articulation to a similar place of articulation (from bilabial to labiodental etc.not bilabial to nasal). Elision in certain circumstances a phoneme maybe realised as zero or be deleted. (E.g. loss of final v in 'of' before consonants - ,,lots of them" Linking linking r ,,here are" and intrusive r ,,media event". A falling tone descends from a higher to a lower pitch A rising tone a movement from a lower pitch to a higher one NB! In tone languages pitch is a phonemic feature. In intonation languages the intonation of the phrase or sentence is contrasted. Pitch contour intonation of the phrase or sentence. Intonation contours may reflect semantic or syntactic differences. 5 clearly discernible intonation patterns of single syllables in English fall, rise, rise-fall, fall-rise, level. Speech -> utterances -> tone-units ->feet -> syllables ->phonemes Tone-unit components - (pre-head); (head); Tonic Syllable;(tail). E.g. she LIVES in LONdon Tone-unit structure:
· How good ought to be our students' pronunciation? · Is it necessary to teach pronunciation? One important point is to make yourselves understood but is it enough? The ´perfect ` pronunciation depends on our students´attitude how they speak and how well they hear. If intelligibility is the goal then it suggests that some pronunciation features are more important than others. Some sounds have to be right to get your message across. Stressing words and phrases correctly is vital. Intonation is an important meaning carrier too. Problems There are 2 particular problems in pronunciation teaching and learning. 1. What St-s can hear: some St-s have difficulty hearing pronunciation features which we want them to reproduce. How to deal with this problem? - Show them how sounds are made (demonstration, diagrams, explanation) - Draw the sounds to their attention every time they appear on a tape or CD or in the conversation.
QUESTIONS AND ROLE PLAY When you have completed your monologue, you will be asked 4-5 questions related to the topic of your monologue. This is nothing like asking and answering questions: try to behave as if in a real conversation. Respond naturally in 2-3 utterances but you are not expected to be lengthy at this stage. Speak fluently with appropriate pronunciation and intonation and only natural pauses. Express yourself confidently, clearly and politely. If you fail to understand the question, say `Pardon?' with the rising tone and the interviewer will interpret the question to make it clear for you. The following expressions of asking someone to repeat can also be useful: - Could you say that again, please? - Would you mind repeating that, please? - Could you repeat that, please? Once you have finished, you will be moved on to the next task. The
MONOLOGUE Topic A5.2 Read the topic below and prepare to speak about it. Use the questions given to help to plan your monologue. Some people think that all school-children should wear school uniforms. Why do you think they say that? Do you agree? Give reasons. ---------------------------------------------------------------------------------------------------------------- You are expected to structure your monologue and present it speaking fluently with appropriate pronunciation and intonation and only natural pauses. You are expected to express yourself confidently, clearly and politely. Interact naturally with appropriate openings, fillers and amplifications. Be logical and clear, paraphrase successfully. Your vocabulary should be precise and appropriate, as well as the register. Use a VARIETY of simple and complex grammatical structures as appropriate. Your monologue can be structured as following: 1. Introduction: state the topic (the conviction held). Recite the task. 2
Move hands and arms Don't point at anyone Move around the room Don't rock backwards and forwards Move towards the audience Don't stand rooted to the spot Move your eyes around the audience Don't leave your hands by your sides Moving is normal Don't avoid eye contact Voice, intonation and pronunciation Stressing a point It is vital/essential/imperative that we ... We must ... Stretching vowels These figures are extreeeemely useful. We are waaaay ahead of the competition. Using adverbs extremely really entirely very completely quite totally Repeating words Communication is vital. Without communication, nothing is achieved. With little communication, little is achieved. Stressing auxiliaries
Hüpoteesiks oli, et süstemaatilsed helikõrguse kõrvalekalded esinevad suuremal või vähesemal määral iga noodi puhul pidas paika, v.a lahtisel D-keelel. 16 Kasutatud allikmaterjalid Carterette, Edward C.; Kendall, Roger A. 1999. Comparative music perception and cognition. Chapter 2: Pitch: A. Musical pitch and human hearing. - The Psychology of Music. Toim. Diana Deutsch. San Diego, CA, US: Academic Press, lk 730 Denckla, Ben 1997. Intonation Theory. http://xenia.media.mit.edu/~bdenckla/thesis/texts/htthe/node4.html, vaadatud 07.12.2015 Denckla, Ben 1997. The Role of Intonation in Music. http://xenia.media.mit.edu/~bdenckla/thesis/texts/htthe/node3.html, vaadatud 07.12.15. Freienthal, Heli. Olulised mõisted. http://www.lvrkk.ee/kristiina/Heli_Freienthal/ABC/olulised_misted.html , vaadatud 07.12.15 Goldbach, Karl Traugott 2007. Arthur von Oettingen ja tema orthotonophonium oma aja kontekstis. - Res Musica. Nr. 1, lk 47-49.
e. Are texts ever only vocative (or other text type)? Explain. - A really small percentage of texts are purely only vocative (or other text types). They tend to be a mixture of different types. 5. Aesthetic function e. a. What are some of the aspects that help create the aesthetic effect? -The rhythm, balance and contrasts of sentences, clauses and words also play their part. The sound-effects consist of onomatopoeia, alliteration, assonance, rhyme, intonation and stress. b. How do you understand the conflict between ‘truth’ and ‘beauty’? - c. Why are descriptive verbs (‘kirjeldav tegusõna’) usually easy to translate? - Descriptive verbs of movement and action, since they describe a manner, are rich in sound effect. d. Explain the importance of the metaphor in this context. - Metaphor is the link between the expressive and the aesthetic function. Metaphor connects
parem>param A characteristic feature is the strong form of Inessive:jalas> jalgas, rannas>randas. insular dialect The absence the Õ-vocal, instead Ö is used, but in addition to Ö can also E, A, O and U be used instead of Õ Eg: sõber>söber, kõik>keik, sõnad>sanad, jõulu>jõulu, lõhki >luhki The vowels O, E and Ä will change if they are in front of H, to either U or I eg: kohad>kuhad, mehe>mihe, teha>tiha pähe>piha. Has a singing intonation that is belived to come from the swedes Northeastern coastal dialect Absense of the letter Õ Impersonal da-infinitiive Plural is i-plural: puhaste kätega>puhti käsiga Tartu dialect Commonly used the,,na" indirect speech identifier: olevat>olna, kirjutavat>kirjutana de-liiative ending : pudelisse>pudelide Strong i-plural : lehtedest>lehtist Mulgi dialect Instead of E the presence of A : kirjutama>kirjuteme Words don´t start with H :hobune>obene,
Nonverbal communication is usually understood as the process of communication through sending and receiving wordless messages. Such messages can be communicated through gesture; body language or posture; facial expression and eye contact; object communication such as clothing, hairstyles or even architecture; symbols and infographics. Speech may also contain nonverbal elements known as paralanguage, including voice quality, emotion and speaking style, as well as prosodic features such as rhythm, intonation and stress. 1 Likewise, written texts have nonverbal elements such as handwriting style, spatial arrangement of words, or the use of emoticons. Kinesics is the study of body movements, facial expressions, and gestures, as well as dress. Kinesic behaviors include mutual gaze, smiling, facial warmth or pleasantness, childlike behaviors, direct body orientation, and the like.
emphasize words or the whole utterance. The phonetic arrangement of the utterance does not exist by itself- it is iseparably connected with the meaning and message. Phonetically we distinguish between prosodic means and what may be termed as orchestration of sounds. Prosodic means Include such phenomena of speech as loudness, diapason (pitch), acceleration or slowing down the tempo, pausation, logical and emphatic stress, intonation contours. In this respect the written text is far from being perfect, much of it can be pronounced differently and therefore understood differently. Loudness The tone of the voice may vary from being cold, sharp, contemptuous to being tender, gay etc. Depends on many factors. Diminished loudness expresses intimacy, shyness, mildness, also threat, warning may be expressed by it. A loud voice may indicate various states: familiarity, good-heartedness, a fear to be misunderstood, excitement, etc
means approximately junk ) and corn ( which in British means any grain, especially wheat ). Some of the new terms were needed, because there were new and un-English things to talk about. Others can be explained only on the general theory that languages are always changing, and American English is no exception. Aside from the new vocabulary, differences in pronunciation, in grammatical construction, and especially in intonation developed. If the colonization had taken place a few centuries earlier, American might have become as different from English as French is from Italian. But the settlement occurred after the invention of printing, and continued through a period when the idea of educating everybody was making rapid progress. For a long time most of the books read in America came from England, and a surprising number of Americans read those books, in or out of school
spontaneous speech. They showed correlations around 0.80 between their tests and other widely used language tests such as ETS's TOEFL (Bernstein, DeJong, Pisoni, & Townshend, 2000). Cucchiarini et al. (Cucchiarini, Strik, & Boves, 1997a, 1997b) developed a speech recognition based automatic pronunciation scoring system for Dutch by using features such as log likelihood Hidden Markov Model scores, various duration scores, and information on pauses, word stress, syllable structure, and intonation. They also found good agreement (correlations above 0.70) between machine scores and human ratings of pronunciation. Stanford Research Institute (SRI) International, similarly, has been developing an automatic pronunciation scoring system, EduSpeakTM, which measures phone accuracy, speech rate, and duration distributions for non-native speakers who read English texts (Franco et al., 2000). Unlike in Ordinate's test, the texts being read need not be known to the system for prior training.
The author is conscious of various types of prints, the division of text into paragraphs, italics, punctuation marks. In poetry the author attaches great importance to the division of stanzas, arrangement of lines. The peculiar feature of poetry is the combination of graphical means and sound form. Graphical means are indispensable (), in order to pass over to the reader the features that in oral speech are rendered by stress, the tone of the voice, pauses, intonation, the length of sounds. The stylistic loading of the stylistic marks is unequal the more prominent ones are exclamation and interrogation marks. They suggest high emotionality (e.g. "Winter! So cold! White snow!). 1. The exclamation mark is often used with sentences that are not exclamatory in form. In these cases it shows mostly ironic attitude or indignation
the sixteenth century. Program and "content" analysis offer no clues to the magic of these media or to their subliminal charge. Leonard Doob, in his report Communication in Africa, tells of one African who took great pains to listen each evening to the BBC news, even though he could understand nothing of it. Just to be in the presence of those sounds at 7 P.m. each day was important for him. His attitude to speech was like ours to melody-the resonant intonation was meaning enough. In the seventeenth century our ancestors still shared this native's attitude to the forms of media, as is plain in the following sentiment of the Frenchman Bernard Lam expressed in The Art o f Speaking (London, 1696): 'Tis an effect of the Wisdom of God, who created Man to be happy, that whatever is useful to his conversation (way of life) is agreeable to him . . . because all victual that
In poetry the author attaches great importance to the division of stanzas, arrangement of lines. The peculiar feature of poetry combination of graphical means and sound form. FGI 1081 Stylistics (I. Ladusseva) 20 Graphical means are indispensable, in order to pass over to the reader the features that in oral speech are rendered by prosodic elements (stress, the tone of the voice, pauses, intonation, the length of sounds, etc.). A prominent place is taken by graphical means. The stylistic loading of the stylistic marks is unequal the more prominent ones are exclamation and interrogation marks. They suggest high emotionality (e.g. "Winter! So cold! White snow! White icicles? Icicles! Huge and splendid!"). 1. The exclamation mark is often used with sentences that are not exclamatory in form
6. Phonetic expressive means Every work of literature is a certain sequence of sounds. Phonostylistics studies phonetic features at the speaker's or writer's disposal to emphasize words. The phonetic arrangement is inseparably linked with the meaning and message. Phonetically we distinguish between prosodic means and orchestration of sounds. Prosodic means include such phenomena of speech as loudness, pitch, acceleration or slowing down the tempo, pausation, stress and intonation. In this respect, the written text is far from perfect. Much of it can be pronounced differently and so understood differently. The pitch depends on the state of excitement. It is high when one is angry and low when one is disappointed, sorrowful or desperate. The tempo is slow when we feel sadness and it's fast when we feel anger, fear, joy and other momentary feelings. Loudness depends on many factors. Diminished loudness expresses intimacy, shyness, mildness but also threat and warning
Middle) and Southern, with Moscow lying in the Central region. All dialects also divided in two main chronological categories: the dialects of primary formation (the territory of the Eastern Rus' or Muscovy, roughly consists of the modern Central and Northwestern Federal districts); and secondary formation (other territory). Dialectology within Russia recognizes dozens of smaller-scale variants. The dialects often show distinct and non-standard features of pronunciation and intonation, vocabulary and grammar. Some of these are relics of ancient usage now completely discarded by the standard language. The Northern Russian dialects and those spoken along the Volga River typically pronounce unstressed /o/ clearly, a phenomenon called okanye (). Besides the absence of vowel reduction, some dialects have high or diphthongal /ei/ in the place of Proto-Slavic * and /ou/ in stressed closed syllables (as in Ukrainian) instead of Standard Russian /e/ and /o/
impractical rentinga house;requesting services ilii;;sjorev iuiol<, 'fli,i,:, a;,t";r, ,impracticat, t Intonation:expressing sympathy building ' chimney England spacious,
impractical rentinga house;requesting services ilii;;sjorev iuiol<, 'fli,i,:, a;,t";r, ,impracticat, t Intonation:expressing sympathy building ' chimney England spacious,
impractical rentinga house;requesting services ilii;;sjorev iuiol<, 'fli,i,:, a;,t";r, ,impracticat, t Intonation:expressing sympathy building ' chimney England spacious,
impractical rentinga house;requesting services ilii;;sjorev iuiol<, 'fli,i,:, a;,t";r, ,impracticat, t Intonation:expressing sympathy building ' chimney England spacious,
they rushed with inspiration into the waves of dynamism. 2 The Estonian National Symphony Orchestra is 80 years old and reshaping itself in an admirable way, consisting mostly of young musicians. The strings are the best performers. They are technically on the level and their sound is homogeneous. The woodwinds lack remarkably in their quality of tone and the brass are sometimes guilty of improper intonation. The evening started with Bucolics by the Estonian female composer Ester Mägi. A sorrowful sound landscape with bird-calls, sounds of nature and flute singing unperturbed with dissonant sharpness... As a modern work one has no need to consider it just seriously. Bucolics was an amiable anachronism.3 The chief conductor Arvo Volmer found that several hopes have been realised: the growth of stability, the foreign tours stood on an appreciable level, but there were
annaabi.ee 
Sisene Facebook'ga
Sisene Google'ga
Sisene LinkedIn'ga
