used at the end of syntagmas, as well as on keywords that can be distinguished in news reports in several ways: descending tones, emphatic descending tones and emphatic complex tones, however, the frequency of the use of the latter is quite low.
The dominant melodic contour of all news, regardless of the thematic and emotional orientation, is descending (76%). The results of the audit analysis seem to be very logical, since the dominant position of descending tones in speaker's speech is noted in many theoretical and research works.
A relatively low percentage of the frequency of the rising tone (9.8%) is also quite natural, since its connecting function is more and more often performed by an incomplete fall and a descending-rising tone. The decrease in the frequency of the use of a rising tone in an announcer's speech can be associated, on the one hand, with the growing influence of American English, and on the other hand, with the ambiguous nature of the sound of this tone. So, its low version often creates the impression of detachment, indifference, disinterest. In the work of D. Brazil, the rising tone is characterized as dominant, that is, expressing the priority position of one interlocutor over another. The medium and high rising tone sounds friendly and interested, but at the same time they can bring a note of informality and even familiarity to the statement. Perhaps that is why British speakers use the rising tone very carefully, preferring the incomplete fall in non-final syntagmas.
Regarding the descending descending tone, we note that its use (6.4%) cannot be regarded as typical for news discourse, which may be due to the ambiguous connotations of this melodic contour. In the news reports analyzed here, the falling-rising tone is mainly used in its connecting function, as well as the function of indicating presuppositions in discourse.
The extremely low percentage of frequency of the ascending-descending tone (0.3%) is explained by the fact that this tone is not typical for the news style and, according to our observations, is used mainly in the quasi-spontaneous 4 speech of announcers reporting live news directly from the scene. This tone usually conveys surprise or a great impression of what he saw or heard. For example: We find that it was hit by the earthquake.
The even tone frequency indicator is also relatively low (7.5%). Note that the frequency of even tone increases significantly in the quasi-spontaneous speech of the speakers and, accordingly, falls in the prepared discourse. This may be due to the flat tone's tendency to convey shades of doubt and uncertainty, with the use of a flat tone being accompanied by pauses of hesitation. At the junctions of intonational groups, it usually performs a connecting function (the introduction of quotations, explanations, comments). Quite often even tone is also used by speakers in final syntagmas. In this case, it seems to us, the announcers try to avoid the sound of “finality”, “end” of the phrase, in order to keep the audience and provide more details.
However, for phonopragmatic analysis, of particular interest is the frequency and distribution of melodic contours in the speakers' speech depending on the news topics and the emotional “mood” of the discourse. Most clearly, the dependence of intonational design on these factors can be traced on the example of light entertainment news, in which, against the background of the regular predominance of descending tones, emphatic tones are distinguished by higher than average indicators (14% descending-rising tone, 1.4% ascending-descending tone). tone, 54% emphatic descending tone). Announcers consciously avoid the monotony of the sound of speech, making the most of emphatic descending and complex tones (of course, within the limited framework of the television news format). An even tone in such news reports is used less actively, as it introduces a certain monotony into the sound of the news.
For example, the news about the wedding in the royal family is distinguished by a very special prosodic design. If we talk about tones, then against the background of the average indicators of the remaining tones, the ascending tone (mainly of a low and medium level) has an increased frequency (15%). At the same time, unlike other news reports, here the rising tone sounds quite appropriate and harmonious, giving the announcer's speech a note of solemnity and majesty. In this type of news discourse, the rising tone (especially its low version) certainly carries only positive connotations, conveying such accompanying meanings as respect and honor for the royal family, both from the announcer and from the whole audience.
From the foregoing, it follows that the rising tone does not always bring negative shades of meaning into speech, however, its “positive” or “negative” sound is always situational and contextually determined. Thus, another example where the ascending tone receives a higher frequency of use (13.5%) than the average (9.8%) is news of national importance devoted to the problems of the Falkland Islands 5 . The speakers' persistent use of ascending tones (low and medium) in these news reports gives the impression of deliberate detachment and indifference to the situation on these islands. Moreover, in the frequent use of ascending tones in this case, one can feel not only the cool attitude of the speakers to the problem, but also the intention to show the dominant status of Great Britain in this difficult issue. In the news reports under consideration, the descending-ascending tone, which forms some of the key words of the messages, also differs in overestimated frequency indicators. For example: Argentina still claims v sovereignty over the British Royal Islands.
In the above examples, the descending tone, in our opinion, can convey some “intonational understatement”, that is, act in its implicative function, introducing a shade of doubt into the narrative. In tragic news, one cannot fail to note the caution with which the announcers present information: unlike other news, they do not receive proper emphatic emphasis. Thus, the percentage of frequency of use of emphatic descending tones is relatively low here (32%). At the same time, the words highlighted in an emphatic descending tone only indirectly relate to the semantic field of tragedy. Rather, they characterize emotional condition speakers at the time. For example, Well, I am... I am... worried by the lack of any news...
Words that are directly related to the semantic field of the tragedy and its consequences do not receive emphatic emphasis and are made out either in a descending tone of incomplete fall, or in an even tone.
Thus, the results of the analysis showed that the use of melodic tones in the announcer's speech is largely due to the pragmatic setting of the news discourse. Already at the level of melodic tones, the announcers are trying to influence the audience. This may be due to their personal emotional attitude to what happened, with the attitude accepted in society or the country, with the installation to express public opinion, with the desire to “soften” the tragic news, or in order to amuse the audience.
prosodic discourse news communicative
Literature
1. Vasiliev V.A., Katanskaya A.R., Lukina N.D. Phonetics of the English language: A practical course. M., 2009.
2. Medvedeva T.V., Skopintseva T.S., Stepkina I.Yu. Communicative Phonetics of the English Language: A Handbook for Senior Students. M., 2006.
3. Pinaeva Zh.B. On modern trends in the use of English tones in non-finite syntagmas of artistic and scientific speech styles // Study of phonetic features of speech styles: Collection of works. M., 1978. S. 91 103.
4. Brazil D. The Communicative Value of Intonation in English. Birmingham, 2004.
5. O "Connor J. D., Arnold G. F. Intonation of colloquial English. L., 1973.
Hosted on Allbest.ru
Similar Documents
Analysis of the relationship between culture and language. Structural elements of the news message. Functions of newspaper headlines, their features in British print media and the Russian-language press. Linguistic manifestations of the national specificity of sports discourse texts.
thesis, added 07/29/2012
The study of cognitive and communicative activity of a person. Identification of types of competencies in the linguistics of communication. Consideration of the essence, typology (personal, institutional) and genres (dialogical texts, verbal realization of situations) of discourse.
abstract, added 08/12/2010
The concept of "competence", "competence", "communicative competence". Communicative competence as a condition for intercultural communication. Implementation of the principle of communicative orientation in foreign language lessons. Teaching dialogic speech.
term paper, added 01/24/2009
The concept and semantic groups of neologisms in modern English. Features and difficulties of translating English neologisms into Russian on the example of the modern press. About some English lexical new formations in the field of electronics.
term paper, added 11/06/2012
The concept of text in linguistics. Transcript of Humanitarian Thinking. The concept of discourse in modern linguistics. Features of creating text linguistics. Discourse analysis as a method of analyzing coherent speech or writing. Field of study of textual science.
abstract, added 09/29/2009
The role of communication in teaching English at school. The game as a method of strengthening the communicative orientation. The study of the level of development of communication skills of 9th grade students and the conditions affecting it. Selection of games for learning English.
term paper, added 03/25/2015
Theoretical analysis of the concept of tone: definition, tonal languages, the relationship of tones and intonations. Features of the system of tones of the modern Chinese language in the definition of Zadoenko T.P. The study of the classification of Speshneva N.A. Sandhi of tones in Chinese.
thesis, added 06/01/2010
Communication in the communicative environment of the Internet is a feature of modern culture. Virtual discourse as a text immersed in the situation of communication in virtual reality, its linguistic and cultural characteristics. Genre diversity of virtual discourse.
term paper, added 12/08/2011
Intent-analysis of diplomatic discourse in a crisis situation. Conducting an intent analysis of a collection of texts by seven diplomats of the Russian Foreign Ministry. Cooperative, confrontational speech behavior. Presentation tactics. Addressing diplomatic discourse in Russia.
test, added 01/08/2017
Characteristics of discourse - the text in its formation before the mind's eye of the interpreter. Specifics of socio-political speech of modern communication. Policy language as a kind of functional language. Concepts of German political discourse.
We got acquainted with the basics of English phonetics - sounds and accents. Of course, in order to learn how to pronounce English words correctly yourself, you will need practical exercises, which are the subject of the next section of the course. But the ability to pronounce words is only the base on which the mastery of oral speech skills is built, because single words(and even more so with sounds) no one speaks. Any live speech (and English, of course, is no exception) has many features that you need to gradually get used to in the course of learning the language. We will now tell you what to pay attention to in the first place, but at the first stages of learning English, we strongly recommend listening to audio materials only in the so-called Special English. This is a special educational "language", which is characterized, firstly, by a highly abbreviated vocabulary (about one and a half thousand words), and, most importantly, by slow and emphasized clear speech. Special English has a large number of audio recordings of the Voice of America radio station (which are available for legal download), as well as a variety of courses on the Web (also often free). Only when you feel that you understand such simplified English well and are used to English pronunciation, it makes sense to move on to listening to materials already in “regular” English (for example, start watching movies or TV shows in English).
But let's, nevertheless, immediately see what you will need to pay attention to when mastering spoken English - especially since some of this will be needed almost immediately.
SELECTING THE ENGLISH DIALECT
We have already written in detail that the English language is distinguished by a large number of different dialects. This, of course, is very important from a practical point of view. It’s not easy to distinguish foreign speech by ear, so it’s best to choose one dialect (British or American) for yourself and try to listen to audio materials mainly in it. We advise to begin learning from British English - firstly, it is "classical" English, from which other dialects have already descended. and besides, there are many good British courses for beginners. And then you can decide which dialect you like best. We only repeat that here we would advise the American dialect - it is simpler (as well as American culture is simpler than British) and there are more courses for somewhat advanced students already in American English.
DIFFERENCES BETWEEN AMERICAN AND BRITISH DIALECTS OF ENGLISH
English, as they say, and in Africa English, and the American and British dialects are, of course, one and the same language. When singing, for example, it is often difficult to determine whether the singer is American or British, and those for whom English is their native language. Nevertheless, there are significant differences.
First, these are very minor grammatical differences. For example, Americans often say I have instead of I've got, as is customary in Britain, and more often use the simple past tense - for example, they say I just had lunch instead of I've just had lunch. There are some differences in spelling, also minor - for example, in the USA they write center instead of the British centre, favor instead of favor, check instead of check etc. That is, in all cases there is some tendency towards simplification. There are also more significant differences in vocabulary (for example, when a British car breaks down in the USA, no one can understand what exactly broke down, since so many parts have different names) and an even bigger difference in idioms.
But the most significant, of course, is the phonetic difference between the two dialects. The main differences are:
● American English is characterized by the pronunciation of words a little "through the nose." It is not necessary to imitate this, but this feature adds a certain specificity to the American dialect.
● In American English there is no short vowel [O] and it is usually replaced by the sound [R] - stop
, God
, rock etc. In some rare cases, the sound [L] is pronounced - for example, dog
.
At the same time, do not forget that the first sound in a diphthong in American English sounds close to the sound [O], in contrast to the British pronunciation of this two-vowel.
● Reading rule for words like class, past, after etc. in American English it is usually not respected and these words can be read as , , ["xftqr] etc. respectively.
● In words like new, dew etc. instead in American English it is often pronounced simply [H] - , etc.
● American English is supposed to say the words where, why etc. as accordingly , etc. . This is considered the correct American pronunciation and so the announcers say, but most Americans do not follow this rule, so there is no particular need for you to say it.
● End -y in American English it is read as [J] , not [-I] .
● And probably the most significant difference in the American dialect is the reading of the letter r in all cases - car , here , girl etc.
ACCENTS IN A SENTENCE
Correct stress is important not only within words, but different words in a sentence should carry different stresses. Of course, there are many subtleties in the arrangement of stresses in sentences (as in any language), and for now we will highlight only a few points.
● Emphasized semantic words, and pronouns, prepositions, conjunctions and articles, as a rule, are not accented (unless you want to emphasize a word or repeat something that your interlocutor did not catch).
● In a combination of an adjective and a noun, the stress usually falls on the noun - in combination, for example, old house(old house) the main emphasis falls on house, so old is an adjective and house is a noun. But if another noun acts as an adjective (this happens very often in English), the stronger stress falls on the first noun. For example, in combination shop assistant(seller) the emphasis is already on the first word, since both words are nouns.
● As a rule, stress does not fall on service verbs. But in negative sentences, on the contrary, the stress emphasizes the negation. For example, let's compare two sentences: I can give you this book and I can't give you this book. In the first sentence can pronounced without stress, and in the second - can't pronounced with an accent on that word.
● In abbreviations, the main stress falls on the last syllable - UK["jH"keI] , OK["ou"keI] , USA["jHqs"eI], etc.
REPLACEMENT AND DISAPPEARANCE OF SOUNDS
In fast conversational speech, some sounds may change or disappear.
● In words ending in stop consonants, sometimes the stop occurs on the previous vowel in such a way that the consonant itself is almost not pronounced. For example, in the words light, night, take, make etc. the vowel sound abruptly breaks off in the larynx, where there is an abrupt stop of exhalation. A similar effect occurs when pronouncing words such as continent or Clinton- after [n], the sound [t] turns into a short peculiar guttural sound, which should be mastered only with sufficiently advanced pronunciation skills. You can also listen to this in special phonetic courses, but you don’t need to say that yet - just don’t be surprised if you don’t hear final consonants in some words in colloquial speech or songs. This is one of the features of fast colloquial speech, which will need to gradually get used to.
● If the sounds [t] or [d] are between two vowels, they are sometimes replaced in colloquial speech by a sound similar to [r] (this is not quite [r], since this sound is pronounced with the tip of the tongue at the alveoli, just like sounds [t] and [d], that is, even closer to Russian [r] than English [r]). Thus what are you doing? might sound something like ["we r a jq "dHqN?] , and could I open the door?- as ["ku" r aI "oupqn Dq"dLr?]. Again, there is no need for you to say it this way (this is mainly spoken in the USA and this sound is far from being obtained in all cases), but it is useful to know about it.
● Before vowels, the sound [d] can turn into [G], and [t] into [C]. Did you see him?["dIGq "sJ jqm] , can't you do it?["kxntCH "dH wqt] (in the latter case, the sound [t] is also pronounced - very short and abrupt). The same can happen inside words - for example, the word education, which in "classical" English is pronounced as ["edjH"keISqn] , in American English it is usually pronounced as ["eGq"keISqn] .
● Between vowels that are pronounced in the front of the mouth (these are [I], [J], [e] and [x], as well as diphthongs and) and subsequent other vowels, a short light [j] can be pronounced - she only , he ever
● Between vowels that are pronounced in the back of the mouth ( [o] , [L] , [u] , [H] ), and subsequent other vowels, a short light [w] can be pronounced - go out , show it etc.
● The sound [h] may disappear when pronouncing function words and pronouns - such as have, he, him, her, etc.. Thus, for example, don't tell him may sound like ["dount tel qm] , and where has he...- like ["wer qz J]. Of course, this occurs in any language, and when we say "cha" instead of "you" - this does not cause misunderstanding for anyone. It will be necessary to gradually get used to such things in English as it study.
INTONATIONS
Correct intonation also have, of course, great importance for really good language skills - for example, depending on the rise or fall in tone, the same phrase can sound polite or rude. Important words are also distinguished by intonation - the tone of speech rises on them. There are several typical intonations and in order to master them faster, it is best to listen to special phonetic courses - there are quite a lot of them and it is easy to get them. If you choose an American dialect, we recommend a phonetic course Charlsie Childs ‘Improve your American English accent’(this is a complete phonetics course with lots of examples and exercises - you will find a lot of useful things there). But keep in mind that intonation is not the most essential element of English speech. If you pronounce the words correctly, you will be perfectly understood even with “Russian” intonations. So on the one hand, you may not pay attention to this issue at first, but on the other hand, if you try to imitate native speakers and gradually master intonation-correct English speech, your English will only get better.
The term “speech ontogenesis” is used to denote the entire period of the formation of a person’s speech, from his first speech acts to that perfect state in which the native language becomes a full-fledged tool for communication and thinking. The development of speech at an early age is divided into two periods: the preparatory period (up to 1, 5 years) - before the registration of independent speech and the period of registration of independent speech (1.5-2 years).
Active mastery of the intonation system of the language is considered in the works of R.V. Tonkova-Yampolskaya. Analyzing the sound activity of children from birth to 5 years, she argues that the formation of intonation begins with a cry, and by the beginning of the 2nd year of life, the child learns the intonation system of the language as a whole, and at later stages of development there is a process of its improvement and differentiation. The author considers it possible to say that from the second month of life in the non-verbal stage in the vocalizations of the child, intonations are differentiated that are comparable to intonations in adults, which are formed in the following sequence: from the second to the seventh month of life, an intonation appears that is comparable to the narrative in adults; from the ninth month of life - "persistent" intonation, comparable to the imperative in adults, from two years - the intonation of the question, similar to the interrogative in adults.
The results of the study of intonation by N.I. Lepskoy. She claims that intonation appears at the age of 1 year 4 months - 1 year 6 months and remains the basis of children's communication for six months. By school age, with the timely development of speech, children correctly pronounce stressed and unstressed syllables in a word, but distinguish them on the instructions of an adult do not know how. The intuitive ability to pronounce stressed and unstressed syllables is the basis for developing the ability to put logical stress in a sentence, which, in turn, requires correct intonation. The mastery of intonation occurs simultaneously with the mastery of speech, so the perception of intonation is usually ahead of the perception of meaning. At present, the periodization of the main stages of speech development has been carried out in sufficient detail. As for intonation, in most works the main attention is paid to the time of appearance of one or another of its forms, but not enough attention is paid to the accuracy of their performance, although it is obvious that both the child and the adult make mistakes in this. The degree of assimilation of one or another intonational model, the nature of the errors that occur at different ages cannot but arouse interest. Even among children of primary and secondary school age, the incorrect use of intonational structures and their individual elements is often noted. Obviously, between their appearance in early childhood and firm fixation in adulthood, there is a period when the development and use of these constructions can increase for one reason or another or temporarily weaken. N.Yu. Vakhtina indicate that the meaning of the statements of children under three years of age is often incomprehensible to adults, which is due to the peculiarities of the syntax and segment composition of their speech, and this makes adults listen sensitively to intonation in order to assess emotional richness. By the age of 3-4, in connection with the development of the child's speech, adults begin to understand the meaning of his statements taken out of context. The research conducted by the author made it possible to identify the parameters of similarity and differences in the statements of children aged 2-4 years and adults: the statements of children differ from the statements of adults in the width of the frequency range. At the age of 2 years 6 months - 3 years 6 months, the frequency range expands due to the high frequency region. And only at the age of 3 years 6 months - 4 years the value of the range increases significantly and approaches the range used in adult speech. At the age of about 4 years, a type of melodic framing of the utterance is formed, similar to that in adults. At the age of 2 years 6 months - 3 years 6 months, words with excretory stress appear in the statements of children.
The melodic pattern of interrogative statements at the age of 3-4 years also approaches the "adult" models, the intonation center coincides with the place of the melodic maximum, in most cases an ascending tone is observed in the area of the intonational center.
The results of the study of the temporal component of intonation showed that when comparing the rates of speech of children and adults, there is a slower rate in the speech of children, and in emotionally neutral statements it corresponds to a slow rate in the speech of adults, and in emotionally colored statements it is significantly slower than in the speech of adults. The slow pace in children's speech is associated with an increased relative duration of stressed and unstressed vowels and consonants. In the speech of children aged 2-4 years, there are no certain patterns found in the speech of adults: the tempo of the utterance does not depend on the number of phonemes and syllables of the utterance. The tendency to determine the tempo of the utterance by its communicative type is outlined at the age of about 4 years.
1For successful communication within the framework of television discourse, a certain set of language tools is needed that will contribute to the maximum adequacy of the perception of the speaker's speech or "picture". In the form of one of the means, which seems to be extremely significant, is the intonation of the presenter (announcer), who uses a whole arsenal of various prosodic means, they largely contribute to the formation of a seemingly independent attitude of the viewer to the information presented, which is especially relevant for television news and talk. show.
prosody
intonation
a television
speech of TV presenters
1. Demina M.A. Media impact and its components: cognitive-pragmatic analysis // Phonetics, phonology and intercultural communication. - M.: IPK MGLU "Rema", 2012. - S. 65 - 77.
2. Leontieva S.F. Theoretical Phonetics of Modern English: A Textbook for Students of Pedagogical High Schools and Universities / S. F. Leontieva. - M.: Publishing House Manager, 2002. - 336s.
3. Potapova R.K. Phonetic means of optimizing speech impact // Questions of Linguistics. - 2012. - No. 2. - P. 9-15.
4. Gimson A.C. An introduction to the pronunciation of English / A.C. gimson. – London: Arnold. Sixth edition revised by Cruttenden, - 2001. - 362 p.
5. Roach P. English Phonetics and Phonology / P. Roach. – Cambridge, 2000. – 283 p.
6. Wells, J. C. Longman Pronunciation Dictionary. – 3rd ed. - London: Longman, 2008. - 922 p.
7. Wells J. English intonation. Cambridge: Cambridge University Press, 2006.
The speech of the TV presenter is designed for an audience that is heterogeneous in composition and level of education, which perceives television speech as a standard of speech. The presenter is responsible not only for the content of his message, but also for its sound embodiment. The speaker's speech should correspond to the orthoepic norms of the literary English language, be distinguished by the skillful use of expressive means of prosody.
Television speech is one of the specific types of oral speech and is divided into oppositional types:
1. monologic speech and dialogic;
2.prepared and spontaneous;
3.careful and casual
Each of the types of speech of TV presenters has certain specifics: monologue assumes, respectively, the speech of one person, and has certain requirements for the design of statements. Dialogic speech is designed to involve the interlocutor in a communicative act. A prepared speech is characterized by the fact that the speakers have knowledge of the information that he will present. Spontaneous has an unprepared form, it usually does not contain speech means aimed at influencing, at forming an image. Careful speech involves an accentuated attention to the sound side of the message being delivered, while relaxed speech, on the contrary, pays less attention to the sound aspects.
Let us consider the specifics of the manifestation of prosodic parameters of speech on certain examples.
On the first recording, N. Rotherham, host of the BBC newsbeat podcasts and staff reporter for BBC Radio, covers one of the most important topics in the history of modern Britain. On June 23, the UK will hold a referendum on leaving the European Union. This podcast is an example of a monologue, prepared speech. In particular, N. Rotherham often appeals to statistical data and numbers.
“On June 23 millions of us will vote whether to remain part of the European Union or leave.”
Fig. 1 Visualization of the change in the frequency of the fundamental tone by N. Rotherham
On this segment, N. Rotherham pays Special attention numbers, drawing the viewer's attention to how EU membership and the migration crisis have affected the population. He begins his speech by indicating the main choice that the population of Great Britain has to make. Here the words june, millions, remain leave are prosodic.
“To do that we’d need to get rid of freedom of movement… get out of the single market… Which means leaving the EU.”
Fig. 2 Visualization of the change in the frequency of the fundamental tone by N. Rotherham
He resorts to using the pause technique. N. Rotherham uses pauses to draw the audience's attention to the next significant part of the message. In addition, within the framework of the prepared speech, he uses its pragmatic aspect. These pauses carry their semantic load, their place is determined by the speaker's choice. Also worth noting is Nick's tendency to lower his tone before pauses and at the end of a sentence, almost always starting a sentence at around 300Hz. This gives the narrative a subjective assessment, makes the announcer involved in the act of communication, makes the presenter not indifferent to the problem and attracts the attention of the viewer.
N. Rotherham's speech took 2 minutes 27 seconds of airtime, during which he spoke 399 words. This results in a speech rate of 163 words per minute, which is an example of an accelerated stable speech rate.
As a rule, within the framework of television discourse, dialogical speech is presented in such formats of television programs as interviews, in which the interviewer asks questions to his interlocutors. On the recording, J. Paxman, as part of the BBC newsnight podcast, talks with J. Quincey, President of Coca-Cola Europe. Complaints about high sugar levels in drinks are on the rise, leading to proposals to tax carbonated drinks like cigarettes. This is done in order to curb the rise in obesity among the population. J. Paxman himself conducts a conversation very aggressively and animatedly, he makes it clear to the viewer that he has a negative attitude towards companies selling unhealthy drinks in such quantities, his behavior in the studio also has the function of projecting his will onto the viewer, the viewer takes the side leader, begins to empathize, thereby becoming aware of the existing problem.
“James Quincey is the president of Coca Cola Europe. What good does coca cola do to you physically?”
After the presenter has introduced his guest to the viewer, he asks him a question. The graph clearly shows how it is prosodic designed.
Fig.5 Visualization of the change in the fundamental tone frequency by J. Paxman
The question sounds caustic, J. Paxman starts the sentence at a very high mark of 400 Hz, descending on the word physically below 100Hz. Such a gradually descending melodic gradation helps J. Paxman express his curiosity and genuine interest in the issue. To this, the director of the company answers him that the consumer is satisfied with the amount of sugar in the drink and he recognizes its high percentage.
“Does have some sugar in it, you say. Why don't you say specifically how much sugar there is in this can, for example?”
Fig. 6 Visualization of the change in the fundamental tone frequency by J. Paxman
Here, the main intonation peaks are the repetition of the words of the guest of the program and the counter question; in the interview format, such frequent questions can indicate a conflict of the parties, this serves as an element of attack. The interlocutors become adversaries when, in turn, the responder defends himself. The question loses its neutrality. J. Paxman is extremely outraged and uses a rising-falling tone with a high mark of 300Hz. J. Paxman not only uses his tone and voice, he also gesticulates profusely and even holds a can of soda in his hands.
“On the side you say. it says thirty, there is percentage on it. Isn "t there? Do you imagine people know… if they go to the cinema and they get a small one or a big one too. You go to the cinema and you get a jug of coke like this. Do you think people have any idea how much sugar is in it?” 
Fig. 7 Visualization of the change in the frequency of the main tone by J. Paxman
J. Paxman outlines a possible trivial situation in order to illustrate to the viewer how easy it is for anyone to ignore the data on the composition of the drink and asks the question again, holding the guest accountable, trying to arouse feelings of guilt, waiting for an excuse. Such a melodic picture of the question has a great impact on both the viewer and the interlocutor.
“Look- look- look at this... Twenty three sachets of sugar in that single container. The equivalent for that cup. That is a staggering amount of sugar.”
Fig. 8 Visualization of the change in the fundamental tone frequency by J. Paxman
Here J. Paxman emphasizes the word staggering, again resorting to an ascending-descending tone, and expresses his indignation. He starts his exclamation high at 280 Hz, rising sharply to 320 Hz before dropping his tone to acoustic zero in 0.4 seconds.
“Clearly it"s called the coke zero, but the Coke classic... Look at this one here. Forty Four packets of sugar in this one. Forty Four! Whether is twenty three in something this size or forty four in something this size. Each of them is to be consumed in one simple sitting at the cinema.
J. Paxman again takes out a plastic glass, but with a large volume, again emotionally influencing the viewer and interlocutor. This time he littered the table with packets of sugar and repeated the unthinkable number several times.
Fig. 9 Visualization of the change in the frequency of the main tone by J. Paxman
The tone indicators of J. Paxman at this moment are in high positions, and at the moment of repeating the number Forty four, the tone reaches 400 Hz.
“So you accept your role in the obesity epidemic, do you?”
Fig. 10 Visualization of the change in the frequency of the main tone by J. Paxman
J. Paxman is not at all shy about asking provocative questions and does it in a calm, measured voice, maintaining a downward trend in interrogative sentences. The pitch does not exceed 250Hz. He ends the interview with a cold expression of gratitude to the interlocutor, notes of arrogance can be discerned in the sentence, the words sound somewhat aloof. The overall tone barely exceeds 85 Hz.
“Thank you very much.”
Fig. 13 Visualization of the change in the fundamental tone frequency by J. Paxman
Sir J. F. Attenborough is one of the world's most famous broadcasters and naturalists. His programs are an example of spontaneous speech, D. Attenborough's professionalism has always been noted by viewers and critics. On this segment, D. Attenborough observes orangutans, wielding tools and other objects of human life.
“You might think that this orangutan washing socks is some kind of circus trick for what she’s been specially trained.”
Fig. 14 Visualization of the change in the fundamental tone frequency by D. Attenborough
The tone of D. Attenborough does not exceed 260 Hz, on the chart there are mainly descending lines (78% descending, 17% ascending-descending, 5% descending-ascending).
“And those two talents were ultimately the lead to the transformation of the world.”
D. Attenborough slows down speech and notes the incredible intellect of developed beings in terms of its impact. The proposal sounds insinuating, as if leaving the viewer alone with his thoughts. It also closes the frame with the orangutan. D. Attenborough raises his tone from 140Hz to 280Hz on the word those and gradually lowers it word by word to 100Hz.
Fig. 16 Visualization of the change in the fundamental tone frequency by D. Attenborough
“Kalimantan or Borneo is a home to a special group of orangutans who'd been rescued from captivity and returned to the wild. Because they lived partly in our world as well as theirs, they could give us one of the insights of what we have in common.”
Fig. 17 Visualization of the change in the fundamental tone frequency by D. Attenborough
The sentence is mainly dominated by a falling tone (48%), then an ascending-descending tone (27%), after which a descending-ascending and rising tone (16% and 9% respectively). The highest figure at 320Hz is at the word they.
“But the most important thing we share is our big brain. It’s that it produces so many of the talents and abilities that we have in common.”
Fig. 20 Visualization of the change in the fundamental tone frequency by D. Attenborough
At the level of the entire supply, a downward trend is noticeable. At this sentence, D. Attenborough ends his report, lowering the tone from the highest mark on the word that in 240Hz to the ascending-descending tones of the words talents and abilities. With this sentence, the announcer sums up his broadcast, once again pointing out the relationship of great apes and humans. The thought that ran like a red thread through the entire report. Of the total airtime, D. Attenborough spoke for 99 seconds, during which he spoke 247 words, which is a rate of 150 words per minute.
Using the studied examples, it was proved that the pragmatic setting of the news discourse mainly determines the use of melodic tones in the speech of the announcers, at the level of which the presenters influence the audience. Experienced announcers, reporters and commentators can evoke the required reaction in recipients with just intonations, and achieve the formation of a certain public opinion on the issue under consideration. However, the positive or negative sounding of the rising tone invariably depends on the context and situation. The maximum use of rising tones can show aloofness and indifference to the topic under discussion, however, medium and high variations of rising tones can sound friendly. A descending-rising tone can express intonational silence, act in an implicative function, giving a shade of uncertainty to the narration.
On the basis of acoustic analysis, characteristic patterns were revealed in such types of speech of TV presenters as prepared (thorough) and spontaneous, monologue and dialogic. The monologue speech sample was also taken as a prepared speech sample. In the prepared monologue speech, a moderate accelerated pace is maintained, the TV presenter often resorts to the use of rising tones to highlight key words in a sentence. There is a noticeable tendency to start sentences at high tone levels. In general, the speaker's melodic pattern was very diverse, which undoubtedly attracted the viewer's attention and produced the necessary communicative effect, and also gave the host's speech a subjective assessment.
On the example of dialogic speech, a clear dependence of the melodic pattern on the context, personal attitude to the problem, as well as the image of the TV presenter can be traced. The announcer expresses indignation with descending and ascending-descending tones. Uses repetitions, analogies, gesticulates abundantly. The average background indicators drop only at rare moments, mainly the main words in the sentences are above the 300Hz mark, due to the frequent use of loud epithets. It is typical to use pauses to create the desired emotive response in the viewer.
Descending tones predominate in the sample of spontaneous speech, this is due to the calm and measured pace and the specifics of wildlife documentaries. The TV presenter speaks in a raised tone only when addressing the viewer to create the so-called presence effect. The insinuating manner of the announcer properly affects the viewer. It is typical to use ascending-descending tones to highlight key phrases and words in a sentence. Pauses highlight the main words for effective assimilation of information by the viewer, which is the dominant function of educational programs.
Bibliographic link
Tregubenko A.I. PROSODIC CHARACTERISTICS OF THE SPEECH OF INFORMATION PROGRAM ANNOUNCERS (ON THE MATERIAL OF THE BRITISH ENGLISH LANGUAGE) // International Student Scientific Bulletin. - 2016. - No. 2.;URL: http://eduherald.ru/ru/article/view?id=16612 (date of access: 10.12.2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"