Intonation- these are various ratios of quantitative changes in tone, timbre, intensity, sound duration, which serve to express semantic and emotional differences in statements (according to RG-80)

Thus, the constituent elements of intonation are:

· melody of speech,

rhythm of speech

· intensity of speech,

timbre of speech

rate of speech

· emphasis.

Melodica- this is the tonal contour of speech, i.e. modulation of the pitch of the fundamental tone when pronouncing parts of a sentence, a whole sentence and superphrasal unities. The tonal contour serves to express different semantic, syntactic and emotional-expressive meanings.

There are 4 melody circuits:

· descending melody(decrease in pitch)

· rising melody( raising the pitch)

· ascending-descending(first increase, then decrease)

· old melody or plain(maintaining the same pitch of the fundamental tone throughout a certain segment of speech)

Rhythm of speech-alternation of stressed and unstressed long and short syllables. For example, rhythm differs in poetic and prose texts.

Speech intensity– i.e. the strength or weakness of pronunciation associated with the strengthening or weakening of exhalation. (For example, speech in the room and on the street). Quantitative intensity changes different sounds, and first of all, vowels, are a property of intonation and, in combination with the tone of sounds, affect their loudness during perception. Increasing the intensity of sounds with the same pitch increases their volume. On the other hand, given equal intensity, a sound with a higher pitch is perceived as louder.

Speech rate– speed of speech, relative acceleration or deceleration of its individual segments (sounds, syllables, words, sentences and longer fragments). The pace depends on the style of pronunciation, the meaning of speech, and the emotional content of the statement. Fast pace- emotional speech. Average pace– the situation of communicating information (lecturer’s speech, business communication). Slow pace-fractional syntagmatic division, the limit of which is the coincidence of the syntagma and the word. Accordingly, the number of syntagmatic stresses increases, and individual words acquire special semantic weight. Solemn and important messages are delivered at a slow pace.

Timbre– in intonation, timbre is an additional coloring of sound that imparts various emotional and expressive shades to speech. The timbre of sounds can change depending on the emotional state of the speaker (with fear in the voice, with anger, etc.) Timbre means of intonation are different qualities of the voice determined mainly by the state vocal cords. Highlight:



· relaxed,

· tense,

· creaky

· aspirated.

Accent– for intonation (as a component of intonation) of speech, verbal stress (emphasis on one of the syllables in a word during pronunciation) and semantic stress (syntagmatic (beat), phrasal and logical) are fundamentally important. Often the effect of emphasis is not only semantic, but also emotional. Along with the listed types, emphatic stress also turns out to be intonationally significant (Shcherba).

Emphatic stress emphasizes, enhances the emotional side of the word or expresses the emotional state of the speaker. The means of expressing emphasis in the Russian language is mainly the lengthening of the stressed vowel when expressing positive emotions (delight, admiration). Negative emotions (anger, frustration) can be expressed by lengthening the initial consonant, as well as by emphasizing the reduction of the stressed vowel.

The main phonetic means in intonation include cessation of phonation, i.e. no sound (pause). Pause- This is a unique, most often non-sound, intonation device. Pauses delimit syntagms (/) and phrases (//) from each other. Interphrase pauses are longer.

Intonation is the rhythmic and melodic side of speech, contributing to the division of the flow of speech into separate segments - phonetic syntagms and phrases and serving in a sentence as a means of expressing syntactic meanings, modality and emotional-expressive coloring.

Functions of intonation.

Intonation phonetically organizes speech and is a means of expressing various syntactic meanings and categories, as well as expressive and emotional coloring.

Its main functions are 1. Formulation, that is, turning words into statements. 2. Dividing the flow of speech into semantic segments (for example, Execute / cannot be pardoned And Cannot be executed / pardoned; I entertained him / with my brother's poems And I entertained him with poetry / my brother; The director / told the caretaker / will not go on a business trip And The director said / the caretaker will not go on a business trip). 3. Highlighting a particular word in a statement ( ThisPeter ? This Peter?). 4. Contrasting statements by their purpose, for example statement / question ( This is Petya. Is this Petya?). 5. Expression of the speaker’s attitude to the statement (for example, the phrase She sings like that! Depending on the quality of the voice, it can mean ‘very good’ or ‘absolutely terrible’). Not all languages ​​have intonation that performs all of these functions; sometimes (for example, in archaic Northern Russian dialects) all functions, except for design, are performed by particles, and all words have the same intonation. The role of intonation is especially clearly visible in the example of phrases consisting of the same words, but having, depending on the intonation design, different meanings (words with phrasal emphasis are highlighted in bold): - That's what he saysin Russian ? - ThisHe speaks Russian? - That's what he saysin Russian . - ThisHe speaks Russian. - That's what he saysin Russian ! - That's what he saysin Russian … Another example is interjections, the meanings of which differ only by intonation, which can be conveyed by punctuation marks: - A? - A! - Ahh. - Ah... It is interesting that intonation patterns may even be in some sense more important than the meanings of words. Yes, the phrase Close the window, pronounced with a rise in tone on the stressed syllable of the word close, much more polite than a phrase Please close the window, pronounced with a lower tone on the same syllable. An important property of intonation is the automaticity of its assimilation and use: it is well known that it is possible to teach (and learn) correct intonation when studying non-native language It’s very difficult, but if you live for several weeks in an environment where they speak this language, the correct intonation usually appears by itself. Another interesting feature associated with intonation is that the meanings conveyed with its help are quite universal - for example, very young children who do not yet know words, and even pets very well distinguish the mood and intentions of the person speaking to them by his intonations .

TONE MEDIA.

TS – basic intonation means. Each speaker has his own average tone of speech.

Tonal accent is a sharp increase or decrease in tone.

Tonal contour is the movement of a tone throughout a phonetic syntagm (abbr. TK). Each TC has a center - a dynamic accent of the phonetic syntagma (syntagmic or phrasal stress or accentuation of a word). Those. it's how the voice changes throughout the phrase.

TIMBRAL MEANS OF INTONATION.

Timbre means of intonation are different qualities of the voice, determined by the state of the vocal cords, tension or relaxation. The walls of the oral cavity and pharynx, expansion or contraction of the pharynx, upward or downward shift of the larynx.

QUANTITATIVE-DYNAMIC SI.

K-D SI means of intonation include increasing or decreasing strength (loudness) and changing the tempo of pronunciation of individual sections of a phonetic syntagm or phrase. For example, the sentence “What is her voice like?” and “What a voice she has!” can be pronounced with different tonal contours. The difference between them will be that the sounds of the TC centers in an exclamatory sentence are pronounced with greater duration and strength (loudness).

Literary language is the highest form national language, used in all areas of life. . Literary language is standardized, i.e. it regulates vocabulary, pronunciation, word formation, use of words, formation of morphological forms and syntactic constructions, spelling. For literary language Phonetics is very important. Phonetics is a branch of linguistics that studies sound side

language: sounds of human speech, methods of their formation, acoustic properties, patterns of changes in sounds, classification of sounds, stress, features of dividing the sound stream into syllables, etc.

Let's take a closer look at some concepts.

Since most languages ​​in whose poetics alliteration is canonized, in particular the Finnish and Germanic languages, have the law of initial stress (on the first syllable), the choice of alliteration as the main technical device of poetry can be connected precisely with this law. In Russian poetry, alliteration is limited to the role of an optional (not canonized) device. Only a few poets use it explicitly, and in most cases we actually see not alliteration in the narrow sense, but only rich cases of consonant repetitions.

Along with the concept of “alliteration”, there is the concept of “alliterative verse”. Let's take a closer look at this concept.

Alliterative verse is an ancient Germanic verse used in Anglo-Saxon, Old High German and Old Icelandic poetry from the 8th to the mid-13th centuries. Each of its lines had four stresses and was divided by a caesura into two hemistiches, in which there were two main rhythmic stresses, and the number of unstressed syllables in the hemistiches could not coincide. Consonant sounds that stood before the first (and sometimes before the second) main stress of the first hemistich necessarily had to be repeated (alliterated) in the second hemistich before its first main stress. Thanks to this constant repetition, alliteration in ancient Germanic verse played an organizing rhythmic role, essentially representing one of the types of initial rhyme and being one of the essential factors in its rhythmic structure. Subsequently, alliterative verse is replaced by end-rhyme verse.

The simplest type of alliteration is onomatopoeia, but in its pure form it is not used so often and usually acts only as the basis for further sound associations (cf. Pushkin’s “The hissing of foamy glasses and the blue flame of punch”).

Onomatopoeia is unchangeable words that, with their sound composition, reproduce sounds made by humans, animals, objects, as well as various natural phenomena accompanied by sounds.

In the Russian language there is a large group of words denoting sounds made by animals: meow, woof-woof, kva-kva, chik-chirik. Other words convey non-speech sounds produced by a person: cough-cough, smack, ha-ha-ha, as well as various other sounds of the surrounding world: bang, drip-drip, chpok, bang-bang. Onomatopoeias usually consist of one syllable, which is often repeated (Bul-bul, puff-puff), often with changes in the second part (bang-bang, tick-tock).

Grammatically, onomatopoeias are close to interjections. However, in contrast to them, they are less “attached” to intonation.

But the importance of onomatopoeia should not be exaggerated. Moreover, this term is not very successful: after all, speech sounds cannot directly “imitate” the diverse noises of nature, not to mention technology. Therefore, onomatopoeia in poetry has limited significance.

The concept of onomatopoeia is closely related to the concept of sound writing. In versification, there are four main techniques: repetition of sounds, repetition of phonetically similar sounds, contrasting phonetically contrasting sounds, different organization sequences of sounds and intonation unities.

In literature, sound recording techniques can be both canonized and individual.

The next concept that interests us is assonance.

Assonance (French assonance from Latin assonо - I respond) is one of the forms of sound organization of speech, related to the so-called. sound repetitions and consists in the symmetrical repetition of homogeneous vowels.

In contrast to complete identity, absolute agreement, called consonance, means only a partial coincidence of forms. For example, incomplete symmetry of ornamental elements, following not a metric, but a rhythmic pattern. Such assonance gives the impression of a rhythmic shift, visual movement, even a glitch, which introduces special tension into the composition. In more complex images, assonant harmony makes it possible to build “visual rhymes”, likening forms or individual parts of the image to the format, responses of one part of the image to another, although they may not coincide in character and meaning. Opposite meaning- dissonance.

Assonance is also called an imprecise rhyme in which only some, mainly vowel sounds under stress are consonant: “beautiful - inextinguishable”, “thirst - pathetic”, etc.

Rhyme plays a huge rhythm-forming and compositional role in poetry. Rhyme is a sound repetition that usually occurs at the end of two or more lines (sometimes internal rhymes are also created).

In Russian classical versification, the main feature of rhyme is the coincidence of stressed vowels. Rhyme marks the end of a verse (clause) with a sound repetition, emphasizing the pause between lines, and thereby the rhythm of the verse.

Depending on the location of stress in rhyming words, rhymes are: masculine - with stress on the last syllable of the line ("window-long ago"), female - with stress on the second syllable from the end of the line ("gift-fire"), dactylic - with stress on the third syllable from the end of the line (“spreads-spills”), hyperdactylic - with emphasis on the fourth and subsequent syllables from the end (“hanging-mixing”).

According to their location in the lines, rhymes are divided into paired, or adjacent, connecting adjacent lines (according to the scheme aa, bb); cross, in which the first and third, second and fourth are consonant (according to the abab scheme); covering or girded, in which the first and fourth, second and third lines rhyme (according to the Abba scheme).

Depending on the coincidence of sounds, accurate and inaccurate rhymes are distinguished. An exact rhyme is when the vowels and consonants included in the consonant endings of the verses basically coincide. The accuracy of the rhyme is also increased by the consonance of the consonant sounds immediately preceding the last stressed vowel in rhyming verses. An imprecise rhyme is based on the consonance of one, or less often, two sounds.

This can be proven if we recall Dunno, who claimed that “stick - herring” is a rhyme. It seems that the sounds at the end of the words match... But in fact, it is not the sounds that rhyme, but the phonemes, which have a number of distinctive features. And the coincidence of some of these features is enough to make rhyming sound possible. The fewer coinciding features of a phoneme, the more distant and “worse” the consonance.

Consonant phonemes differ: by place of formation, by method of formation, by the participation of voice and noise, by hardness and softness, by deafness and voicedness. These signs are obviously unequal. Thus, the phoneme P coincides with the phoneme B in all respects, except for deafness-voicedness (P - voiceless, B - voiced). This difference creates a rhyme that is “almost” exact. The phonemes P and T differ in the place of formation (labial and frontal) - they are also perceived as a rhyming sound, although more distant. The first three features create differences between phonemes that are more significant than the last two. We can designate the difference between phonemes according to the first three characteristics as two conventional units; for the last two - as one. Phonemes that differ by 1-2 conventional units are consonant. Differences of 3 or more units do not retain consonance to our ears. For example: P and G differ by three conventional units (place of formation - by 2, deafness-voice - by 1). And trenches - legs can hardly be considered a rhyme in our time. Even fewer are trenches - roses, where P and Z differ by 4 conventional units (place of formation, method of formation). So, let's mark the rows of consonant consonants. These are, first of all, pairs of hard and soft: T - T", K - K", S - S", etc., but such substitutions are resorted to quite rarely, for example, of the three pairs of rhymes, “otkoS”e - roSy ", "slopes - dew" and "slopes - roses" the second and third options are more preferable. The substitution of voiceless-voiced voices is perhaps the most common: P-B, T-D, K-G, S-Z, Sh-Zh, F-V (for God - deep, bends - linPakh, dragonflies - braids, people - raid ). The stops (mode of formation) P-T-K (voiceless) and B-D-G (voiced) respond well to each other. The corresponding two rows of fricatives are F-S-SH-H (voiceless) and V-Z-ZH (voiced). X has no voiced counterpart, but goes well and often with K. B-V and B-M are equivalent. M-N-L-R in various combinations are very productive. Soft versions of the latter are often combined with J and B (Russian[rossiJi] - blue - strength - beautiful).

Another integral component of any work is rhythm. Rhythm (Greek rhythmós, from rhéo - flow) is the perceived form of the flow of any processes in time, the basic principle of the formation of temporary arts (poetry, music, dance, etc.). This concept is applicable to spatial arts insofar as they involve a process of perception unfolding over time. The variety of manifestations of rhythm in various types and art styles, as well as outside the artistic sphere, has given rise to many different definitions rhythm, and therefore the word “rhythm” does not have terminological clarity.

In the broadest sense, rhythm is the temporal structure of any perceived processes, formed by accents, pauses, division into segments, their grouping, relationships in duration, etc. The rhythm of speech in this case is pronounced and audible accentuation and division, not always coinciding with semantic division, graphically expressed by punctuation marks and spaces between words.

There is a concept: poetic rhythm - the repetition of homogeneous sound features in poetic speech. In different systems of versification, the basics of poetic rhythm are different: measured alternation of long and short syllables (metric versification), a strict number of syllables (syllabic versification). Syllabic-tonic versification in German, English and Russian poetry is based on the correlation of verses according to the uniform placement of stressed syllables (for example, stress only on even syllables or only on odd syllables or in another order - with unstressed intervals of not one, but two syllables).

No work can do without intonation.

Intonation (from Latin intono - I pronounce loudly) is a set of prosodic characteristics of a sentence: tone, voice quality, volume, etc.

This term is used in two meanings. In a more precise sense, intonation is understood as a system of changes in the relative pitch of a syllable, a word, and a whole utterance (phrase). One of the most important functions of intonation of an entire phrase is to determine the completeness or incompleteness of a statement; namely, the completeness of intonation separates a phrase, a complete expression of a thought, from a part of a sentence, from a group of words. Wed. I. the first two words in the phrases: “Where are you going?” and “Where are you going?” Of course, the carrier of this I. can be a separate word and even separate syllable. Wed. "Yes?" - "Yes". Another equally important function of the intonation of an entire phrase is to determine the modality of the utterance - distinguishing between narration, question and exclamation.

Narrative or indicative intonation is characterized by a noticeable decrease in the tone of the last syllable, which is preceded by a slight increase in tone on one of the previous syllables. The highest tone is called the intonation peak, the lowest - the intonation decrease. In a simple, uncomplicated narrative phrase there is usually one intonation peak and one intonation decrease. Where narrative intonation unites a more complex complex of words or phrases, individual parts of the latter can be characterized by either an increase or partial decrease in intonation (a decrease in intonation is especially often observed in enumeration), but less low than the end of the phrase. In such cases, a declarative phrase may contain either several peaks and one final low, or several lows less low than the final one.

Interrogative intonation is of two main types: a) in cases where the question concerns the entire statement, there is a rise in tone on the last syllable of the interrogative phrase, stronger than the rise in voice noted above in the narrative phrase (the latter, being cut off on a rise, creates the impression of incompleteness statements that do not occur after raising the interrogative intonation); b) interrogative intonation is characterized by a particularly high pronunciation of the word to which the question primarily refers. The position of this word at the beginning, end or middle of the phrase, of course, determines the rest of its intonation pattern.

In exclamatory intonation, it is necessary to distinguish: a) exclamatory intonation itself, characterized by a higher pronunciation of the most important word than with a narration, but lower than with a question; b) motivating intonation with numerous gradations, from request and encouragement to decisive orders; the intonation of the latter is characterized by a lowering of tone, close to narrative intonation. These types of intonation are sometimes combined by researchers into the concept of logical intonation. And finally, the third, no less important function of intonation is the connection and separation of syntagmas - words and phrases - members of a complex whole. For example, the intonation of the phrases: “The sleeve was stained, covered in blood,” “The sleeve was stained, covered in blood,” and “The sleeve was stained, covered in blood.” However, as is clear from this example, a change in intonation, expressing a change in the syntactic form of a phrase, is closely connected here with a change in rhythmic relations, in particular with the distribution of pauses.

Intonation is a nonlinear (supersegmental) phonetic unit. It cannot be separated from spoken speech, since the formation of sounds and intonation are a single articulatory-acoustic process. The main component of intonation, which determines its essence, is the pitch changes in the fundamental tone, which is formed as a result of vibration of the vocal cords; the movement of the tone can be smooth, it can rise or fall.

In more in a broad sense The term intonation is used to generally designate melodic-rhythmic-powerful means of speech expressiveness.

Intonation is important in artistic prose and poetic speech, especially in lyric poetry. Although a poetic work can be pronounced with some variations, there is an objective intonation basis inherent in the text, fixed in its rhythmic and intonation properties.

Intonation in a verse is one of the essential factors of melody. Its peculiarity, in comparison with prose intonation, is primarily that it has a regulated character, decreasing towards the end of each verse segment (line) and reinforced by a final verse pause. In this case, the decrease in intonation is determined by the rhythm of the verse, and not by the meaning of the sentences contained in it (often coinciding with it), due to which it decreases regardless of the conditions necessary for this in prose. Against the background of this leveled intonation, which enhances the rhythmic movement of the verse, the possibility of varying different degrees of intonation is created (depending on the final verse and strophic pauses, clauses, etc.).

Among other things, intonation includes: timbre, tempo, rhythm of speech, pause, stress. Intonation is the most important feature of spoken speech; it serves to formulate any word or phrase, as well as to express semantic and emotional differences in statements.

Pause (Latin pausa - cessation) - a break, a stop in the sound of speech.

The location of physiological pauses in the speech stream may not coincide with the established division of speech into words and even into sentences. On the one hand, there are usually no pauses between groups related words(“I-walked like this from day to day” - there are no pauses between words connected by hyphens), on the other hand, with emphasized emphatic pronunciation of words, a pause is made in the middle of the word (“this is terrible!” ). However, for the syntactic and semantic division of the speech flow, only those pauses that coincide with the boundaries of words and sentences are significant. Pauses of this type - in combination with differences in intonation - convey in the spoken speech very subtle differences in the semantic relationships between the parts of the composition. non-union proposal and members of the proposal. Differences in sentences like: “when you come home, you go to bed” (with a relation of conditional or temporary connection between sentences) and “when you come home, you go to bed” (with a simple sequence of unrelated sentences); or differences in the connection between members of a sentence such as: “the handkerchief was||stained,||in blood” and “the handkerchief was||stained in blood.”

Pauses in poetic speech are especially important. A pause in a verse represents a certain amount of time that is not filled with phonemes, and we call such a pause a temporary pause, in contrast to an intonational pause, which has a specially logical character, and from a subjective pause, which we always hear behind a strong accent, even if in reality it and there wasn't. Every interverbal break (word division, word) is a pause, for the most part extremely insignificant (excluding complexes of words pronounced, so to speak, in one spirit, such as “I-went”, “to-heaven”, etc., where enclitic phenomena). The role of such pauses in themselves is very insignificant, and these pauses are distinguished by shock phenomena. Rhythmically active in a separate verse are the final pause, the post-rhyme pause, which strengthens the rhyme stress, and the so-called main caesura, which is a pause after the strongest stress in the line (colonic stress); in “iambic pentameter” the caesura is easily visible precisely if it is preceded by an accent; since this stress is obscured by a half-stress (acceleration, pyrrhic), it almost disappears, turning into a colonial intonation pause behind the strong stress of the first word (the word is thus broken by a pause, which is usually absent in its pure form and is replaced by a lengthening of the previous word). Special view rhythmic verse matter are pauses in place of omitted syllables, which are extremely frequent in our tripartite units. These pauses can be replaced by one unstressed pause, two unstressed pauses, a stressed pause (tribrachoid pause) and, finally, a whole foot. Their role again boils down to strengthening previous stresses with the inevitable weakening of subsequent ones and to identifying the dipodic beginning in three-part verse. Dipodia is so intensified in this case that a number of translators (from Serbian, where such a verse is very common), as well as some researchers of Pushkin's pause tricotyledon, came to the conclusion that they were dealing with a dicotyledon (in Pushkin - "The Tale of the Fisherman and the Fish ", "Songs Western Slavs", etc.). Intonationally we get:

And the little head ---- talentless,

where a row of dashes indicates a pause of two moras in place of a stressed word, ellipsis: intonation breaks filled by the extension of the stressed word after stresses, which, after the disappearance of the middle stress, become dipodic. Pauses are closely related to the accumulation of extra syllables (triplets in dipartite, quartos and quintoles in tripartite), which can be considered as pausing of an extra foot against the meter. The contraction among the Greeks corresponds to our pausing: the replacement of the dactyl in the hexameter with a trochee is read as a pause, while the Greeks distinguished pausing from contraction (we must keep in mind the difference between our trochee and the Greek irrational spondea). The pause is also found in Lomonosov and Sumarokov, in special works they are found in Pushkin and Lermontov, and often in Fet, from whom they passed on to the Symbolists and became commonplace among the newest authors. Folk versification has been using them for centuries, and now they are often found in ditties. Kantemirovsky syllabic is also a type of paused verse.

Shift in verse is a discrepancy between the semantic and rhythmic structure of a line or stanza, when a sentence does not fit into a poetic line and occupies part of the next line (linear hyphenation) or a sentence does not fit within the boundaries of a stanza and goes into the next stanza (strophic hyphenation).

Stress is a way of forming a phonetically integral segment of an utterance.

In the Russian language there are verbal, phrasal and syntagmatic. Word stress in the Russian language is free (that is, it can be on any syllable of a word) and mobile (that is, not tied to a specific morpheme in a word. Usually there is one stress in a word, but in long and difficult words In addition to the main stress, there is also a secondary stress (four-story, avalanche-like).

Prosodic or intonation means are divided into:

Tonal,

Timbre (phonation),

Quantitative-dynamic.

Tonal prosodic parameters (melody) are the main means of intonation and are associated with changes in the frequency of the fundamental tone. Each speaker has his own average tone of speech. But in some places in the syntagma and phrase the speaker raises or lowers the tone.

In the Russian language, in the most compact form, there are six main intonation structures (abbreviated as IK [ika]). Each of them has a center - a syllable on which the main stress falls (syntagmonic, phrasal or logical). The pre-central and post-central parts of the syntagma are also distinguished, which in some cases may be absent. For example: Summer has come; The door is not locked; Where is the book? - Here. The precentral part is usually pronounced in the middle tone. The main distinguishing features of IR are the direction of tone movement in the center and the tone level of the post-center part. Intonation structures can be schematically depicted by lines of tone movement.

on the sounds of the center there is a decrease in tone, the tone of the post-center part is below average. IK-1 is usually found when expressing completeness in a declarative sentence: Late O\canopy. Rook And\ flew away, l e c\ naked, floor I\ empty... (N. Nekrasov) - the intonation center in the examples is marked in bold, the drop in tone in the center is shown by the sign \ after stressed syllable.

the sounds of the center are pronounced within the range of the pre-center part; on the syllable next after the center, the tone is lowered below the average level. IK-2 is usually found in interrogative sentences with a question word and in sentences with appeal, expression of will: Where A You're going? Seryozha\, there op A sno\! The fall in tone is indicated by a \ after the syllable where it occurs.

IK-1 and IK-2 have the same melodic contour: from the middle tone there is a sharp decrease, and then a tone below the middle one. The difference in these ICs is in the place where the tone falls: in IR-1 it occurs in the center, and in IR-2 on the syllable next after the center. So, the phrases Rooks have flown away and Where are you going? can be pronounced with IK-1: drop in tone at the emphasized center of IK - Grach And\ flew away, Where A\ You're going? These phrases can also be pronounced with IK-2: tone drop on the first syllable after the center - Grach And they flew to where A You're going?


on the sounds of the center there is a sharply upward movement of tone, the tone of the post-center part is below average. IK-3 is typical for expressing incompleteness of speech. Thus, IK-3 usually occurs in interrogative sentences without a question word: Does A/nna\ drink juice? Anna drinks/ juice\? - a rise in tone in the center is shown by the sign / after the stressed syllable. IK-3 is typical for a non-finite syntagm in the phrase: When Kashtanka oped, | the music no longer played (A. Chekhov). IK-3 is also found when making requests or making requests: Mar And/but\chka,\call And/ Tomorrow. In the absence of a post-center part, in some cases an ascending-descending movement of tone is observed: B A-an/\! Come here\. However, in most of these cases the tone breaks at the upper level: Anna drinks with O To/? I'll rent it out e t/| - I'll go home.

on the sounds of the center there is a downward movement of tone, the tone of the post-center part is higher than average. IK-4 is usually found in incomplete interrogative sentences with the comparative conjunction a, in questions with a hint of demand: A Nat A\sha/? Yours And\me/? Fam And\li/am? An increase in tone in the post-central part can occur on the first stressed syllable: A B A\ri/nova? - or at the last: A B A\rinova/? - or increase evenly over the entire post-impact part. In the absence of the post-center part, the downward-ascending movement of the tone occurs on the sounds of the center: And we\/?



has two centers: on the sounds of the first center there is an ascending movement of tone, on the sounds of the second center or on the syllable following it - a descending one, the tone between the centers is above the average, the tone of the post-center part is below the average. IK-5 is usually found when expressing high degree sign, action, state: How O y/ she has g O\los? or How O y/ she has g O los\! TO A k/she dance at\no! or to A k/she dance at no\! Nasto I/it's spring A\! IK-5 is also often found in interrogative sentences with a question word: Where/are you going\? What is her voice like? IK-5 can also be on a phrase consisting of one word with a side emphasis, usually when expressing an emotion: В`е/лікOL e\no! V`o/ hit And\no!


on the sounds of the center there is an upward movement of tone, the tone of the post-central part is higher than average. IK-6 is usually found when expressing the unexpected discovery of a high degree of sign, action, condition: Which comp O t/ delicious! How she dances! How much water / has accumulated! In the absence of the post-center part, IC-3 and IC-6 are usually not distinguished and are neutralized; Wed How much water s/? and How much water s/!

The overall tone level of a phonetic syntagm or phrase may, in some cases, shift up or down. In this regard, the following stand out:

- middle tone register, in which most of the speech bars and phrases are pronounced: He is so lethargic, sad, lazy;

- uppercase:He is so cute, plump, snub-nosed! It is typical for repeat questions: Where did you say you should go?!;

- lower case:He is so rude, dirty, gloomy; In the lower case, inserted words and sentences are usually pronounced, conveying optional information: Savva, the shepherd (he was tending the lord’s sheep), suddenly began to have fewer sheep (I. Krylov); recall questions: What is her name? - What is her name? Don't know. The author's words that appear after or within direct speech usually differ from direct speech in register. So, if direct speech is pronounced in the middle register, then the author’s words are in the lower or upper register: “Here’s a good shot,” I said, turning to the count. “Yes,” he answered, “the shot is very wonderful (A. Pushkin).

5. Intonation and expressive means of speech. Working with speech text

It is very important to learn how to work with intonation in the text. If you have any kind of public speaking, be it a small presentation or a speech in front of a large audience, it is always important to rehearse your speech and make intonation accents in it. Of course, we mostly use natural conversational intonation. But when public speaking It’s better not to improvise, but to carefully prepare for the performance.

So, LOGICAL PAUSE And LOGICAL Stress. Each sentence of spoken speech is divided according to its meaning into parts consisting of several words or even one word. Such semantic groups within a sentence are called speech beats. IN oral speech Each speech beat is separated from the other by stops of varying durations, the so-called logical pauses. Pauses can coincide with punctuation marks - grammatical pauses, but they can also occur where there are no punctuation marks.

Logical (or semantic) stress is the basis of thought. It highlights the main word in a phrase or group of words in a sentence. Logical accents are placed depending on the purpose of the statement, the main idea of ​​the entire topic and group of words. For example: “The light was turned off”, “the light was turned off”. The word on which logical stress is placed is strengthened by raising or lowering the tone - tonal stress. Changing the pitch helps enhance the meaning of a word and its connection to others. This makes it possible to perceive our speech more clearly. Monotonous speech is always tiresome for listeners.

Now let's talk briefly about PUNCTION SIGNS. Signs always indicate the need to raise or lower the voice on stressed words preceding the sign. These changes in voice pitch give intonation variety to our speech. Punctuation marks most often coincide with logical pauses, and each of them has its own mandatory intonation.

A period indicates the completion of a thought and the completeness of a sentence. Intonation at the dot is associated with a strong lowering of the voice. Speech teachers say: “put your voice on the bottom.”

A semicolon denotes a connecting pause, but shorter than a pause on a period, connecting parts of one description into a single whole.

A comma indicates that the thought is not completed, and there is some raising of the voice. In speech, a comma means a connecting logical pause.

A colon in oral speech means a connecting logical pause and usually indicates the intention to list, clarify, or clarify what was said before it. The voice at the colon remains on one note.

Brackets. In spoken speech, words in brackets are pronounced faster than the main text and are surrounded on both sides by logical connecting pauses. Before parentheses the voice is raised to the previous one stressed word, then throughout the brackets it decreases, and the words are pronounced at the same pitch somewhat monotonously and, after closing the brackets, the voice returns to the same pitch that it was before the brackets began.

A question mark is conveyed by raising the voice on the stressed word of the question sentence. If the stressed word is at the end of the sentence, then the voice goes up and stays at the top. If the stressed word is at the beginning or in the middle of a sentence, then after raising the voice on this stressed word, all other words go down. When a sentence contains several stressed question words, the voice usually rises most strongly on the last stressed word at the end of the sentence.

An exclamation mark conveys a strong feeling (demand, praise, accusation, threat, admiration, order) and is accompanied by a strong rise in voice on the stressed word; the voice goes up and then drops sharply down.

Working with speech text.

In addition to pauses, which set the rhythm of oral speech and attract the attention of listeners, there are other means of modeling speech, such as tone, volume and tempo.

A good voice has slight changes in tone. Intonation is the “rise” and “fall” of the voice. Monotony is tiresome to the ear, as a constant tone uses the same pitch. However, by changing the tone, you can completely change the meaning of words. Tone and voice reveal information about the interlocutor. In the voice and its tone we can hear timidity, ingratiation, flattery, arrogance, or confidence, cordiality, tenderness, love and much more. It all depends on your inner mood and state. By working on your tone and voice, you can learn to "not miss" negative information and add something positive. This will help you achieve desired result in conversation or public speech.

Take any classic. Please read the text carefully. Think about what voice and tone you should use to read each sentence. Consider modeling volume when reading. Which words should be emphasized in a louder voice and why? Place intonation pauses. Now, read the text as expressively as possible by recording the text reading on audio media. Listen to the recording and analyze the shortcomings of your articulation, diction, voice and tone. Read the text again, trying to eliminate any shortcomings.

Now take any newspaper article. And analyze the text in the same way. Look at how in this text you need to work with tone, volume, tempo, where, in your opinion, should logical stress and intonation pauses be placed and why? Record the reading of the text on audio media, listen, and after eliminating errors, read the text out loud again and make an audio recording.

To make your speech expressive, try to visualize what you are talking about. Bring a lively note to your pronunciation, to the sounds of your voice; bring feeling and color to your speech.

And lastly,

Beautiful and sonorous voice, clear diction, correct speech, and varied intonation - all these qualities will make your speech bright and expressive. Train! Train constantly! Try to pay more attention to your speech. And remember your speech is a reflection of your personality. Therefore, your speech should be as beautiful as you are! Good luck and prosperity to you!

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