Phonetics and Phonology III
jueves, 8 de septiembre de 2011
Unit 5 - Who's in charge?
viernes, 26 de agosto de 2011
Finding out or making sure?
Bring them next Friday 3rd.
See you then!!
lunes, 15 de agosto de 2011
DIALOGUES FOR PRACTICE
Analyse the intonation patterns of these dialogues according to discourse function.
DIALOGUE A (Brazil, 1998: 59)
a. Listen to this dialogue and mark intonation patterns.
b. Analyse the intonation patterns according to discourse function.
c. Practise the dialogue with a partner.
(Two friends are talking about the meetings at a Philosophical Society that speaker A has joined a long time ago)
A: The meetings are pretty good usually.
B: Perhaps I should come along some time.
A: Well, tonight’s speaker is Agnes Thomson.
B: I seem to have heard of her. Is she British?
A: I think so. But she got her master’s and her doctorate in the States.
B: What does she talk about?
A: Well, she made her name with some work she did on Wittgenstein.
DIALOGUE B (Brazil, 1998: 71)
a. Listen to this dialogue and mark intonation patterns.
b. Analyse the intonation patterns according to discourse function.
c. Practise the dialogue with a partner.
(Speaker A: receptionist in a company. Speaker B: caller.)
A: Jonson and Jonson Limited. Good morning. Can I help you?
B: Good morning. Do you have a Mr Robertson there, please?
A: We do have a Mr Robertson, yes.
B: Could I have a word with him?
A: Who is it calling please?
B: The name’s Jordan. I’m from John Davies and Co.
A: Oh, yes. One moment Mr Jordan. I’ll see if he’s in.
Pronunciation for Advanced Learners of English . Unit 6- 6.11 by sebmer21
DIALOGUE C
a. Analyse the intonation patterns according to discourse function.
b. Practise the dialogue with a partner.
(Lisa and John are a married couple who are talking about a friend. She has just had a conversation with that friend on the phone. Now she is washing the dishes while John is reading the newspaper)
Lisa: // ↘ THAT was SaMANtha // ↗ on the PHONE// ↘↗ HOnestly // ↘ i don't KNOW how she DOES it //
John: // ↘saMANtha // ↘ WHAT'S she DONE now//
Lisa:// ↘NOthing // ↗REALly / / ↘THAT's what's aMAzing // ↘ but SOMEbody // ↘ has SENT her// // ↘ a DOzen ROses //
John: // ↗ a DOzen WHAT//
Lisa: // ↘a DOzen ROses //
John: II ↘↗ROses // ↗ and at THIS time YEAR //
Lisa: // ↗ YES// ↗ and a DOzen roses // ↗he must be KEEN //
John:// ↗ is it her BIRTHday or something //
Lisa: // ↘↗ NO // ↘↗and WHAT's MORE // ↘ they were RED roses//
John: // ↘↗NOW // ↘ a dozen RED roses// ↗ you KNOW what that MEANS//
Lisa:// ↗ YES// ↘ I KNOW // ↗ WHAT you are going to SAY//
John: // ↘↗ MEANS // ↘ he's NOT just KEEN // ↘ he's in LOVE with her //
DIALOGUE D
a. Analyse the intonation patterns according to discourse function.
b. Practise the dialogue with a partner.
(Lisa and Tony are close friend. They meet by chance in the street. Lisa is curious about Tony´s job interview.)
1. // ↘↗ helLO tony // ↘↗ DID you go for your INterview yesterday //
2. //↘ HI lisa //↘YES. //↘ i DID //
3. // ↘HOW did it GO //
4. //↘ ALL RIGHT // ↘↗i THINK //
5. //↘↗ALL RIGHT // ↘↗you DON'T sound very SURE //
6. //↘ i MEAN // ↘↗ i MAnaged to answer all the QUEStions //↘↗ and i THIN'K i said the right THINGS // ↘but i DON´T think // ↘ i wore the right CLOTHES // .
7. // ↘ WELL // ↘↗there's NO point WORRying about it // ↘↗ what's DONE // ↘ is DONE //
8.// ↘ YES lisa // ↘ i KNOW // ↘↗There's Nothing i can DO about it //↘ of COURSE //↘↗ i CAN'T CHANGE anything // ↘ but i CAN'T help THINKing about it //
9.// ↘ i'm SURE. // ↘↗you needn't WORRY // ↘ what DID you wear // ↘ ANY way //
10.// ↘ i HAD to put my JEANS on //
11.// ↘↗your JEANS // ↘ OH i SEE //
12// ↘↗ but I wore a TIE //
13.// ↘↗ NEver MIND // ↘↗ you SAID the right things // ↘ ANYway //... //↘ but TOny // ↗ surely you REAlised// ↗ everybody would be wearing SUITS // ↗ a job like THAT // ↗ SUCH a good SAlary // ↗ with SO much responsibility // ↘ you OUGHT to have known BETTer than to wear jeans//
14.// ↘ don't reMIND me // ↘↗ i KNOW it was STUpid //
15.// ↘ well WHAT was the PROblem // ↘ i KNOW // ↘↗ you've GOT a suit //.
16. // ↘ oh YES // ↘↗ i've GOT one // ↘ it was at the CLEANer's //
17. // ↗ it was WHERE //
18. // ↘ at the CLEANer's // ↘it still IS //
19. // ↘ you're HOPEless //↗ here you ARE // ↗ with the CHANCE of a LIFEtime // ↗to get exACtly the job you WANT // ↗ you have ALL the right qualifiCAtions // ↗ a LOT of exPErience // ↗ NO family TIES // ↘↗ and when the DAY of the interview aRRlVES // ↘↗ YOU'RE in the INterview room// ↘ and your SUITS at the CLEANer's//
20. // ↘ i KNOW // ↘ i KNOW//
21. //↘WELL // ↘WHAT HAppened // ↗ did you forGET to GO for it // ↗ lose your TICKET // ↘or WHAT //
22. // ↘ NO // ↘↗ but i ASKED saMANtha // ↘ to pick it UP for me // ↘ and they GAVE her the WRONG one // ↘↗ by the time i got BACK to the SHOP // ↘it was CLOSED //
This is the set of files (Dialogues C and D)
Bradford's selection by sebmer21
martes, 21 de junio de 2011
Theory: Nelle, Lopez, Rodriguez, Parano, Racedo, Farfan.
1)_ The prosodic characteristics of speech are those of pitch, loudness and speed. These combine together to make up the rhythm of speech and are combined in turn with stretches of silence to break up the flow of speech.
Prosodic characteristics are the same in all languages. It is true of all human societies that speaker speed up when they are exited or impatient and slowdown when they are being thoughtfull or weighty.
Different languages differ in their prosodic characteristics.
Stess is realized by a combination of loudness, pitch and duration. Some languaes use stress placement lexically (to distinguish between different words in the dictionary). Other languages do not use stress lexically.
In English there are a few pairs of words distinguished just by stress. The English habit of weakening unstressed vowels means that most pairs of words differing in stress often also have differences in their vowel sounds. So that the distinction is not carried by stress alone.
Tone is another prosidic characteristic, being realized by differences in the pitch of the voice. A high pitch results from the rapid vibration of the vocal folds in the larynx, loud pitch, slow vibration.
2)_ Intonation is the melody of speech. In studying intonation we study how the pitch of the voice rises and falls, and how speakers use this pitch variation to convey linguistic and pragmatic meaning. It also involves the study of the rhythm of speech, and the study of how the interplay of accented, stressed and unstressed syllables function as a framework onto which the entonation patterns are attached.
If we had no intonation, our speech would be monotonous.
3)_ Pitch concerns the varying height of the pitch of the voice over one syllable or over a number of successive syllables. It is the prosodic feature most centrally involved in entonation. Physiologically, pitch is primarily dependant on the rate of vibration of the vocal folds within the larynx. The frequency of vibration involves accoustic measurement, which pitch is used as a perceptual term, relating to listeners judgements as to whether a sound is "high" or "low", whether a sound is "higher" or "lower" than another, and by how much and whether the voice is going "up" or "down".
5)_ Form of English intonation: