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1

Prof. Francisco Zabala - 2015

Phonetics II Ze?!mdsHjr

sÁ t9 { !Hms?ØmdHRm\<

Prof. Francisco Zabala

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Prof. Francisco Zabala - 2015

GOBIERNO DE LA CIUDAD DE BUENOS AIRES “2013. Año del 30 aniversario de la vuelta a la democracia” INSTITUTO DE ENSEÑANZA SUPERIOR EN LENGUAS VIVAS “JUAN RAMON FERNANDEZ”

DEPARTAMENTO: Inglés CARRERA: Profesorado TRAYECTO: TFCELE INSTANCIA CURRICULAR: Fonética II CARGA HORARIA: 5 (cinco) CURSADA: Anual TURNO: Matutino (lunes de 9.50 a 13.10) PROFESOR: Francisco Zabala AÑO LECTIVO: 2015

1- Fundamentación La pronunciación en una lengua extranjera es la carta de presentación con la que cuenta el hablante al vincularse con otros. A diferencia de los fonemas, los errores de entonación no suelen ser detectados por la audiencia como tales, ya que se asume que el hablante suena como desea sonar. Dado que las dificultades suprasegmentales pueden impedir una comunicación e interacción social satisfactoria, se presentará un marco de soporte teórico que ayude a los alumnos a tomar decisiones informadas sobre el comportamiento de la prosodia de la lengua meta. El foco será puesto en el alumno como agente activo en la construcción del aprendizaje. Se propiciará la creación de un espacio de análisis donde el alumno descubra las características de la prosodia de la lengua inglesa y observe la evolución de su interlengua fonológica. Se fomentará la obtención de estrategias para el trabajo autónomo que lo acompañarán a lo largo de sus estudios y de toda su vida profesional.

2- Objetivos generales Que los alumnos: a. afirmen los conocimientos obtenidos en “Fonética I” y los complementen con un estudio detallado de la prosodia del inglés; b. valoren la pronunciación como herramienta para desempeñarse idóneamente como profesionales; c. logren una relación de responsabilidad y compromiso con ellos mismos y el docente, mediante la autoevaluación, la valoración, el consenso y la cumplimentación de normas, plazos y tiempos.

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Prof. Francisco Zabala - 2015

3- Objetivos específicos Que el alumno logre: a. mejorar su capacidad de comprensión auditiva; b. distinguir las características distintivas de los contornos de entonación y así reconocerlos; c. lograr una calidad apropiada en la producción de los rasgos segmentales y suprasegmentales; d. producir los sonidos y contornos entonativos del acento R.P. (en palabras sueltas, diálogos conectados simples, en producción controlada y, finalmente, en la producción libre); e. crear estrategias que le permitan ser autónomo; f. tomar dictado de palabras, frases y textos de discurso conectado; g. realizar transcripciones fonéticas y tonéticas; h. comunicarse con claridad. 4- Contenidos mínimos La prosodia del inglés.

5- Contenidos de la instancia curricular Unidad 1: Marco general de referencia Introducción a la materia – Definición de prosodia – Las formas y las funciones de la entonación – Las características prosódicas y paralingüísticas – El ritmo del inglés y su percepción – La promiencia: altura tonal, intensidad, cantidad y – Concepto de acentos léxicos y contextuales – Percepción de la prominencia y los grados de acentuación – La interacción de los fenómenos segmentales y suprasegmentales: gradación, ligazón, juntura, coarticulación, elisión, asimilación – El sistema analítico de Halliday: tonalidad, tonicidad y tono – La unidad tonal y su anatomía – El sistema de marcación tonética de O’Connor & Arnold.

Unidad 2: La entonación y el discurso La interacción verbal y el enfoque pragmático – El valor comunicativo en el análisis del discurso – La unidad tonal y la prominencia – Selección: las elecciones significativas de la primera y la última sílaba acentuada (onset & nucleus) – El contexto de interacción – La proclama y la referencia – La selección de sentido y la selección social.

Unidad 3: Acentuación Léxica El acento léxico – Grados de acentuación léxica en detalle – Los acentos y el sistema de vocales fuertes y débiles – La acentuación léxica y los sufijos: sufijos que no afectan el patrón de acentuación, sufijos que atraen el acento y sufijos que repelen el acento – El acento léxico y la categoría gramatical – Los patrones de acentuación y la anatomía silábica: monosílabos, bisílabos, y polisílabos – Los patrones de acentuación alternativos – Alteraciones del patrón de acentuación en contexto (stress shift).

Unidad 4: Acentuación de los ítems léxicos compuestos Delimitación del concepto de palabras compuestas – La representación gráfica de los acentos en los diccionarios para los hablantes extranjeros – Los grupos compuestos con acentos tempranos – Los compuestos con acentos tardíos – Los compuestos de más de dos palabras.

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Unidad 5: Tonalidad Señalización de la estructura – La elección del tamaño de las unidades tonales – Tonicidad y gramática – Vocativos – Adverbios – Frases sustantivas de alto peso – Topicalización – Cláusulas adjetivas – Esctructuras paralelas – Tag questions.

Unidad 6: Tonicidad Concepto de acento nuclear – La tradición británica: la escuela de Londres – El modelo tradicional: contraste entre el inglés y el castellano de las palabras típicamente acentuadas y no-acentuadas – El modelo sintáctico – El modelo semántico – El modelo focal – Concepto de foco, foco ancho y foco estrecho – Información nueva y dada – La regla de la acentuación del último ítem léxico y sus excepciones – El modelo discursivo: los paradigmas universales, existenciales y la selección.

Unidad 7: Los tonos en detalle: tono y la escuela de Londres Variaciones distintivas: contornos de descenso vs contornos de ascenso – El tono de descenso – El tono de ascenso – El tono de descenso-ascenso – Los enunciados – Las preguntas – Otros tipos de oraciones – Secuencias de tonos – Los significados de los tonos. Unidad 8: El enfoque del discurso en detalle Las variantes dominantes y no dominantes de los tonos de referencia – La convergencia y la divergencia – La secuencia tonal y el para-tono – Clave tonal y terminación – La concordancia tonal y su ruptura – La orientación directa y la orientación oblicua – Los usos del tono “0” – Los significados abstractos de los tonos y su comparación con los significados locales.

Unidad 9: La enseñanza de la prosodia La utilidad de la enseñanza del ritmo, la acentuación y la entonación – ¿Qué se puede enseñar y cuándo? – Top-down y bottom-up – Prioridades - Técnicas.

6- Actividades Las actividades serán variadas, pero siempre se respetará al alumno por sus intereses, necesidades, conocimientos previos y posibilidades de aprendizaje. A su vez, el enfoque elegido para la adquisición de los contenidos es interdisciplinario con el fin de integrar los contenidos transversales. La comprensión auditiva será ejercitada en forma continua mediante el uso de audios, videos, segmentos de series o películas, etc. Los alumnos serán expuestos a una amplia variedad de géneros discursivos que ilustren el inglés contemporáneo (preferentemente, del año 2000 en adelante). Los alumnos trabajarán sobre la imitación fiel, la lectura en voz alta, la exposición oral planificada y la charla espontánea. Los alumnos realizarán distintos tipos de trabajos prácticos relacionados con los contenidos mencionados en las unidades temáticas: imitación de audio, elección de textos para usar en su práctica docente, análisis del contenido sobre pronunciación en los libros de inglés general, análisis de cursos, observación de docentes, análisis de distintos géneros discursivos y variedades del inglés, creación de materiales para la enseñanza de la pronunciación, etc.

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Prof. Francisco Zabala - 2015

Se realizará un trabajo final escrito integrador de todos los aspectos teóricos y prácticos analizados durante la cursada a través del estudio de casos.

7- Bibliografia BIBLIOGRAFIA OBLIGATORIA Cuadernillo de cátedra con la selección de materiales de audio para la imitación fiel y la práctica de escucha intensiva. Brazil, D., M. Coulthard & C. Johns (1981). Discourse Intonation and Language Teaching. Essex: Longman. Selección de diversos capítulos. Ortíz Lira, Héctor (1998). Word Stress and Sentence Accent. Santiago de Chile: Universidad Metropolitana de Cs de la Educación. Facultad de Cs., Geografía y Letras. Wells, J.C. (2006) English Intonation. An Introduction. Cambridge: Cambridge University Press. BIBLIOGRAFIA DE CONSULTA Brazil, D. (1997) The Communicative Value of Intonation in English. Cambridge: Cambridge University Press. Cruttenden, Alan (1997). Intonation. Third edition. Cambridge: Cambridge University Press. Dickerson, Wayne (1989). Stress in the Speech Stream. The Rhythm of Spoken English. U.S.A. Finch, D. & Ortiz Lira, H. (1982) A Course in English Phonetics for Spanish Speakers. London: Heinemann Educational Books. Kingdon, Roger (1958). The Groundwork of English Intonation. Harlow: Longman. Kingdon, Roger (1958). The Groundwork of English Stress. Harlow: Longman. Kreidler, Charles W. (1997). Describing Spoken English. London: Routledge. Zenobi, Nilda Carlés de. (1992) A Basic Guide to English Prosody for Spanish Students of Teacher Training Schools. Buenos Aires: Depto de Ingles, "Joaquin V.Gonzalez" Language Research Center Press.

8- Régimen de promoción y evaluación Promoción Mixta Las condiciones para acceder a la promoción mixta, es decir a la promoción del examen escrito durante la cursada y rendir en consecuencia un examen oral, son las siguientes: 1. Haber asistido al 75% de la totalidad de las clases. 2. Haber aprobado la parte escrita con un promedio de 7 (siete) o superior en los exámenes y transcripciones realizados durante la cursada. 3. Haber aprobado las materias correlativas antes de terminar la cursada de Fonética II.

El examen final oral constará de: 1. La lectura a primera vista de un texto nunca antes visto y su análisis. 2. La discusión con el tribunal examinador sobre distintos temas teóricos de este programa.

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Prof. Francisco Zabala - 2015

Examen Final: Los alumnos que hayan asistido al 75% de la totalidad de las clases pero que no hayan obtenido una calificación mínima de 7 (siete) en los parciales y transcripciones de carácter evaluativos dentro de la cursada, o que adeuden las materias correlativas antes de finalizar la cursada de Fonética II, deberán rendir un examen de las siguientes características: 1. Una transcripción fonemática y tonética de aproximadamente 120 palabras. 2. La lectura a primera vista de un texto nunca antes visto y su análisis. 3. La discusión con el tribunal examinador sobre distintos temas teóricos de este programa.

9 - Alumno libre Los alumnos libres deberán rendir un examen de las siguientes características:

1. 2. 3. 4. 5.

Un dictado fonemático y tonético de aproximadamente 120 palabras. Una transcripción fonemático, alofónica y tonética de aproximadamente 120 palabras. Un examen escrito sobre aspectos teóricos de la materia. El tribunal decidirá el tópico a discutir. La lectura a primera vista de un texto nunca antes visto y su análisis. La discusión con el tribunal examinador sobre distintos temas teóricos de este programa.

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Prof. Francisco Zabala - 2015

Revision

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Prof. Francisco Zabala - 2015

VOWELS – LEXICAL SETS

SYMBOL NUMBER

.h9. .H. .d. .z. .@9. .P. .N9. .T. .t9. .U. .29. .?. .h. .t. .`T. .?T. .`H. .dH. .NH. .H?. .d?. .T?.

LEXICAL SET

EXAMPLES

1

FLEECE

Heat, bee, seize, TV.

2

KIT

Sit, live, spin, village.

3

DRESS

Men, recommend, friend.

4

TRAP

Frank, splash, fantastic.

5

BATH

Class, far, laugh, answer.

6

LOT

Worry, what, dog, was.

7

THOUGHT

Form, door, sure, flaw

8

FOOT

Good, book, put, could.

9

GOOSE

Food, blue, do, move, too.

10

STRUT

Cut, front, does, blood.

11

NURSE

Herb, stir, fur, word, learn.

12

commA

England, phonetics, centre

-

happY

Sorry, anybody, he, she.

-

thank YOU

You, to, do, who.

-

MOUTH

Cow, mountain, countable.

-

GOAT

Home, own, road, soul, toe.

-

PRICE

Time, pie, cry, type, high.

-

FACE

Ale, rail, day, eight, great.

-

CHOICE

Toy, boy, noise.

-

NEAR

Here, dear, idea, museum.

-

SQUARE

Care, chair, bear, aerial.

-

CURE

Poor, tour, plural, sure.

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Prof. Francisco Zabala - 2015

Strong and weak vowels Let’s suppose you are in a room, and what people in a different room are saying gets muffled. It is possible that, even without hearing intelligible words or accurate sounds, you will detect what language is being used. How is this possible? It may be a question of rhythm. Compare “Ben’s quite fat now,” “Benny is very heavy at present,” and “Benjamin is particularly corpulent presently.” These three sentences are definitely different in size but similar in duration (i.e. time).

1st FOOT

2nd FOOT

3rd FOOT

4th FOOT

Ben’s

Quite

Fat

now

Benny

very

is

Benjamin

is par

Heavy

at

Present

ticularly corpulent presently

(4 stresses / 4 syllables)

(4 stresses / 10 syllables)

(4 stresses / 15 syllables)

How can this be possible? Although this is not scientifically accurate, for teaching purposes we say that English rhythm tends to be isochronous .`H!rPjq?m?r., that is, beats tend to happen in a regular way. All the unstressed syllables in a foot can be crammed together because they generally contain weak vowels.







?







h







t

1.

H



h9

d

z

@9





P

N9

t9

U









`H

dH

NH T





H?

d?

T?







?T

`T

Weak vowels can only occur in weak, unstressed syllables: a. b.

E.g. Benjamin .!admcY?lHm., carry .!jzqh., into .!Hmst+ !Hms?.. Sometimes .?. may even be dropped: apple .!zok., listen .!kHrm..

2.

.H+ T.belong to both groups. They can occur either in stressed or unstressed syllables. a. Stressed: book .!aTj., sit .!rHs., look .!kTj., win .!vHm., wood .!vTc.. b. Unstressed: catching .!jzsRHM., added .!zcHc., strongest .!rsqPMfHrs.. c. Sometimes .?. can replace them: Particular .o?!sHjiTk?+ o?!sHji?k?.

Endless .!dmckHr+ !dmck?r.

3.

Strong vowels: they are obligatory in stressed syllables. They can also be found in some unstressed syllables. a. Stressed: time .!s`Hl., dollar .!cPk?., pronunciation .oq?$mUmrh!dHRm..

b. Unstressed: activity .zj!sHu?sh., context .!jPmsdjrs., dialogue .!c`H?kPf..

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Sentence Stress In their citation form, every word has a lexical stress – or more. However, occur in context some of them are not stressed at all and may even take a weak vowel (i.e. .?+ h+ t+ H+ T.). It is convenient to think that there are two classes of words: those that carry more meaning and those whose function is more grammatical and less loaded with information. Imagine that you get these two text messages: which is the more informative?

when they

The second message, though ungrammatical, is meaningful. If we assemble messages together and read the text aloud, we can see that those meaningful words retain their stress.

the

two

need some cash for the new phone

We

Content or Lexical - More information - Keep their stress NAVA: Nouns Adjectives Verbs Adverbs

1.

2.

W O R D S

Function or Grammar - Less information - Unstressed (if monosyllabic) CAPPA: Conjunctions Auxiliaries Pronoun Prepositions Articles

Read this conversation. Underline all the content words. ROB: I was sure I that I had my licence with me... SAM: I can help you look for it. When did you see it last? ROB: Not for some days. I have been driving very little. There is a lot of traffic, so I try not to drive into town. SAM: I see. Do you take a bus or the tube? ROB: Either. I think that public transport is better for the environment... and cheaper than a car park! Look at these highlighted words from the text and choose the correct alternative: a. Was in line 1 rhymes with: Oz – fuzz – neither. b. Can in line 2 rhymes with: man – American – bun – barn. c. For in line 3 rhymes with: four – chauffeur – neither. d. That in line 6 rhymes with: Albert – hat – heart.

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Prof. Francisco Zabala - 2015

Word Stress Due to rhythmical reasons, the vowels in Spanish and English words behave in a different way. Thus, it is important for Spanish speakers to focus on some strong tendencies which will better their performance in English. Let us compare the Spanish word ‘entretenido’ and its English counterpart ‘entertaining’. In Spanish, the stress pattern is

Entretenido

ˆˆˆ˜ˆ Zdms3dsd!mhCn\

The English pattern is quite different. There is a very strong syllable before the primary stress which should not be overlooked. A stress, be it primary or secondary, requires a strong vowel.

Entertaining

˜ˆ˜ˆ Z$dms?!sdHmHM\ (not *Z?ms?!sdHmHM\)

The Teutonic Rule The Teutonic Rule asks for an obligatory stress in either the first or the second syllable, i.e., there cannot be two initial unstressed syllables in English. This is challenging for Spanish speakers, whose language allows several unstressed initial syllables.

˜ˆ Garden .!f@9cm. ˆ˜ Believe .aH!kh9u.

Person .!o29rm.

Using .!it9yHM.

Decide .cH!r`Hc.

Result .qH!yUks.

What happens with longer words? First of all, spot the primary stress. If it is neither on the first or second syllable, we need to find the secondary stress. The next two rules come to our rescue!

The Rule of Alternation The Rule of Alternation comes in handy at this stage. It can help the learner to predict the stressed syllables in a polysyllabic word. There is a strong tendency to alternate strong and weak syllables, so if the primary stress falls on the third syllable, the first one is likely to bear a secondary stress. Conversely, if the primary stress falls on the fourth syllable, it is the second one that is likely to carry the secondary stress. Be on the alert: there are several exceptions!

˜ˆ˜ˆ ˆ˜ˆ˜

University .$it9mH!u29r?sh. Adolescence .$zc?k!drmr.

Conversation .$jPmu?!rdHRm. Demonstration .$cdl?m!rsqdHRm.

Pronunciation .oq?$mUmrh!dHRm.

Enthusiastic .Hm$Sit9yh!zrsHj.

Abbreviation .?$aqh9uh!dHRm. Evaluation .H$uzkt!dHRm.



The Rule of Derivation The Rule of Derivation can help you spot the secondary stress of a word. Many English words are derived from other words. If the primary stress is moved more than one syllable when an affix is added, the stressed syllable in the original word may be likely to become a secondary stress:

Pronounce .oq?!m`Tmr. Generous .!cYdmq?r.



Pronunciation .oq?$mUmrh!dHRm. Generosity .$cYdm?!qPr?sh.

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Prof. Francisco Zabala - 2015

Spelling & Pronunciation 1. Basic Vowel Pattern: (Consonant) + Vowel + Consonant Monosyllabic words that are formed by one vowel letter sandwiched by one or more consonants generally take a short vowel sound.

= .z. add cat

BASIC VOWEL PATTERN: (CC)VC(C) = .d. = .H. = .P. = .T. egg it on met sit lot put

= .U. up bus

• At the edges: o Several consonant letters may stand for just one consonant sound Nick .!mHj.

chop .!sRPo.

knit .!mHs.

puff .!oUe.

o There may be several consonant sounds together moths .!lPSr.

strong .!rsqPM.

grip .!fqHo.

clan .!jkzm.

• Exceptions: these are normally a small group of common every-day words that got fossilized in the language. E.g.: most .!l?Trs. ghost .!f?Trs. kind.!j`Hmc. mind.!l`Hmc. won’t .!v?Tms. don’t .!c?Tms.

bath .!a@9S.

can’t .!j@9ms.

2. Ending Modifiers that “make the previous vowel letter say its name” a. Silent When silent is added at the end of a one-syllable word that ends in a single consonant, ‘the vowel letter in the middle tends to say its own name.’

SILENT = .z = dH. = .d = h9. = .H = `H. = .P =?T. = .T+ U ='i(t9. cut → cute hat → hate pet → Pete sit → site hop → hope duck → duke

• Exceptions: these are normally a small group of common every-day words that got fossilized in the language. E.g.:



have .g?u+ !gzu. some .r?l+ !rUl. none .!mUm.

live .!kHu. love .!kUu. come .!jUl. gone .!fPm.

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Prof. Francisco Zabala - 2015

b. Magic When is added at the end of a one-syllable word ending in a single consonant letter, the vowel in the middle tends to say its own name. MAGIC = .z = dH. = .d = h9. = .H = `H. = .P =?T. = .T+ U ='i(t9. lad → lady

Ken → key

tin → tiny

pot → pony

duck → duty

c. Final When is added at the end of a one-syllable word ending in a single consonant letter, the vowel in the middle tends to say its own name. This does not apply to medial letter . FINAL = .z = dH. = .H = `H. = .P =?T. = .T+ U ='i(t9. cab → cable

till → tile

pot → pole

run → rule

3. Double consonant letters Consonant letters are normally doubled to keep a short vowel. In other words, the occurrence of diphthongs and long vowels tends to be blocked by these double letters. Compare: write .!q`Hs. writing .!q`HsHM. wrote .!q?Ts. written .!qHsmÿ.

DOUBLE CONSONANTS Silent Magic Final Long Blocked Long Blocked Long Blocked = .z+ dH. later latter lady daddy table apple = .d+ h9. Pete getting key Benny ---- = .H+ `H. site sitting tiny tinny idle middle = .P+ ?T. hope hopping Toby dolly noble wobble = .T+ U+ 'i(t9. cute cutting duly dully mule juggle Note: Words ending in in their base form take .?T.. For example: poll .!o?Tk. polling .!o?TkHM. roll .!q?Tk.

rolling .!q?TkHM. stroll .!rsq?Tk. strolling .!rsq?TkHM. toll .!s?Tk. tolling .!s?TkHM.











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Prof. Francisco Zabala - 2015

4. Internal modifiers a. Radical A post-vocalic letter indicates that the vowel sound is longer or more open. This occurs in monosyllabic words and in the stressed syllable of longer words, too. Final may also result in a centring diphthong (i.e. .H?+ d?+ T?.).

= .z = @9+ d?. = .d = 29+ d?. = .H = 29+ `H?. = .P = N9. = .T+ U = 29+ T?.

RADICAL Basic Vowel Pattern Monosyllable cat cart gem germ fit firm pot port run turn

Polysyllable remark German confirm imported disturbing

care there fire pore pure

Note: This rule does not work either when the letter is doubled or when it is between two vowel sounds within the base form. marry .!lzqh.

sorry .!rPqh.

very .!udqh.

curry .!jUqh.

Paris .!ozqHr.

harry .!gzqh.

berry .!adqh.

mirror .!lHq?.

b. Troublesome The quality of letters is distorted when they are followed by .

= .z., = .N9. = .d., = .'i(t9. = .`T. = .P., = .?T.

FINAL TROUBLESOME Basic Vowel Pattern Monosyllable pat paw net new cot cow cot flow

Polysyllable withdraw renewed allowed fellow

The quality of and changes when they are preceded by . INITIAL TROUBLESOME

Basic Vowel Pattern Monosyllable = .N9. bad war = .z., = .P. match watch = .P., = .29. loss worse

Polysyllable award wallet working

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Prof. Francisco Zabala - 2015

5. Two vowels together: “the first says its name” Although these patterns are highly inconsistent, there is a tendency: when there are two vowel letters together, many times “the first that came says its name”. THE FIRST VOWEL LET TER SAYS ITS NAME Spelling Examples .dH. Complain rain raid .h9. Bean team reason .h9. See glee feel .h9. Ceiling seize .`H. Replied die .?T. Goat load .?T. Soul shoulder .'i(t9. Fruit nuisance Common exceptions .t9. Fool moon .T. Good book .NH. Toy boil .N9. Daughter fraud

6. Consonants The relationship between the spelling and pronunciation of consonants is much more straightforward than the behaviour of vowels.

a. The following letters always stand for the same phoneme, even if they are doubled: • .a.: Ben, lab, bobby, pebble • .c.: Dan, daddy, fuddy-duddy • .e.: Frank, cufflinks, puff • .g.: hand, heart, hard • .cY.: jam, major, juice • .j.: kit, bike, Nike • .k.: lot, ball, allotted, rolling • .l.: more, humble, from, immediate • .m.: nice, then, thinner, beginning • .u.: vice, Eve, savvy • .y.: zoo, zebra, buzzing, fizzy b. .e.: Phillips, phonetics, photograph c. .R.: she, show, marsh d. • .sR.: chin, much, arch • .j.: architect, character, headache • .R.: chef, champagne, Chicago e. • Silent: high, weigh, eight, night • .e.: enough, rough, cough f. • .S. o Words ending in : bath, cloth, math (BUT with) o Most content words beginning in : theme, theatre, throw

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Prof. Francisco Zabala - 2015

•

.C. o Grammar words beginning with : they, this, that, etc (BUT though) o Content words ending in : bathe, breathe, bother

g.

h.

• • • • •

.j. + consonant: act, buckle, mediocre .j. + : camera, cut, come .r. + : cinema, century, cycle .jr. : accident, success .R.: delicious, precious, special, glacial

• •

.f. , : gate, go, gun, bigger, leggings .cY. : gem, engine, gym (BUT girl, get, give, begin, tiger, finger, etc.) i. is generally: • .jv. at the beginning or middle of a word: question, square, liquid • .j. in “silent endings” : antique, unique j. is very unstable. See “.r. or .y.? The eternal nightmare!” in the set of notes. k. • .s. generally: lot, talk, bottom • .sR?. in the ending : picture, future, torture • .R. in the endings : ambitious, information, initial l. • .jr. + unstressed vowel: Mexico, maximum • .jr. + consonant or final: extra, excellent, sex, mix • .fy. + stressed vowel: exam, exist • .y. when initial in the word: xenophobic, Xavier, Xerox m. • .i. at the beginning of a word: yes, young, yacht • .H. internally in a word: gym, myth, rhythm • At the end of words: o .h. in final unstressed position: city, busy, family o .`H. in monosyllables: my, sty, fly, why, try o .`H. under the effect of silent or radical : rhyme, type, tyre o .`H. when stressed: July, apply, deny o .`H. in the ending : justify, clarify, modify

Adapted from: Fitzpatrick, F. (1995) A teacher’s guide to practical pronunciation. London: Prentice Hall

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Prof. Francisco Zabala - 2015

Basic Vowel Pattern (C)(C) V C (C) (C)

Short vowel sound

Mends .!'l(dm'cy(. Double consonants Latter .z. (Cf. Later .dH.) Silent

Vowel says its name Tendencies

Pete .h9. (Cf. pet .d.) Magic Tony .?T. (Cf. Johnny .P.) Two vowel letters rain .dH., team .h9., goat .?T.

Radical cart .@9. (Cf. cat .z.) he .gh'9(. (Cf. here .H?.)

Exceptions

Fossilized & frequent words (e.g. have, come, love)

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Prof. Francisco Zabala - 2015

Contractions Auxiliary + Negative Adv. Aren’t Can’t Couldn’t Daren’t Didn’t Doesn’t Don’t Hadn’t Hasn’t Haven’t Isn’t Mayn’t Mightn’t Mustn’t Needn’t Oughtn’t Shan’t Shouldn’t Wasn’t Weren’t Won’t Wouldn’t

.!@9ms. .!j@9ms. .!jTcmÿs. .!cd?ms. .!cHcmÿs. .!cUymÿs. .!c?Tms. .!gzcmÿs. .!gzymÿs. .!gzumÿs. .!Hymÿs. .!ldHms+ !ldH?ms. .!l`Hsmÿs. .!lUrmÿs. .!mh9cmÿs. .!N9smÿs. .!R@9ms. .!RTcmÿs. .!vPymÿs. .!v29ms. .!v?Tms. .!vTcmÿs.

Remember! 1.

Weak contractions become strong when they are stressed: She’s nice, not you... (Contrast) .!Rh9y !m`Hr { !mPs !it9. You’ll forget, but we won’t. (Contrast) .!it9k e?!fds { a?s !vh9 !v?Tms.

Pronoun + Auxiliary AM

IS

HAS

ARE

HAVE

HAD

WOULD

There’s Pam (Strong – Locative)

.!Cd?y !ozl. There’s a fly in my soup. (Existential)

.C?y ? !ek`H Hm l`H !rt9o. 2. Negative contractions are strong because they contain a content word, the adverb not. 3. Notice the vowels in the following words: .?T. in don’t and won’t (BVP exception) .@9. in can’t & shan’t (BVP exception) .H?.in we’re .d?. in they’re .N9. in you’re

WILL

SHALL

I’m He’s Here’s How’s It’s She’s That’s There’s What’s When’s Where’s Who’s They’re We’re Who’re You’re I’ve There’ve We’ve Who’ve You’ve He’d

.`Hl. .ghy. .gH?y. .g`Ty. .Hsr. .Rhy. .Czsr. .C?y+ !Cd?y. .vPsr. .vdmy. .vd?y. .gty+ !gt9y. .Cd?. .vH?. .gt?+ !gt9?. .iN9. .`Hu. .C?u. .vhu. .gtu+ !gt9u. .itu. .ghc.

I’d

.`Hc.

It’d She’d That’d There’d They’d We’d Who’d You’d He’ll I’ll She’ll That’ll They’ll We’ll What’ll You’ll Who’ll There’ll

.Hs?c. .Rhc. .!Czs?c. .C?c. .CdHc. .vhc. .gtc+ !gt9c. .itc. .ghk. .`Hk. .Rhk. .!Czskÿ. .CdHk+ Cd?k. .vhk. .!vPskÿ. .itk. .gtk+ !gt9k. .C?k.

Adapted from Avendaño Zúñiga, A. &Ortíz Lira, H. (1998). Practical English phonetics. Santiago de Chile: UMSE.

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Strong & Weak Forms Remember that the strong forms of the following words are used only under exceptional circumstances. Italics indicate that a sound may be optional.

Auxiliaries & Verb ‘to be’ Weak Form Strong Form .?l+ l. .zl. Am /’m .?. .@9. Are/ ’re .ah. .ah9. Be .ah9m+ aHm. Been .j'?(m. .jzm. Can .j?c+ jTc. .jTc. Could .c?.+Consonant .ct9. Do .ct.+Vowel .c?y. .cUy. Does .'g(?c+ c. .gzc. Had/ ’d .'g(?y+ r+ y. .gzy. Has/ ’s .'g(?u+ u. .gzu. Have/ ’ve .Hy+ r+ y. .Hy. Is /’s .l?rs. .lUrs. Must .R'?(k. .Rzk. Shall .R?c+ RTc. .RTc. Should .v?y. .vPy. Was .v?. .v29. Were /’re .vHk+ v'?(k+ k. .vHk. Will/ ’ll .v?c+ vTc. .vTc. Would

I You He She It We They

Conjunctions Weak Form Strong Form .?m'c(. .zm'c(. And .?y. .zy. As .a?s. .aUs. But .C'?(m. .Czm. Than .C?s. .Czs. That Prepositions Weak Form Strong Form .?s. .zs. At .e?. .eN9. For .eq'?(l. .eqPl. From .?u. .Pu. Of .s?.+Consonant .st9.

To .st. + Vowel Others Weak Form Strong Form .C?. .Cd?. There .r'?(l. .rUl. Some

Personal Pronouns Subjective Objective Weak Form Strong Form Weak Form Strong Form .`H. .lh. .lh9. Me .it. .it9. .it. .it9. You .'g(h. .gh9. .'g(Hl. .gHl. Him .Rh. .Rh9. .'g(?. .g29. Her .Hs. .Hs. It .vh. .vh9. .?r. .Ur. Us .CdH. .C'?(l. .Cdl. Them

Possessive Adjectives

My Your His Her Its Our Their

Weak Form Strong Form .l`H. .iN9. .'g(Hy. .gHy. .'g(?. .g29. .Hsr. .`'T(?+ @9. .Cd?.

Articles Indefinite Definite Weak Form Strong Form Weak Form Strong Form .?. .dH. .Ch.+Vowel A .Ch9. The .?m. .zm. .C?.+Consonant An

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SUPREME RULE: Reasons for the use of strro ong forms PROMINENCE: Any word can be highlighted in the utterance by stressing it.

1. CITATION: • We’ll discuss di the weak forms of ‘THE’. .vhk cH!rjUr C? !vh9jeN9ly ?u !Ch9. .vhk cH!rjUr C? !vh9jeN9ly ?u ! • Let’s analyse an the uses of ‘CAN’. .!kdsr !zm?k`Hy C? !it9rHy ?u !jzm jzm.

2. EMPHASIS: • Phonetics ics is THE subject. .e?!mdsHjr Hy !Ch9 !rUacYHjs. • We MUST meet soon. .vh !lUrs !lh9s !rt9m. • Please do transcribe REGularly. .!okh9y !ct9 sqzm!rjq`Ha !qdfi?k?kh. i?k?kh.

3. STYLISTIC These are optional. The weak form is the norm, but the strong form is possible, too.

a. First word in the chunk • As I SAID | we should FIRE him. .?y `H !rdc rdc { vh R?c !e`H?q Hl. As I SAID | we should FIRE him. .!zy `H !rdc rdc { vh R?c !e`H?q Hl. • Are they HERE? .? CdH !gH?. Are they HERE? .!@9 CdH !gH?.

b. “Buttressing” or “Rhythmic Strengthening” Preposition + pronoun • I asked QUEStions of her. .`H !@9rs !jvdrsRmy ?u ?. sRmy ?u ?. I asked QUEStions of her. .`H !@9rs !jvdrsRmy !Pu ?. sRmy !Pu ?. Pronoun + preposition + pronoun • We’ve COOKED them for her. .vhu !jTjs C

C?l e?q ?. We’ve COOKED them for her. .vhu !jTjs C

C?l eN9q ?.

4. CONTRAST: “X not Y” – elements of the same set Explicit: • He was talking to US, not to THEM. .gh v?r !sN9jHM st !Ur { !mPs s? !

{ !mPs s? !Cdl. Implicit: • I want to marry YOU (not your mother). .`H !vPms s? !lzqh !it9.. Short questioon ns and answers (contrast on polarity): • A: WAS it? B: Yes, it WAS. .!vPy Hs {{ !idr Hs !vPy.

5. HEAVY SEMANTIC WEIGHT: Negative contractions: • You weren’t were inVITed. .it !v29ms Hm!u`HsHc. Main verbs “do” & “have”: • We’ll do the HOMEwork. .vhk !ct9 C? !g?Tlv29j. • We could have some COFfee. .vh j?c !gzu r?l !jPeh. Causative “have”: • She’s had her HOUSE painted. .Rhy !gzc g? !g`Tr !odHmsHc. Obligation “have to”: • He has to attend at CLASses. .gh !gzy st ?!sdmc !jk@9rHy.



SYNTACTIC GAP: STRANDING1 Strong, regardless of whether they are stressed or not.

1. AUXILIARIES & PREPOSITIONS: syntactic movement I wonder where they ARE (, Dan). .`H !vUmc? !vd? CdH !@9 '!czm(. What I’m THINKing THINK of is a SECret. .vPs `Hl !SHMjHM Pu { Hy ? !rh9jq?s. What are you LOOKing at(, Pam)? .!vPs ? it !kTjHM zs '!ozl(.

2. AUXILIARIES: ellipsis A: Who can get this SATurday off? B: YOU can, if you finish your rePORT. .!it9 jzm{ He it !eHmHR iN9 qH!oN9s.

Notice: Syllables in bold are stressed. Each NUCLEUS is underlined and in bold capitals in the orthographic version. They are in bold in the transcriptions, too. 1. Stranding “A term used in some grammars to refer to an element which is left unattached after it has been moved out of a construction,, or after the rest of the construction has been moved.” Crystal, D. (2008). A dictionary of linguistics and phonetics. Blackwell: Oxford. 2. Buttressing means “strengthening.” .” Speakers may strengthen the preposition so as not to create contrast by stressing the pronoun.

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Buttressing In unemphatic sentences, the nucleus should go on the last lexical item (normally a noun or a verb). The speaker can choose to keep the final preposition and pronoun in their weak form. Without changing the meaning of the utterance, the speaker can also choose to apply buttressing .!aUsq?rHM. (i.e. (i.e. to ‘strengthen’ the preposition). preposi If the preposition is buttressed, its strong form should be used. E.g. a. I’ve been WAITing ing for you. .`Hu aHm !vdHsHM e? it. No No buttressing



b. I’ve been WAITing ing for you.

.`Hu aHm !vdHsHM /eN9 it. Buttressing Buttressing

If the pronoun gets stressed, then the sentence becomes contrastive. This is possible only if the context requires a contrast. We have got to fight the Spanish tendency of stressing the last word so as not to create unnecessary contrasts, which may confuse the listener. E.g. I’ve been waiting ing for YOU. Contrastive: ‘not her’ .`Hu aHm !vdHsHM e? !it9. .`Hu aHm !vdHsHM e? !it9.





















Practise! Read out these sentences. You should be able to read them with and without buttressing. Pay special attention not to change the nucleus!

•

Preposition + Pronoun No buttressing

1. What was Ben DOing in that picture? pic

2. What about Shawn’s eXAM?

•

Buttressing

a. He was LOOKing at you.

He was LOOKing at you.

b.He was TALKing to her.

He was TALKing to her.

c. He was SCREAMing at them

He was SCREAMing at them

a. He’s reVISing for it.

He’s reVISing re for it.

b.He’s having a GO at it.

He’s having a GO at it.

c. He’s setting his MIND to it.

He’s setting his MIND to it.

Pronoun + Preposition + Pronoun

3. What about these SCONES?

4. What shall I do with this BALL?

5. What did Fiona do with the rePORT PORT?

BOX 6. What did Robby say about the BOX?

No buttressing

Buttressing

a. She’s BROUGHT them for you.

She’s BROUGHT them for you.

b.Mary’s COOKed them for me.

Mary’s y’s COOKed them for me.

a. GIVE it to me.

GIVE it to me.

b.THROW it at them

THROW it at them

a. She corRRECTed it for me.

She corRRECTed cor it for me.

b.She MAILED it to them.

She MAILED it to them.

a. He ASKED me for it.

He ASKED me for it.

b.He SENT you for it.

He SENT you for it.

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Spanish with an English Touch! Read these sentences. Try to say them as if you were English. You need to put on a funny British accent. If these sentences sound funny, then you have are using proper English sounds. ☺ Be ready to lose face in front of your mates!

Vowels: .h. Lili: Sí, sí. Vi mi mini biquini. ¿Y si insistís? .d. En el verde césped del edén, célebre sede de creyentes, Pepe se estremece. .`. La barra brava va para la cancha. Las caras marcadas… ¡Batalla Campal! .n. Coco tostó los ocho pollos; los colocó con los mondongos. ¡Horroroso! .t. Lulú: tu tutú azul usualmente usurpa mi lugar. Ufa!

Dipththongs: La ley no es muy clara. Hoy hay reuniones que causan pleitos. ¿Qué hacemos?.

Consonants: .o. Pepe Pompín propuso poner precio a los puestos de la plaza del puerto. .a. Cambiate, Vivi. Tu abu acababa de bajar del noveno, se resbaló y se abrió el bocho, la vieja. .s. ¿Te tomaste un taxi? ¿Cuánta plata te gastaste? ¿Trataste de venirte en tren o subte? .c. ¿Aldo, cuándo diste educación ciudadana? Decí la verdad, dale. ¡De tarado no tengo nada! .j. Cada cuál con su cada quién. ¿Coca, a caso te crees que Carlos se come cualquiera? .f. ¿Gus, alguien te agarró algún día con ganas de gritarle algo grosero? Yo ya no me aguanto. .sR. ¡Che, Chuchi, te enchufaron un chamullo! Te achanchaste, y ¡chas! Te echaron al tacho. .e. Fede y Fer al fin fueron a Formosa. Los flacos firmes y les dieron los francos. .r. Susana es fiel a sus creencias, Juan. Le es un suplicio estudiar esos temas, ya. .R. Ayer Yoly se llevó mis llaves de la joyería y yo en la lluvia esperaba que ella llegara. .w. Juanjo y Ángel juegan en el jardín. Juanjo se queja y gime si Ángel lo joroba. .q. Pilar es enfermera y trabaja en Cabrera. Cree ser una gran mujer en su laburo. .qq. Rocío es re rara y burra. Se ríe y me revienta. La aborrezco, realmente. Me da rabia. .i. De sabio tiene bien poco. De necio siempre pienso que tiene hasta los dientes. .v. Bueno. Que muevan cielo y tierra. ¡Cueste lo que cueste consíganme ese huevo, huachos! .k. El molde del toldo se rompió de vuelta. La lona es de mala calidad. .l. Miriam es muy mala. En cambio, sus amigas son muy gamba. Ambas son bien monas. .m. ¿Son o se hacen? ¿En dónde se vieron hombres tan necios, Román? ¿Los entendés?

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English Intonation

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Prof. Francisco Zabala - 2015

Unit 1: Introduction Contents:

Stress: word stress and stress in context. Compound words. Stress shift. The influence of stress on weak and strong syllables as well as weak and strong forms. The three T’s: tonality, tonicity and tone The School of London and the School of Birmingham

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Class 1 1. Pre-listening: a. b. c.

Read the text. What’s it about? Focus on the syntax. Imagine you had to use this dialogue in one of your classes: what level would be suitable? Focus on the lexis. Do you still agree with your previous answer?

2. Listen (Track 1)

Busy in the kitchen Billy:

Mummy, you busy?

Mother:

Yes! I’m in the kitchen.

Billy:

Can I go swimming in Chichester with Jim this morning?

Mother:

Jim?

Billy:

Jim English. He’s living with Mr. and Mrs. Willis in the village – Spring Cottage.

Mother:

Isn’t it a bit chilly to go swimming?

Billy:

What’s this? Can I pinch a bit of it?

Mother:

Oh, Billy, you little pig! It’s figgy pudding. Get your fingers out of it!

Billy:

Women are so silly! I only dipped a little finger in…

Mother:

Well, it’s a filthy little finger. Here. Tip this chicken skin into the bin and I’ll give you a biscuit. Ponsonbi, M. (1987). How now brown cow? Cambridge: Prentice Hall International. Page 71.

3.

Post-listening a. b.

Would you still use it in the class you mentioned above? Why? What phonological features in the text can be exploited in a language class?

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Segmental analysis 1. Weak and strong forms 2. Weak and strong syllables 3. Weak and strong vowels 4. Difficult contrasts for Riverplate Spanish speakers: a. Production vs. distribution problems b. Onglide/offglide c. KIT .H. vs. FLEECE .h9. d. TRAP .z. vs. STRUT .U. vs. BATH .@9. e. LOT .P. vs. THOUGHT .N9. f. FOOT .T. vs. GOOSE .t9. g. DRESS .d. vs. NURSE .29. h. .o+ s+ j. (aspiration and devoicing of approximants) i. .a+ c+ f. full closure j. .cY+ R+ Y+ sR. and sequences of affricates (e.g. huge giant) k. English alveolar Zs+ c\ vs. Spanish dental ZsŒ+ cŒ\ l. .c+ C. m. .a+ u. n. .M. + vowel o. Consonant clusters p. Keeping final consonants 5. Allophones and connected speech processes a. Full aspiration and lack of aspiration b. Devoicing of approximants .k+ q+ v+ i. c. Devoicing of obstruents d. Pre-fortis clipping e. Masked plosives i. No audible release/Unreleased ii. Lateral release iii. Nasal release f. Clear and dark .k. g. Dentalization h. The glottal stop i. Elision j. Assimilation k. Linking (and intrusive) .q.

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Suprasegmental analysis 1. Word stress: Find examples of these patterns: (¸ unstressed vs. ˜ stressed syllable)

¸

˜

˜¸

˜¸¸

2. Compound words Find examples in the dialogue: ____________________________________________ 3. Sentence accent (Track 2) Listen: Nucleus:

1.

Here

2.

Mummy

Onset + Nucleus

1.

What’s this?

2.

Busy in the kitchen.

4. Accent vs. stress (Track 2) I only dipped a little finger in

5. Information and intonation (Track 2) a. Chunking He’s living with Mr and Mrs Willis in the village Spring Cottage

b. Prominence: nucleus placement Billy:

What’s this? Can I pinch a bit of it?

Mother:

Oh, Billy, you little pig! It’s figgy pudding. Get your fingers out of it!

Billy:

Women are so silly! I only dipped a little finger in…

Mother:

Well, it’s a filthy little finger.

c. Tone Billy:

Can I go swimming in Chichester (with Jim this morning?)

Mother:

Isn’t it a bit chilly to go swimming?

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Prof. Francisco Zabala - 2015

KEY: Busy in the kitchen

1aHyh Hm C? 99jHsRm

8aHkh {{

rlUlh { it raHyh {{

8lUC? {{

7idr {{ `Hl 1Hm C? 7jHsRHm {{

8aHkh {{

j?m 1`H f?T arvHlHM Hm 8sRHsRHrs? { vHC tcYHl CHr dlN9mHM {{

8lUC? {{

rcYHl {{

8aHkh {{







2cYHl 7HMfkHR {{ ghy 2kHuHM vHC 1lHrs?q ?l alHrHy 8vHkHr {{ Hm C? 8uHkHcY {{ 1roqHM

8jPsHcY {{ 8lUC? {{

1Hyms Hs ? aaHs 8sRHkh { s? 2f?T qrvHlHM {{

8aHkh {{

1vPsr 8CHr {{ j?m 1`H woHmsR ? aaHs ?u Hs {{

8lUC? {{

1?T 8aHkh {{ it 1kHsk 8oHf {{ Hsr 1eHfh 8oTcHM {{ 1fdsRN9 8eHMf?y d`Ts ?u Hs {{

8aHkh {{

3vHlHm ? 1r?T 8rHkh {{ `H …?Tmkh acHos ? rkHsk deHMf?q Hm {{

8lUC? {{





vdk Hsr ? 7eHkSh dkHsk deHMf? {{ 8gH? {{ …sHo CHr tsRHj?m rjHm { rHms? C? daHm { ?m `Hk 2fHu it ? 9aHrjHs {{

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Prof. Francisco Zabala - 2015

A Top-Down Approach Reflect... What can you remember about your previous courses in pronunciation? What kind of connections have you made between sounds and intonation? Can these two areas be separated from each other?

Although students in Argentina are normally introduced to sounds first and intonation later, this does not mean that they are separate entities. To be more precise, it can be argued that sounds and intonation are more than just the two sides of a coin. According to Dalton & Seidlhofer (1994, 70) in the top-down approach, the assumption is that once the prosodic features of pronunciation are in place, the necessary segmental discriminations will follow of their own accord. This view is consistent with a more communicative perspective in language teaching, in that it focuses on how speakers achieve meaning in discourse.

It is not surprising that David Brazil (1994), whose main focus was placed on the communicative value of intonation, shares this view. In the following sections the model presented goes along these lines. It may be possible to approach a text globally and from this macro-picture start uncovering the building blocks that hold all the pieces together. This is a metaphoric way of introducing a top-down approach.

Suppose you are an official at a Space Centre who is talking to a colleague about a recent launch. Read out the following dialogue and imagine what it would sound like:

A: There was a launch. Were you free to watch it? B: I have never missed one. A: What did you think of the European space shuttle? B: It was fabulous! Especially as it took off. (adapted from Dickerson 1989, p. 32)

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Let’s explore this text!

Reflect To start with, you need to think about what words deserve to be stressed. For instance, do all the words in the sentence “there was a launch” contribute to its meaning in the same way? Why?

Speakers and listeners of a particular language share a code. They are able to understand each other because they share the way in which they approach an oral text. In other words, an English speaker will pronounce in a clear way the cues that he or she thinks the listener will need to successfully interpret the message. English speakers highlight certain syllables of their message by means of stress: these are the syllables that English listeners need to reconstruct the content of the message. Communication is effective when the listener’s needs are matched by the cues the speaker has made explicit in their message.

In there was a launch, the only relevant syllable is launch, therefore this is the only stressed syllable. This stressed syllable constitutes a whole word, in this case a noun. The remaining syllables are unstressed as they play a less relevant role in the meaning-cline. This very short sentence is useful to illustrate how English speakers unconsciously use phonetics to deal with meaning: content words tend to be highlighted, while grammar words tend to be backgrounded. What is more, it is the stressed syllables of content words that get highlighted!

Stop! Activity 1: Before carrying on, go back to the conversation above and identify the content words in it. Provide the category of each content word. The answers are to be found in the following section.

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Stress: content words vs. grammar words

As stated in the previous section, speakers highlight elements in speech by means of stress. From a semantic point of view, it is clear that since content words normally contribute to the meaning in a message, these are the items that should carry stress. However, from a phonetic point of view, stress is not a property of words but of syllables. Therefore, the stressed syllables in content words are the elements that get highlighted. It is interesting to note here that: •

The verb to be is semantically empty, so it behaves like a grammar word.

•

Some grammatical words are likely to be stressed because they are heavily loaded with meaning, such as the interrogative pronouns (i.e. question words) and, at times, demonstrative pronouns.

•

Some content words have more than one stressed syllable.

•

Some lexical items are made up of more than one word (e.g. compound nouns, phrasal verbs, etc.).

noun

adjective

verb

A: There was a launch. Were you free to watch it?

adverb

verb

B: I have never missed one. verb

adjective

compound noun

A: What did you think of the European space shuttle? adjective

adverb

phrasal verb

B: It was fabulous! Especially as it took off.

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English speakers and listeners rely on stress to decipher what is relevant in a message. If we read between the lines, we can also understand that they need something else to decipher the message: the absence of stress, stress which marks what elements are not burdened rdened with meaning because they are easily recoverable, or because they are grammatical elements used just to hold the text together. The alternation of stressed and unstressed syllables is semantically powerful and its phonetic correlate is rhythm. rhythm Let’s analyse the rhythm structure of this conversation. The stress mark [!] will be used to represent a rhythmic stress in the orthographic tier. A big dot will represent a stressed syllable and a small dot an unstressed syllable in the rhythm tier above the text.

Activity 2 – Track 3: Listen to the recorded text. Notice that the strong beats are clearly enunciated, while the unstressed syllables are less loud and quickly articulated. After listening to it several times, copy the audio and try to keep the same pace.

Notice! Traditionally, English rhythm was thought to be isochronous (i.e. beats occur at regular intervals of time). Although modern research has proved this wrong, the idea is still widely used in teaching. You should focus on reducing unstressed syllables as much as possible and cram them together in between the beats.

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Stress vs. accent Once the stresses in each intonation phrase have been located, one finer distinction needs to be made. Although all stresses contribute to the rhythm in the phrase and tend to be related to its meaning, every phrase must have one and only one obligatory accent called nucleus. In contrast, there may also be another accent called onset, but this is not essential.

Stress is a property of some syllables that makes them more prominent than others; the listener perceives this prominence mainly in terms of loudness. An accented syllable should not only be stressed, but it should also show some pitch change: there may be a pitch jump (as is the normally the case in the onset syllable) or a glide that initiates a major pitch movement (as is normally the case in the nuclear syllable). The nucleus is normally located on the last new lexical item. The onset, if present, tends to occur on the first lexical item. Again, it is relevant to remember that semantically speaking, the meaning of the nucleus and onset is related to the word in which they are hosted; phonetically, however, the onset and nucleus are syllables. At this stage, the onset syllable can be indicated by capitalization or the [!] mark, the nuclear syllable can be capitalized and underlined, and finally all the remaining rhythmic stresses can be indicated by the [ ‡] mark. For example: e!SPECially as it ‡took OFF.

Notice! Stress = Prominence (loudness + strong vowel quality / length) Accent = Stress + Pitch Nucleus = Last accent (generally last new lexical item) Onset = First accent (generally first content word)

Activity 3:

Go back to the text. Decide which of the stressed syllables are likely to be onset syllables and which nuclear syllables. Apply the notation explained above.

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The shape of the tone unit The conversation that has been presented to discuss intonation is made up of four exchanges. Some of these exchanges are in turn made up of smaller units. In this case, these units coincide with the grammatical unit that is normally known as sentence. In the study of speech the unit of analysis is not the sentence but the intonation phrase, also known by its more informal denomination: chunk. There are six intonation phrases in this conversation; four of them have two accents (an onset and the obligatory nucleus) while the remaining two lack an onset. A: There was a LAUNCH. Were you !FREE to WATCH it? B: I have !NEVer MISSED one. A: !WHAT did you ‡think of the ‡Euro ‡pean SPACE ‡shuttle? B: It was FABulous! E!SPECially as it ‡took OFF.

By definition, the nucleus is the pitch movement initiator. In other words, there is a further choice to be made at each nuclear syllable, that of tone. Although this topic will be tackled in further detail in the following units, it may be useful to show how these choices are mapped on the text. A slanted tonetic mark can be placed before each nuclear syllable to indicate the direction of the pitch movement involved. The onset syllable normally shows a jump up in pitch, while the nuclear syllable may show a glide. All unaccented syllables follow the movement indicated by the accent that precedes them, if there is one: the onset defines the movement of all the syllables in the head and the nucleus defines the movement of all the syllables in the nucleus and tail.

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Activity 4 – Tracks 4 & 5: Listen to track 4.. First, you will hear a whistled version of the text. Notice the prominence of every stressed syllable. Also, focus on the pitch variations manifested by the onset and nuclear syllables. Finally, you will a slow-tempo tempo version (track 5). Try ry to connect what you hear with the interlinear notation.

Stress shift and downgrading Although words normally have a fixed stress-pattern stress pattern in their citation form, this pattern may vary when these words occur in context. Due to rhythmical reasons, some of the stresses may be downgraded: i.e. they may be sacrificed for the sake of simplicity. English tends to reject two stresses close to each other, so one of them may go. Sometimes, a secondary stress may become an onset and a primary stress may be downgraded downgraded as it is quite close to the nucleus. (See Wells 2006, 5.10.) Listen to these examples:

Track 6: !Euro

p ‡ ean Áspace space /shuttle

vs.

!European Áspace space /shuttle

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Segmental analysis Once the stresses have been spotted, the phonemic treatment of a text is straightforward. After having dealt with the sounds of English for a considerable time, you must be aware that the greatest difficulty for a non-native native speaker is likely to be found in in the selection of vowels. The previous work on this text will come in handy at this stage: stressed syllables will always select a vowel from the strong vowel system, while unstressed syllables normally select a vowel from the weak vowel system (Wells: 2008). 20 To put it differently, the presence of a stress, be it in the form of an accent or a mere rhythmical stress, will protect the vowel in a syllable from obscuration, i.e., from becoming a weak vowel.

The English vowel systems: weak and strong vowel sub-systems systems

1-.. The first intonation phrase consists of just one stressed syllable, the nucleus. The nuclear syllable is protected, so a strong vowel must be chosen. The spelling consists of several vowels; therefore a long vowel is likely to be used. The pre--nuclear nuclear syllables are not protected by stress and, as a result, are weak. These grammar words will be used in their weak form.

.C?

v?y

?

ÁkN9msR.

2-.. The second phrase contains two accents. The syllables that host these accents need a strong vowel. The word free needs a long vowel because 1) strong short vowels cannot be used in word-final word position, 2) the spelling is frequently mapped to .h9.. The nuclear syllable watch needs a short vowel since it is an example of the basic vowel pattern (consonant letter + vowel letter + consonant letters). letters) The remaining syllables are unstressed, therefore they are weak forms. Note, however, that it may have been possible to use the strong form of the verb to be since it is a full yes/no question.

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.v?

it

!eqh9 s? òvPsR

Hs . 3-. The third intonation phrase consists of two unstressed syllables that stand for two grammar words in their weak form, the onset syllable made up of a protected short vowel, the unprotected final syllable of the onset word, the nuclear syllable (miss is another example of the basic vowel pattern) and an unstressed pronoun as the tail. Note, however, that although most unstressed syllables take a weak vowel, this is not always the case. The word one, for example, does not have a weak form.



.`H g?u

!mdu?



ÁlHrs

vUm. 4-. The fourth phrase is more complex than the previous ones. There are three stressed (though unaccented) syllables in the head, i.e. between the onset and the nucleus. The word European is latestressed (also known as double-stressed) since the main stress does not fall on the first or second syllables. In its citation form, the word presents the following stress pattern: .$iT?q?!oh9?m.. This is a clear example of 1) the Teutonic rule, 2) the rule of alternation and 3) the rule of derivation. As English is a Germanic language, it is subjected to the Teutonic rule. This demands that either the first or second syllable of every English word should be stressed. Since the primary stress in this word falls on the third syllable, there must be a secondary stress towards the beginning. In order to locate the secondary stress, two rules come in handy: the rule of alternation states that stresses tend to repel each other, just like magnets do. Consequently, if the third syllable hosts the primary stress, then not the second but the first syllable should host the secondary stress. At the same time, the rule of alternation helps to corroborate that this is so: the primary stress of a word may become the secondary stress in derivate words (.!iT?q?o = $iT?q?!oh9?m.).

As expected, the nucleus falls on the last new lexical item, the compound word space-shuttle .!rodHr $RUsk.. This is a compound noun made up of two nouns, where the first classifies the second noun. This pattern (N1+N2) is early stressed in approximately 80% of the cases. Although the semantic nucleus is the whole compound word, the phonetic nucleus is the primary stress. The rhythmic stress found in shuttle follows slavishly the pitch movement dictated by the nucleus.

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As regards sounds, the words what and think take short vowels because they conform to the basic vowel pattern. The word shuttle takes a short vowel because double letters ( here) prefer short vowels to precede them. The word space is a clear example of how final silent- makes the previous vowel say its name.

.!vPs

cHc

it



‡SHMj ?u C?

‡iT?q? ‡oh9?m

ÁrodHr /RUsk.

5-. The fifth intonation phrase is quite simple. There is only one protected syllable, the nucleus. The first two syllables are two weak forms and the two syllables in the tail are typical examples of weak syllables containing unprotected vowels.







.Hs v?y

Áezai?k?r. 6-. The final intonation phrase is interesting since it illustrates the behaviour of phrasal verbs. They are similar to compound words in the sense that both are treated as a single lexical item, not as two independent words. Also, it is relevant to draw your attention to the fact that phrasal verbs need to be closely inspected: an unwary student may think that the particle is a grammar word unworthy of the nuclear accent. Yet, a phrasal verb is one unit that is loaded with meaning, thus deserving a stress. These structures are typically double stressed in their citation form: the verb takes the secondary stress and the adverbial particle the primary stress (took off .$sTj !Pe.).

.H!rodR?kh

?y Hs

‡sTj

ÁPe.

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Summary: Text Intonation phrases Accents & stresses Phonemes

I N F L U E N C E

Stress and communication Reflect... How important do you think rhythm is when it comes to understanding an oral text? How important do you think it is to be understood by a native speaker of English? How important do you think it is to be understood by another Spanish speaker?

Here are some quotes for you to voice your ideas: “In English conversation, native-like native like rhythm and melody are often more important to listeners than exact vowel and consonant sounds. That is, native listeners depend heavily on your phrase rhythm and your melody to make sense out of your message” (Dickerson 1989, Page 31, Chapter 1, Lesson 4)

“When you talk with people, you want them to understand what you say. We all do. What can we do to hold our listener’s attention? One of the things we can do is to try to deliver our message with the minimum amount of distraction. Wrong rhythm is a major distraction. Wrong rhythm tends to divert the listener’s attention away from what we are saying and attract attention to how we are saying it. So, when you talk, an important way you can keep your listener focused foc on what you are saying is to use the rhythm that the listener expects. The expected rhythm does not draw attention to itself.” (Dickerson 1989, Page 71, Chapter 2, Lesson D)

Do you think that is true? What happens in Spanish? You understand a foreigner foreigner better if:

a. Their sounds are accurate but they make a faulty use of stress b. Their sounds are faulty but they make an accurate use of stress

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What about your listening skills? Do you understand everything that English speakers say? Is it possible to understand everything? How do you think adult learners feel when they have to solve a listening task? Why?

Intonation – and stress in particular – is a source of confusion for foreign learners of English. To cap it all, this is not a one-way problem: learners find it very hard to understand spoken English and, in turn, their own speech may be difficult to be understood. Crystal and Davy (1975, 8) stated that “unlike grammar, vocabulary, and segmental pronunciation, mistakes in intonation are not usually noticed and allowed for by native speakers, who assume that in this respect a person sounds as he means to sound”.

Rost (2002) believes that learners fail to understand spoken English because their expectations are placed on the wrong cues: they want to hear accurate sounds and build meaning in a linear fashion. Actually, the English are “stingy” in that respect: they only articulate with great clarity the stressed syllables of the words they believe are relevant in any given context. The message is coded, and the key to decode it is not to be found in the clarity of each sound but on the context of interaction and in your prediction skills.

The use of weak syllables and weak forms puzzles Spanish speakers, who rely on vowel quality to understand a message. In the following example, the message would be clear even if all the unstressed syllables were taken away. The words that are reduced need to be weak so as not to attract attention to themselves: if a strong form is used, listeners normally think that these have been chosen to show contrast or emphasis.

Although a strong form is possible, a weak form is more frequent. This is the only word that can collocate here.

adjective = meaning

verb = meaning

.v?

it

!eqh9 s? òvPsR

Hs .

A pronoun is used to refer to recoverable information. You = my interlocutor

A pronoun is used to refer to recoverable information. It = launch

Vs.

.v?

!it9

!eqh9 s? òvPsR

Hs .

If the pronoun is strong, it is selected as a word that is essential to the meaning. This would be interpreted as emphatic (e.g. “You of all people!!!”) or contrastive (e.g. “You and not me!”).

This particle is predictable because it is the only word that can collocate here.

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The Three T’s: Tonality, Tonicity & Tone Activity 5 – Track 7: Listen to the following conversation. Many of the words are repeated, but the tone changes. Does the meaning of each word change when the intonation is different? What type of meaning changes?

The Bear Sid:

ÁShh!

Joe:

ÁWhat?

Sid:

ÁBear!

Joe:

òBear?

Sid:

ÁBear!

Joe:

ÁWhere?

Sid:

ÁThere!

Joe:

òFar?

Sid:

ÁNo!

Joe:

òNear?

Sid:

ÁYeah!

Joe:

òRun?

Sid:

ÁRun!

(Hancock 2003, p. 116)

There are different languages in the world, and some languages exploit tone at the lexical level. Chinese, for example, is a tone language. English and Spanish are not, they are intonation languages. In the text above, some words have been intoned differently, but the lexical meaning remains stable: òrun and Árun have the same “dictionary meaning” (lexical meaning), but they have a different pragmatic meaning. A rise is used to ask a question: the speaker wants to check whether he should run or not. A fall is used to tell the interlocutor something: he must run for his life. The point here is that intonation operates at a unit broader than the word. Intonation is at work in intonation phrases. The meaning is not derived from the lexical meaning of the word that bears the nucleus; it is a property of the whole combination of elements.

As stated above, intonation is best treated as a system. In a system, phenomena do not occur at random. There is a set of choices that can be made at different points. The three T´s are the choices made in the English intonation system.

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Intonation system Tonality

Tonicity

(chunking)

(nucleus placement)

Tone

Although these three choices occur in real time, it is advisable to follow this order in the analysis.

1) Tonality: Speech can consist of just one syllable preceded and followed by silence (e.g. .

Ám?T.), ), but it normally consists of a stream of sound much longer than that. The first task a listener has to carry out is the division of this stream into smaller units. The Th intonation phrase is the unit of prosodic analysis. From a phonetic point of view, an intonation phrase contains at least nuclear syllable. From a semantic point of view, this is a complete unit of information. Listeners need these units to process information. information. Even though an intonation phrase does not always correspond to any grammatical unit, it often coincides with a clause. When it does, this intonation phrase is said to be an example of neutral tonality. When it does not, the tonality is marked. Long Long phrases, for instance, tend to be chunked off. On average, each chunk tends to be made up of 7 syllables, approximately. a. Neutral tonality (1 clause = 1 IP) Track 8

i. Main clauses Homer went to the bar | but Ned went to church.|

ii. Main and subordinate clauses We can eat at Mc Donald’s | if you behave properly.|

b. Marked tonality (more than a clause = 1 IP / less than a clause = 1 IP) i. More than one clause I thought (that) it would rain.|

ii. Less than one clause Sir Charles Chaplin | expressed his political views in his films.|

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2) Tonicity: This is also referred to as nucleus placement. By definition, each intonation phrase is complete if and only if it contains a nucleus, the major pitch movement initiator. The nucleus tends to reside in the last lexical item in the IP (LLI rule), therefore this is called neutral tonicity. Marked tonicity occurs when the nucleus falls somewhere else. This topic will be further developed in other units. a. Neutral tonicity (LLI rule) Track 9

My name’s Bond.|

b. Marked tonicity i. Deaccentuation of old information in final position (My name’s Bond)| James Bond.|

ii. Contrastive focus (My name’s Bond | James Bond.|) What’s your name?|

iii. Exceptions to the LLI rule Shut up you silly old fool.| (Vocative in final position) We’re going to be late, I guess| (Final comment clause) Uncle Cuthbert is coming.| (Event sentence)

3) Tone: According to most authors, there are five distinctive tones in English. A tone is the intonation curve or contour that is initiated by the nucleus. Phonetically, pitch movement can take place on the nuclear syllable alone if there is no tail, or it can be spread through the tail if there is one. There are two families of tones: falls and non-falls.

i. Falls:

1-. Fall [ Á]

Track 10 2-. Rise-fall [ Î]

ii. Non-falls

3-. Rise [ò] 4-. Fall-rise [ ;] 5-. Level [>]

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Reading: Read Wells (2006), Chapter 1 and chapter 5, section 10. If you are unsure about word stress and compound words, read Ortíz Lira (1998) Chapter 2 “Stress in English Simple Words” and Chapter 3 “Stress in English Compound Words”.

Activity 6: Stressing Decide whether these words are early stressed or late stressed by ticking the right column. Mention the rule.

Word

Early stressed

Late stressed

Rule

Fall-rise Lexical Item LLI rule Phrasal verb Preposition Rise-fall Strong form Weak form Wh- question Yes/No question

Activity 7: Stress-shift Use the two words provided in a noun phrase. Mark the stressing as shown below: E.g.: !country + $inde!pendent: An !independent Ácountry 1-. !problem + $uni!versal: 2-. af!fair + $inter!national: 3-. !work + $indi!vidual: 4-. !failure + $syste!matic: 5-. tran!scription + $allo!phonic:

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The School of London & the School of Birmingham Reflect... What sorts of units have been discussed in the sections above? What do you think is the scope of an intonation phrase? Is there anything above it in a phonological hierarchy?

Up to this point we have analysed English pronunciation both at the segmental and suprasegmental levels. Our proposal is a top-down approach, whereby many of the intricacies related to the choice of phonemes are solved in a simple way by approaching the text from its prosody. The spotting of stressed and unstressed syllables uncovers what sorts of vowels are necessary in each of them. The interplay between stress in connected speech and the use of weak and strong forms becomes transparent.

The study of the Three T’s – i.e. tonality, tonicity and tone – allows us to understand the workings of the intonation system in English. As any other system, the choices are not whimsical; these choices are triggered at different stages to assign meaning to speech. First, speech is segmented, then prominences are located and a tone is selected at the nuclear syllable. These choices operate at the level of the intonation phrase. Now, is the intonation phrase the most comprehensive unit of analysis?

We need to go back in history to find an answer to this question. At present, we can confidently state that each intonation phrase is part of a text. There are connections between these phrases and, above all, there are connections that link these phrases to items outside the text. We can arrive at this conclusion thanks to the contributions made by discourse analysts. There came a moment when the sentence was a straightjacket, since many of the suprasegmental phenomena could not be accounted for. The next broader unit, the text, did provide certain answers... but not all. The idea that there is something broader than the text itself was very appealing and innovative. This is how the context was taken into consideration. The British tradition has a long-standing history. Palmer, in the early 20h century, introduced the construct of the nucleus. He realized that the most meaningful choice of tone occurred at a particular syllable. Other phoneticians added more findings: a) there are five contrastive tones, b) the nucleus tends to fall on certain grammatical categories, c) there seems to be a connection between intonation and information, d) intonation can be analysed as a system, etc. The School of London has been the most influential in Britain. Daniel Jones, J. D. O’Connor, G. F. Arnold, A. C. Gimson, Alan Cruttenden and John Wells, among others, work along these lines. We owe the tonetic marking system of strokes and circles superimposed to the orthographic text to them. Their approach is based on the grammatical structure and the attitude conveyed by the configuration of different intonational contours. On the one hand, he heavy reliance on

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grammar can be useful for the foreign learner: the presence of grammatical boundaries can help us predict the boundaries of intonation phrases, the division between grammar and content words can help us identify what words are likely to be stressed and which are prone to be nuclear. Also, their taxonomy of tone choices may be straightforward – e.g. wh-questions take a fall, while yes/no-questions take a rise. On the other hand, however, this approach tends to be burdened with contradictory and never-ending lists of epithets to describe attitudes and a lack of flexibility regarding the tone choices triggered by grammar.

In the 70’s, David Brazil and other researchers studied discourse. They stressed the communicative value of the choices made by language users rather than the intrinsic value of grammatical structure. Brazil recorded people interacting with each other and he was able to draw some conclusions that did not necessarily match the precepts of the traditional approach, that of the School of London. We call this newer trend the School of Birmingham, as this is where they worked. Brazil’s approach is followed by Barbara Bradford and Adrian Underhill, among others. They understand language as a vehicle to do certain things: you can exchange information (i.e. there is a transactional function) and you can put language to social purposes (i.e. there is an interactional function). This view does away with the slavish bond between intonation and grammar, as it offers a more phonological set of options. Their contribution has unearthed the more general meanings of tones as opposed to the more local meanings found in the attitudinal approach.

In this course both approaches are adopted. In spite of the differences they seem to present, we will see that they can complement each other perfectly well. This is not surprising in the least; after all, both approaches came to existence as a tool to explain the behaviour of the same object of study: English intonation. The School of London is more prescriptive, which is good at an early stage for it helps learners to study rules. The School of Birmingham’s contributions, which are descriptive, are very valuable to grasp a broader picture of how intonation works, especially as regards tone choices and the interplay between the elements in the intonation phrase and other elements in the text and the context of interaction.

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Unit 2: The Anatomy of Intonation Aims: To understand the phonetic configuration of accents in an intonation phrase To perceive the English tones To predict the configuration of the English tones To produce the English tones To produce tonetic transcriptions

Contents:

The anatomy of English intonation Typical cases of chunking The onset and nucleus The fall The rise The fall-rise The level The rise-fall

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The Anatomy of English Intonation

In the previous unit you were introduced to the basics of English intonation. Here you will expand that knowledge and devote time to the production of tones. We shall focus on:

Typical cases of chunking The placement of the nucleus The configuration of the tone The placement of the onset syllable

An emphasis will be placed on the interlinear notation. Those learners who favour their auditory memory may not benefit from this analysis. Yet, most learners are not auditory. If you are a visual learner, you will surely find this system useful in the extreme. Just like musicians, you will be able to pitch your instrument: your voice. The upper line stands for the normal highest note your speaking voice can produce. Similarly, the lower line stands for the normal lowest note your speaking voice can produce. A word of caution is called for here: you should never strain your voice. Listen to your voice in Spanish in order to identify your high and low pitch. If you try to get a note much lower or higher than your usual ones, your voice will crack and this may be harmful. In intonation studies, it is the relative pitch that matters, not the absolute pitch. In music, the opposite is the case. You need to be able to show a contrast between your high and low pitch, and you should also find your mid pitch. With these three notes you will be able to exploit the meaning oppositions presented in this system.

Reflect... What do you think of your voice when you hear a recording? Do you identify with it? Does your voice setting resemble your parents’ or friends’ setting? Compare two singers: whose singing voice is higher, Christian Castro’s or Patricia Sosa’s? Does this mean that the former is unable to produce low notes and the latter high notes?

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Tonality: Problem cases for Spanish speakers Track 11 – The starting point of any intonational analysis is chunking. Wells (2006) maintains that most languages use tonality in a similar way. Since English and Spanish share a lot in this area, we will focus on the greatest differences.

1) Initial short words: Spanish speakers tend to chunk words when they occur at the beginning of a sentence. Although there are no statistics about this, it may be true that they are absorbed as either the onset syllable or just a pre-head. This happens with words such as Oh, Well, Yes, No, Now, etc. Notice that the comma after these expressions does not mean that a pause is needed. Examples:

A: Well, !what about ‡going Áout to/night? B: Oh, I !think it’s a ‡great i Ádea. Shall we !tell òSheila? A:

(À)No,

;not to/day. She’s in a !bad Ámood. Do you !like Thai òfood?

B: Yes, I a Ádore it. Now, !what ‡time shall we Ámeet?

2) Final elements: When the following elements occur in final position, they are typically part of the tail. If they are chunked off, however, they are likely to take a rise (a trailing tone that exploits politeness).

a. Vocatives: !Sit Ádown, /Mary. Is Àthat your ;seat, /Graham?

b. Adverbs of courtesy: !Pass the Ásalt, /please. !That’s e Ánough, /thanks.

c. Reporting clauses: “I’m !going to be Álate,” she /whispered. d. Comment clauses: Your !father will be Ámad, I i/magine.

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e. Copy tag (constant positive polarity): She’s Áangry, /is she?

f. Reversed polarity tags (after a rising nuclear tone): À

Granny ‡can’t be ;pregnant, /can she?

Finally, two words seem to be problematic for Spanish speakers, namely the conjunction that and the verb to be. As these words normally occur in the weak form, students should not end a chunk after them:

a-.

* I !think

>that

| we can !buy a Ácar.

* . `H !SHMj >CUs { vh j?m !a`H ?

Áj@9 . ;I think | that we can !buy a Ácar. ☺

.

;`H SHMj { C?s vh j?m !a`H ?

Áj@9 .

b-.

* >Some ‡people ‡are | !very am Ábitious. * . >rUl

‡oh9ok

‡@9 { !udqh zl ÁaHR?r . >Some

‡people |are !very am Ábitious. ☺

. >rUl

‡oh9ok { ? !udqh zl ÁaHR?r .

c-.

* !There >was | a !big Ádog in the /yard. * .!Cd?

>vPy { ? !aHf

ÁcPf Hm C? /i@9c. There was a !big Ádog in the /yard. ☺ .C? v?y ? !aHf

ÁcPf Hm C? /i@9c.

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Activity 1: Chunking a readymade text Readymade or written texts tend to contain elaborate lexis and grammar, but the planning implied makes for clear intonation boundaries. As punctuation and phonological boundaries may not go hand in hand, there are no punctuation marks in the text.

1. Look at the underlined section. Where does it belong to? 2. Listen to the recording and insert boundaries (with |) whenever you detect that an intonation phrase ends.

Track 12

complementary therapy

complementary therapy which focuses on the whole person is becoming more widely used it considers a patient’s physical symptoms and also takes lifestyle into account most practitioners believe that the body seeks a state of balance what complementary therapy does is help people achieve this balance treatment not only relieves the disease but also promotes general wellbeing how complementary therapy works is still not entirely clear recent research has compared it with traditional medicine in one study conducted in Canada a group of patients who had severe back pain were treated either with complementary or traditional treatments patients who had complementary treatments showed faster rates of improvement

(Hewings, 2007, p. 115.)

3. Listen to the recording again and underline the nuclei. What sort of elements get accented? What elements are deaccented?

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ɊjPlok?ᶅldmsqh ᶑSdq?oh ɍjPlok? ‡ldmsqh

ᶑSdq?oh { vHsR

Ɋe?Tj?rHy Pm C? ᶅg?Tk

ᶑo29rm { Hy aHɊjUlHM lN9

ᶅv`Hckh

ᶑit9yc

{{ Hs j?m!rHc?y ?

ᶄodHRmsr

ᶑeHyHjk /rHls?ly { ?mc !N9kr?T sdHjr

ᶑk`Hers`Hk Hmst

?/j`Tms {{

ɍl?Trs oqzjⱠsHRm?y

a?ᶄkh9u { C?s C? !aPch

ᶄrh9jr?

ᶄrsdHs ?u

ᶑazk?mr {{ ɊvPs

ᶅjPlokHᶑldmsqh Sdq?oh /cUy { Hy Ɋgdko

ᶅoh9ok

?sRh9uCHr /azk?mr {{ Ⱡsqh9sl?ms { mPs …?Tmkh qHᶅkh9uy C? cHⱲyh9y { a?s ɊN9kr?T

oq?ᶅl?Tsr

ᶅfdm?qk vdk ᶑah9HM {{ !g`T

jPlokHᶄldmsqh

ᶄSdq?oh ᶑv29jr { Hy !rsHk

mPs Hm ‡s`H?kh ᶑjkH? {{ Ɋqh9rms qHⱠr29sR { g?y

j?lɊod?c Hs vHC sq?ᶑcHRmk /ldcrm {{

Hm vUm ⱠrsUch

{ j?m…cUjsHc Hm

Ⱳjzm?c? { ? Ɋfqt9o ?u ⱠodHRmsr { gt gzc r?…uH? Ⱳazj /odHm { v?

Ɋsqh9sHc ᶅ`HC? vHC

ᶅjPlokHⱨldmsqh { N9 sq?ᶑcHRmk { ᶑsqh9sl?msr {{ ⱠodHRmsr { gt gzc

jPlokHⱲldmsqh /sqh9sl?msr { R?Tc Ⱡe@9rs? { ɊqdHsr ?u

Hlᶑoqt9ul?ms {{

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The Intonation Phrase

In the previous unit a full intonation phrase was sketched. In this section, a full analysis of the possible combinations will be presented. The only obligatory element in an intonation phrase is the nucleus. All other elements may be optional. Remember that the onset syllable is the beginning of the head.

(pre-head) + (head) + NUCLEUS + (tail)

Track 13 NUCLEUS:

ᶑGo|

head + NUCLEUS:

ɊDon’t ᶑgo|

pre-head + head + NUCLEUS:

Oh Ɋdon’t ᶑgo|

pre-head + head + NUCLEUS + tail:

Oh Ɋdon’t ᶑgo Paᶆtricia|

head + NUCLEUS + tail:

ɊDon’t ᶑgo Paᶆtricia|

NUCLEUS + tail:

ᶑGo Paᶆtricia|

pre-head + NUCLEUS + tail:

Oh ᶑgo Paᶆtricia|

pre-head + NUCLEUS:

Oh ᶑgo|

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Tonicity Reflect... What’s the correct translation into Spanish of “I thought it was going to be cold”: “Pensé que iba a hacer frío” or “Sabía que iba a hacer frío”? What does this depend on? Is nucleus placement as important in Spanish as it is in English? What do you think of the following intonation phrases? Do they have the same intonation pattern? No te veo, Linda. No te veo linda.

Tonicity is one of the subsystems that make up intonation. It consists of the placement of the nuclear syllable. Since the nucleus is the only obligatory element in all well-formed intonation phrases, then tonicity choices are at work every time you speak. Mind you: you make nucleus placement choices both in English and Spanish!

The nucleus can be defined by different criteria:

a) Phonetic criterion: the nucleus is generally perceived as the most prominent syllable in the intonation phrase, especially because it normally is the major pitch movement initiator. b) Distributional criterion: the nucleus is the last accent in an intonation phrase (there may be other stresses, but the nuclear syllable is the last one where a pitch choice is made). c) Functional criterion: the nucleus signals the focal structure in the intonation phrase.

Unlike tonality, which is supposedly pretty stable across languages (Wells, 2006), tonicity is by far the most difficult of the Three T’s to be learned by Spanish speakers.

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Neutral and Marked Tonicity The very first steps in this course were devoted to devising a top-down model to work with English pronunciation. This idea goes along the lines of the traditional approach to tonicity. At the very top, the decisions that govern the choice of a suitable nucleus are made. The trends that were discussed in Unit 1 are summarized below:

•

All content words tend to be stressed. However, some words may lose their stress because of contextual factors, such as the vicinity of other stresses.

•

The nucleus tends to fall on the last lexical item. It is hosted in a stressed syllable that becomes accented, as the nucleus is the major pitch movement initiator.

•

Old information is normally de-accented. Therefore, the nucleus tends to fall on the last lexical item that is new.

Crystal (1969) noted that in his corpus, the nucleus tends to fall on the last lexical item in approximately 80% of the tokens. Since this figure is high, it is reasonable to state that when this occurs the tonicity is unmarked (or neutral). In contrast, marked tonicity occurs when the nucleus does not fall on the last lexical item. This can be the caused by several factors: the last lexical item may be old information, the nucleus may fall on a grammar word, or there may be final lexical items that do not attract the nucleus.

A very easy rule of thumb is that the nucleus is likely to fall on the last NEW lexical item. Although this seems to be a simple rule to follow, most Spanish speakers find it terribly hard to apply. There is an intimate connection between information and intonation in English. The English ear is extremely sensitive to this, and many times the accenting of old information may lead to miscomprehension. Also, since they play down old information in a systemic way, many of the syllables and words that are not highlighted are said very quickly and in a low volume at times. Spanish speakers may find it difficult to understand English speech because of this very reason.

Interesting! “In an analysis of a corpus of about 1,200 intonation groups, Altenberg (1987) found that (i) there is a strong tendency for the last lexical item to carry the nucleus (78%); (ii) English nouns have the greatest potential for prosodic prominence and particularly nuclear accent (73%)” Ortiz Lira (1998, page 52).

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Prominence – Selection - Highlighting Detecting the nucleus You already know some things about tonicity. The nucleus tends to fall on the last lexical item (LLI). If there is old information at the end of an intonation phrase, it falls on the last NEW lexical item. For practical reasons, using the LAST NEW LEXICAL ITEM rule can provide you with better results as it is more comprehensive. Remember, however, that there are exceptions to the LLI rule that do not involve old information.

Activity 3 – Track 14 Listen and underline the nucleus in each IP. (Ponsomby, 1992, p. 80.)

a) We didn’t mean to arrive just in time for lunch.| b) Is this the book you are looking for?| c) But you told me I could come round tonight.| d) I haven’t seen Elizabeth for ages.| e) No dear. | He broke his leg in a skiing accident.| f) Are all nine of the Joneses coming to dinner?|

Activity 4 – Track 15 Read each sentence. Practise shifting the nucleus as indicated. Then, compare your version to the recording. What context of interaction is projected by each of them? (Ponsomby, 1992, p. 80.)

a) Are Are Are Are Are

you you you you you

coming coming coming coming coming

to to to to to

Majorca Majorca Majorca Majorca Majorca

b) My My My My My My

wife wife wife wife wife wife

doesn’t doesn’t doesn’t doesn’t doesn’t doesn’t

look look look look look look

like like like like like like

a a a a a a

with with with with with

us us us us us

sack sack sack sack sack sack

of of of of of of

this this this this this

summer? summer? summer? summer? summer?

potatoes. potatoes. potatoes. potatoes. potatoes. potatoes.

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Activity 4 – Track 16 Listen to the following utterances. Focus on their prominences. Then, decide which question is suitable for each of them: (Bradford, 1988, p. 8) 1. They hired a car.

a. Did they take the car? b. Did they hire bikes? 2. No, the train was delayed.

a. Had she already arrived at the station? b. Was the plane late? 3. The bank’s on the corner.

a. Where’s the bank? b. What’s on the corner? 4. I sent him a letter.

a. Aren’t you going to send Tony a letter? b. How does Mr Pringle know your news? 5. It’s next Tuesday.

a. Is it your birthday next week? b. Was it your birthday last Tuesday?

Activity 4 – Track 17 B uses the same words to answer the two different things that A says. Predict the prominences in each of B’s interventions: (Bradford, 1988, p. 9-10) 1

A: A:

Paul looks happy! I think Paul needs a new car.

B: B:

He’s got a new car. He’s got a new car.

2

A: A:

We must get some flowers. Don’t forget to get them a present.

B: B:

I’ve got some flowers. I’ve got some flowers.

3

A: A:

Let’s go to Paris. Have you had a good weekend?

B: B:

I’ve been to Paris. I’ve been to Paris.

4

A: A:

You need something hot. The soup’s good here.

B: B:

Then I’ll have some soup. Then I’ll have some soup.

5

A: A:

How did you know it was Mike who rang? Why hasn’t he written?

B: B:

He said he’d phone. He said he’d phone.

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Activity 4 – Track 18 – Contrastive focus First listen to this short conversation. Pay attention to the way A’s intervention affects the nuclear choices B makes. Then, predict the prominences in the following dialogues: (Bradford, 1988, p. 8) Example:

A: What did you have | for starters? B: I had chicken soup. A: And what did the others have? B: Chris had tomato soup | and James | had tomato salad.

One

A: And what did you have for dessert? B: I had apple pie. A: What did the others have? B: Chris had cherry pie | and James | had cherry cake.

Two

A: It’s your birthday this month,| isn’t it? B: Yes. It’s the thirty-first. A: Are both your sisters’ birthdays | this month too? B: Yes. Sarah’s is the twenty-first | and Jenny’s | is the twenty-fourth.

Three

A: Where did he wait for you? B: At the back entrance. A: And where had you arranged to meet? B: At the main entrance,| which is right on the main street.

Four

A: When did you visit Japan? B: I went last year. A: And are you going again? B: Yes, | I’m going again this year. | In fact, | I’m going this month.

Five

A: What’s the problem? B: She’s got black shoes. A: And why is that a problem? B: She needed white shoes | to go with her white dress.

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The Focal Model Although there is no agreement in the literature as to what the exact definition of focus is (for instance, some authors use the term as a synonym for nucleus – which is disfavoured in this course), this model seems to be comprehensive. Broadly speaking, the focus can be thought as the stretch in the intonation phrase that is foregrounded. Ortiz Lira (1998, page 54) reminds us that the focus determines the accentuation pattern of an intonation phrase because: “(i) accents signal focus; (ii) not all focused constituents need to take an accent, and (iii) unfocused constituents do not take an accent.”

Notice! Focus .!e?Tj?r.

Broad and Narrow Focus Semantically, an intonation phrase contains different elements. These elements are linked to the whole text and the context. The interplay between these relationships and the intonation phrase has a bearing on the focus domain (i.e. the scope of the focus). In the next example, the question is too open to restrict the answer in any way: A: What happened? B: [I have !just had a Ábath.] All the items in the answer are new. The whole intonation phrase is in focus. In other words, this IP is in broad focus. Now, the next context is different: A: Who has just had a bath? B: [ ÁI] have /just had a /bath. This time, only part of the answer is in focus. The nucleus falls on the only new item, the pronoun. Narrow focus occurs when only part of the information is in focus: generally, the last new item in the focus receives the nucleus while the elements that are old remain out of focus and are deaccented.

Activity Mark the focus in the answers:

1 2 3 4

A: A: A: A:

5 6 7 8 9

A: A: A: A: A:

Where’s the car? Age? Where’s the car? Where were you during the shooting? I was born in 1990. Are you an English teacher? What about the new house? Are you Mrs. Shaw? When shall we meet?

10 A: What about the venue?

B: B: B: B:

I have no idea. I’m fifteen years old. I don’t have a car. I was in the shooting.

I was born in 1990, too! I’m an English professor. It caved in. Mrs. George Shaw. Thursday at eleven fortyfive. B: I’ll be in the hall. B: B: B: B: B:

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Activity Track 19 – Listen to the recording and mark the prominences. Focus on new and old info. (O’Connor and Fletcher 1989, page 53).

The Language School ALICE:

I want to improve my English. Is it a good idea | to go to a language school | in August?

CAMERON:

I went to an English summer school | a year ago. It was at the Gold School of English.

ALICE:

Was it good?

CAMERON:

Yes | very good. There were grammar lessons | and regular progress tests. And we also | played games. That was great.

ALICE:

What sort of games?

CAMERON:

Guessing games, for example. A simple game | is the bag game. One group | has a big bag | and the other group | guesses what’s in the bag. It’s a good game at the beginning | to get to know each other.

ALICE:

Did you get to know | the other students well?

CAMERON:

Yes! It wasn’t a big group. I’ve forgotten exactly how many. We got on very well | together.

Remember! As stated in the first unit, you should always bear in mind that: 1-.You should approach an intonation phrase from the end. 2-. A lexical item may be made up of more than one word. 3-. Be careful with early stressed compound words as they are only one lexical item. E.g.: !film $prize –!Harry w ‡ on a Áfilm /prize. 3-. Be careful with final phrasal verbs: the particle there is not a grammar word but part of a compound lexical item. They are double stressed. E.g.: $run a!way – It’s!time to ‡run a w Á ay.

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C? ᶑᶑkzMfvHcY ᶆᶆrjt9k {{ ᶑzkHr {{

`H ɍvPms st Hlᶄoqt9u l`H ᶑHMfkHR {{ ɍHy Hs ? ᶄfTc `HᶑcH? { s? …f?T st ?







ⱳkzMfvHcY ᶆrjt9k { Hm ⱠN9f?rs {{

ᶑjzlq?m {{

ⱳ`H ᶆvdms st ?m ᶆHMfkHR ᶆrUl? rjt9k { ? iH?q ?ᶆf?T {{ ɊHs v?y ?s C? ᶑf?Tkc



ᶆrjt9k ?u ᶆHMfkHR {{

ᶑzkHr {{

ɊvPy Hs ⱠfTc {{

ᶑjzlq?m {{

Ƚidr {{ ɂudqh ᶆfTc {{ C? v? Ⱳfqzl? ᶆkdrmy { zmc Ɋqdfi?k? ᶑoq?Tfqdr ᶆsdrsr {{

?m vh ɂN9kr?T { okdHc ȽfdHly {{ ɊCzs v?y ᶑfqdHs {{

ᶑzkHr {{

ɊvPs ᶑrN9s ?u ᶆfdHly {{

ᶑjzlq?m {{

ɂfdrHM ᶆfdHly e?q Hfᶆy@9lok {{ ? ⱲrHlok ᶆfdHl { Hy C? ᶑazf ᶆfdHl {{







ɊvUm Ɇfqt9o { gzy ? …aHf Ⱳazf { ?m Ch ⱳUC? ᶆfqt9o {  fdrHy vPsr 7Hm







C?

ᶆazf {{ Hsr ? …fTc ᶅfdHl ?s C? aHⱲfHmHM { s? Ɋfds s? 7m?T h9sR ᶆUC? {{

ᶑzkHr {{

cHcYt Ɋfds s? Ɇm?T { Ch …UC? ᶅrsit9cmsr Ⱳvdk {{

ᶑjzlq?m {{

Ƚidr {{ Hs …vPyms ? ⱲaHf ᶆfqt9o {{ `Hu e?ɊfPsm Hfᶅyzjskh g`T ᶑldmh {{







vh ɊfPs Pm ᶅudqh ᶑvdk { s?ⱠfdC? {{

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The Semantic Model The traditional approach was seen as little flexible by some authors, such as Bolinger (1986). He believed that the decisions that govern intonation choices spring from the speaker, not from the grammatical structure. He introduced the concept of the relative semantic weight of words: those elements that the speaker views as semantically heavy will be accented, while those elements that are viewed as semantically light will not. This allows speakers to downplay elements.

The Discoursal Approach Brazil’s (1980, 1994) approach highlights that there is nothing inherent in the text: the intonation choices are made by each speaker, who canpresent information and project a context of interaction in different ways. He adopts a different terminology, but his terms normally have an equivalent in the traditional approach. For instance, he considers that each tone unit (i.e. each intonation phrase) has an obligatory prominence (i.e. accent): the tonic syllable (i.e. the nucleus). If there are more prominences, the first one is the onset syllable and the last one is the tonic syllable. He believes that the relevant choices are realized in the tonic segment that starts at the onset syllable and finishes at the tonic syllable. Speakers judge which syllables in each tone unit will be prominent according to the context of interaction. In other words, speakers take into account what he/she thinks he/she shares with the interlocutor, etc. Each tone unit presents syntagmatic choices (the horizontal syntactic organization of a text). By way of illustration, the IPI went to Cuba is made up of four “slots” that are syntagmatically connected as subject, verb and complement. Each syntagm (each slot) can also be exploited paradigmatically. That is, each word is chosen from a subset of other possible words that could work in that combination. When a speaker chooses one word to fill a slot he/she has decided not to choose any other word. This is a meaningful choice. Some slots present more options than others (e.g. Cuba can be replaced by thousands of places, but the word tois the only option here, as it is the only item the verb went allows). The linguistic paradigm is made up of all the combinations that are grammatically possible, while the existential paradigm consists of all the combinations that are true in the real world.

1

2

Slot 3 at

I

!went

to

4 ÁCuba. Á thens. A New ÁYork. ÁHogwarts.

Explanation This is not a valid linguistic paradigm: at does not collocate. These are all possible options in the linguistic and existential paradigm. By choosing Cuba, the speaker is not choosing any other place. This is not a valid existential paradigm outside Harry Potter’s world.

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Contrastive Focus

Contrast can break all rules. Cruttenden (1997, 82) states that “an informal definition of ‘contrastive’ would refer to it as involving comparison within a limited set.” The most common type of contrast is binary, which can be formulated as “X not Y” (E.g. “I want an apple, not an orange.”Apple vs. Orange). In this case, the contrast was made explicit. Some other times, the contrast is presented in an implicit way. If somebody says “I love you” the listener is expected to recover the referent against which youis contrasted (e.g. “I love you, not my wife.”) Finally, it is possible to find a contrastive set that is not binary. For instance, Cruttenden exemplifies this point by referring to traffic lights: “The lights were red” means that they were neither green nor yellow.

Track 20 – Listen to the recording. Focus on the contrasts. (Hancock 2003, 107)

Exams JAMES:

I won’t pass.

TED:

You will pass.

JAMES:

You’ll pass.

TED:

I don’t know.

JAMES:

You won’t fail.

TED:

I might fail.

JAMES:

I | will fail.

TED:

The exam’s |not hard.

JAMES:

It’s very hard.

TED:

But not too hard.

JAMES:

Too hard for me.

TED:

But you’re very clever!

JAMES:

You’re | the clever one.

TED:

Yes, | I suppose you’re right.

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Ch Hf88yzl {{



8cYdHly {{

`H …v?Tms to@9r {{

v?Tm

8sdc {{

it 7vHk ddo@9r {{

8cYdHly {{

rit9k do@9r {{ o@9r {{

8sdc {{

`H …c?Tms ym?T {{ c?Tm

8cYdHly {{

it …v?Tms redHk {{

v?Tm

8sdc {{

`H tl`Hs l`Hs dedHk {{

8cYdHly {{

u`H { vHk

{ vHk wedHk {{

8sdc {{

Ch Hf5yzly yzly { …mPs tg@9c {{

8cYdHly {{

Hsr 7udqh h dg@9c {{

8sdc {{

a a?s mPs rst9 dg@9c {{ Ê ?s mPs

8cYdHly {{

…

8sdc {{

Êa?s  iN9 udqh 8jkdu? {{ iN9 udqh

8cYdHly {{

uit9 { ? C? ? C? tjkdu? dvUm {{

8sdc {{

iidr {{ `H r

{{ `H r?2o?Ty iN9 iq`Hs {{

st9 g@9c e? st9 g@9c e? ylh9 {{

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Highlighting: Communication activity Adapted from Bradford (1988, p 51 & 55)

Student A: You are a customer in a small restaurant and are ready to order. The menu is quite limited, but there are different kinds/flavours of each thing. Student B is the waiter/waitress and will ask you for your order. 1. Choose from the menu what you would like for each course. 2. Ask the waiter/waitress for more information. 3. Choose from the selection of thins you are offered.

Starters: Soup Salad

Main course: Meat Pasta

Dessert: Cake or pie Ice-cream

Hot beverages

Student B: You are a waiter in a small. The customer’s menu is quite limited and student A will need more information about the kinds/flavours of the things in each course before he/she can order. 1. Ask the customer to choose something. 2. Give more information about the thing he/she chooses. 3. Do these two activities for each course.

Menu: Friday 12th Starters Salad: Caesar – steamed vegetables – fresh vegetables Soup: tomato – vegetable – chicken Main course Pasta: spaghetti Bolognese – mac and cheese - vegetarian Meat: steak – chicken schnitzel – grilled salmon Dessert: Ice-cream: vanilla – chocolate – strawberry Cake: cheesecake – chocolate cake – red velvet cake Hot beverages: tea – coffee (with or without milk)

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Tone variants At times, it is very hard to distinguish one tone from another one.. Why is this so? There are several variants of each tone. Although we do not normally mark these features, there are three major choices: tone direction, width and pitch height.

Tone Direction

Pitch height

Falls Fall Rise-fall

Non-falls Rises Rise

Level

Width

Distribution

High

Narrow

Glide

Mid

Wide

Step

Low

Fall-rise

a) Pitch direction:: Does the pitch go up or down? down? Does it stay level? The distinction made between falls and non-falls falls is related to the meanings they convey, a topic that will be developed in unit 4 in greater detail. Tones are defined in terms of their end point: the falling tones (i.e. fall and rise-fall) ri fall) end in a fall, the rising tones (i.e. the rise and the fall-rise) fall end in a rise, and the level remains at the same pitch height.

b) Pitch height:: This topic is dealt with in further detail in the next course. Some authors refer to this as key. The normal ormal relative pitch height seems to be mid. A high tone is contrastive (the attitudinal approach maintains that this expresses surprise or liveliness) and a low tone is normally equative (the attitudes conveyed may be glossed as matter-of-factly, matter bored, uninvolved).

c) Width: Wide tones are more easily detected than narrow tones. A very wide tone normally shows greater involvement, while a very narrow tone may sound casual.

d) Distribution:: If the nuclear syllable contains a long vowel that is not clipped, there tends to be a marked glide.. If the nuclear syllable is made up of a short vowel, especially followed by a voiceless sound, there tends to be steps in the tail.

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Track 21

Example of different kinds of falls

The Interlinear Tonetic Notation Before embarking on a detailed description of the English nuclear tones, a full description of the interlinear tonetic notation is presented here:

•

The upper line indicates the upper range of a particular speaker’s speaking voice.

•

The lower line indicates the lower range of a particular speaker’s speaking voice.

•

Each syllable is represented by a dot. o A large black dot indicates that the syllable is stressed. o A large empty dot indicates that the syllable is prominent, generally because it contains a strong vowel. o A small dot indicates that the syllable is unstressed and non-prominent.

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The Stave In suprasegmental phonetics, unlike music, we’re not interested in the absolute pitch of notes. Although we do not speak the way we sing, it is useful to train our ears and voices at the outset of this course to be able to use “relative pitch” at will.

Low, mid and high levels

Pre-head and head

Static high head

Stepping head

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Falling head

Rising head

Practise: Draw the stressed and unstressed syllables corresponding to each intonationally marked phrase: 1) There were some 1men at the 7bar.

5) …Can I areally alet them ago to the rloo?

2) 1Why did you deacide to aleave 7them.

6)1Underastanding ɊEnglish proɊnunci8ation.

3)7Peter is dcoming to dsee us todmorrow.

7)  Don’t be asuch a aselfish 7fool.

4)She was  getting avery asympa7thetic.

8)He can be …quite ananoying aguy, rtoo.

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The Fall Awareness raising: Listen to the prologue to The Lord of the Rings. What sort of text is it? What’s its purpose?

Track 22 – Focus ocus on form: The pitch goes from a higher note to a lower note. The starting point may vary; therefore the key of the tone may be high, mid or low. If the nucleus is not followed by a tail, then the fall takes place on this syllable. If there is a tail, two possibilities possibiliti are available: •

A falling glide on the nuclear syllable (especially if the vowel is long). All the syllables in the tail remain low.

•

A step down from the nuclear syllable (especially if the vowel is short and followed by a voiceless sound) to a succession n of low syllables in the tail.

Semantic criterion: the fall sounds complete, like a statement or an

Focus on meaning:

exclamation.

ɊThis is your ᶑparcel. ᶑGo ᶑ ᶆnow!

The Fall: Basic Meanings & Uses School of London School of Birmingham • Statements My Ɋname is ᶑBond.

• Exclamations

• New information ɊThis is a 8pronoun.| wPronouns Pronouns | reɊplace 8nouns.

That’s Ɋabsoᶅlutely 8brilliant!

• Wh- questions ɊWhat are you 8doing?

• Find-out questions ɊWhat’s your ᶅfavourite 8subject? subject?

• Commands ɊClose the 8door.

• Major information (independent) She’s Ɋgoing to re8sign | I’m awfraid fraid.

• Divergence (separateness) 8Oh, | you’re 8back.

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Task 1: Types of Fall (Track 23) 1 2

\Now!!! Now!

3

ᶑNow.

4

ȼNow.

Task 2: Fall (Track 24) Just focus on the general fall of the pitch, disregard all its variants. 1

ᶑThree

10

ᶑCome

19

ᶑBoo

2

ᶑGo

11

ᶑStop

20

ᶑSuper

3

ᶑFour

12

ᶑFirst

21

ᶑCrazy

4

ᶑStay

13

ᶑRight

22

ᶑNever

5

ᶑSure

14

ᶑSix

23

ᶑSplendid

6

ᶑBad

15

ᶑWow

24

ᶑRubbish

7

ᶑNine

16

ᶑGosh

25

ᶑNonsense

8

ᶑGood

17

ᶑGreat

26

ᶑMarvellous

9

ᶑSing

18

ᶑCheers

27

ᶑWonderful

Task 3: Enlarging a tone unit (Track 25) Listen and repeat. Focus on the onset and the nucleus:

Group A

Group B

Riᶑdiculous!

In ᶑcredible!

ɊHow riᶑdiculous!

ɊHow inᶑcredible!

But that’s ri ᶑdiculous!

That’s inᶑcredible!

How Ɋabsolutely riᶑdiculous!

How Ɋutterly inᶑcredible!

I think that’s Ɋreally ᶅquite riᶑdiculous!

They’re going to find it Ɋutterly inᶑcredible!

Group C You’re Áright! You’re ᶑright, you /know! You’re Ɋabsoᶅlutely ᶑright! I think you’re Ɋabsoᶅlutely ᶑright! You’re going to be proved Ɋquite ᶑright!

Group D She Ɋlives in ᶑKent. She Ɋlives in ᶑKenton. She Ɋlives in ᶑKensington. She Ɋlives in ᶑKettering, you ᶆknow.

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Prof. Francisco Zabala - 2015

Task 4: Single Intonation Phrases (Track 26) 27

ɊYou’ve got ᶑbetter. But ɊI ᶑhaven’t.

ɊWhat do I ᶅdo ᶑnow?

28

The Ɋtrain was ᶑcrowded. So we Ɋcaught a ᶑlater

3

We’re Ɋplanning to Ɋfly to ᶑItaly.

29

“ɊWhere are you ᶑfrom?” (ᶆ) ᶆBill asked ᶆJim.

4

We’re Ɋplanning to ᶑfly to ᶆItaly.

30

He Ɋhad a ᶑheart attack ᶆlast year. It Ɋhasn’t

5

We’re ᶑplanning to ᶆfly to ᶆItaly.

31

You’ve Ɋgot to slow ᶑdown a bit.

6

ɊThis is a ᶑpen.

32

I’d like Ɋfour ᶑtickets, ᶆplease.

7

I’m deɊlighted to ᶑmeet you.

33

He’ll be Ɋoff ᶑsoon, I imᶆagine.

8

We’re Ɋall ᶑhere.

34

It’s Ɋjust not ᶑgood enough.

9

They’re Ɋwaiting outᶑside.

35

ɊWho are you ᶑwaiting ᶆfor?

10

It’s Ɋhalf past eᶑleven.

36

ɊWhat are you ᶑlooking ᶆat?

11

I’ll Ɋgo and get some ᶑmilk.

37

ɊTake your ᶑshoes off. ɊTake them ᶑoff.

12

So there were ᶑthree of them.

38

13

So we’ll be Ɋfree by ᶑsix, then.

39

14

ᶑHi. ɊI’m ᶅCathy ᶑPomeroy. I’m a Ɋcustomer’s

40

ɊBring your umᶑbrella with you. ɊBring it ᶑwith you. ɊPick the ᶑboxes ᶆup. ɊNow put them ᶑdown again. ɊHow’s the ᶑhomework ᶆgoing? I’ve Ɋstill got an ᶑessay to ᶆwrite.

1

ɍEnglish Intonation. An Introᶑduction. By ɊJohn ᶑWells. ɊCambridge Uniᶅversity ȼPress

2

ᶆone.

ᶅstopped him ᶑsmoking, ᶆthough.

ᶑservice agent. ɊWho’s ᶑthat?

41

16

ɊWhich is the ᶑshift key?

42

He Ɋought to ᶅkeep his ᶑmouth ᶆshut.

17

ɊWhat’s your ᶑname?

43

You Ɋneed to ᶅkeep the ᶑbrush ᶆwet.

18

I’ll Ɋpick you up toᶅmorrow ᶑmorning.

44

ɊTell me ᶅwhat to ᶑdo.

19

What ᶑtime?

45

15

ɍWait and ɍsee which Ɋway the ᶑwind is ᶆblowing.

20

I’ll Ɋask you once ᶑmore.

46

Helᶑlo! ɊThis is ᶑJimmy ᶆspeaking.

21

ɊWhat a surᶑprise! ᶑWasn’t it!

47

ᶑThank you | ᶑvery much | inᶑdeed.

22

What an Ɋinteresting ᶑlecture that ᶆwas!

48

It’s Ɋnearly ᶑready.

23

ɊStand ᶑup when you ᶆanswer.

49

Well Ɋmake up your ᶑmind.

24

ɊWhat are you ᶑlooking at?

50

He said “you must Ɋmake up your ᶑmind.”

25

ɊWho was she ᶑtalking to?

51

I Ɋwent over to ᶑKaren’s ᶆhouse | but it was her

26

I reɊceived a ᶑletter ᶆfrom him.

1

A:

2

A:

3

A:

4

A:

5

A:

I Ɋcouldn’t ᶅget you The Colᶑlector,| so I

6

A:

7

ᶑfather | who Ɋanswered the ᶑdoor.

Task 5: Exchanges (Track 27) B:

I’ve ᶑalways been ᶆterrified of ᶆspiders.

B:

I’ve Ɋalways been ᶑterrified of ᶆspiders.

B:

I’ve Ɋalways been ᶅterrified of ᶑspiders.

B:

ᶑThat’s the ᶆbook I ᶆwanted.

B:

ɊThat’s the book I ᶑwanted.

ɊWhose is ᶑthis?

B:

ᶑMine.

A:

ɊWhose is ᶑthis?

B:

ᶑYours.

8

A:

ɊWhere do you ᶑcome from?

B:

ᶑSpain.

9

A:

ɊWhere do you ᶑcome from?

B:

ᶑFrance.

10

A:

We’ve Ɋjust got enᶑgaged!

B:

ɊHow ᶑmarvellous!

11

A:

She’s had a Ɋbaby ᶑboy!

B:

But Ɋthat’s ᶑwonderful!

ɊHow ᶑlong | have you been Ɋfrightened of ᶑspiders? ɊWhy don’t you try Ɇkeeping | a Ɋspider as a ᶑpet? Is Ɋthere anything that Ɇreally | ᶑfrightens you? I’ve Ɋjust finished Ɇreading | ɊHomebush ᶑBoy. Ɋbought The ᶑMagus | inᶑstead.

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Prof. Francisco Zabala - 2015

12

A:

ɊNow they ᶅwant us to ᶅreᶑregister.

B:

ɊWhat a paᶑlaver!

13

A:

I’ll be Ɋthere by ᶑfive.

B:

ᶑGreat.

14

A:

It’s …nearly Ⱳeight...

B:

ᶑGoodness! I’m Ɋgoing to be ᶑlate!

15

A:

He’s from ᶑFrance.

B:

From ᶑGermany.

16

A:

She said her ᶑfoot was ᶆhurting.

B:

Her ᶑarm.

17

A:

Do Ɋsell ᶑstamps?

B:

ᶑYes, | we ᶑdo.

18

A:

Do you Ɋknow ⱠPeter?

B:

Of ᶑcourse. | ᶑYes, | I ᶑdo.

19

A:

Do you Ɋknow ⱠPeter?

B:

Of ᶑcourse I know ᶆPeter.

20

A:

It Ɋlooks like ᶑrain.

B:

It ᶑdoes, | ᶑdoesn’t it?

21

A:

ⱲMummy, | Ɋcan I have some Ⱡcake?

B:

We’ll Ɋhave to ᶑsee, | ᶑwon’t we?

22

A:

ɊWhy did I ᶅonly get a ᶑC?

B:

Because you made a Ɋlot of miᶑstakes, | ᶑdidn’t you?

23

A:

I Ɋreally ᶑlike it ᶆhere.

B:

ᶑDo you? | I was aɊfraid you ᶑwouldn’t.

24

A:

Her daughter’s Ʉawfully Ⱳclever...

B:

ᶑYes, | ᶑisn’t she?

25

A:

ɊWill you be ᶅgoing to ᶅOak ⱠHill?

B:

ɊWill I ᶑheck!

26

A:

ɊUnscrew the ᶑcylinder ᶆhead.

B:

ᶑRight. | I ᶑwill.

27

A:

ɊWho does she ᶑwork for?

B:

ɊE & ᶑQ.

28

A:

ɊWhat’s your ᶑnumber?

B:

ɊTwo seven ᶑnine.

29

A:

ɊDid ⱠJames ᶄanswer the ᶄphone?

B:

ɊNo, ᶑNikki did.

30

A:

ɊWill NaⱠtasha ᶄread the ᶄlesson?

B:

ɊNo, ᶑJake will.

31

A:

ɊWhere shall we ᶅhave our ᶑtea?

B:

In the ᶑsitting ᶆroom.

32

A:

ɊWhere’s ᶑJim gone?

B:

He’s Ɋoff on a ᶑtraining ᶆrun.

33

A:

ɊWhat are they ᶑsuffering ᶆfrom?

B:

ᶑFood poisoning.

34

A:

ɊWhat are they ᶑsuffering ᶆfrom?

B:

ɊAthlete’s ᶑfoot.

35

A:

ɊWhat are they ᶑsuffering ᶆfrom?

B:

ᶑWhooping ᶆcough.

36

A:

Do you obɊject to Ⱡdogs?

B:

ɊNo, I aᶑdore ᶆdogs.

37

A:

Shall we have the Ɋbeef Ⱡcurry?

B:

ᶑNo. | ɊLet’s have the ᶑprawn curry.

38

A:

Do you Ɋlike Ⱡwhisk?

B:

ᶇOh, I like ᶑmost ᶆcard ᶆgames.

39

A:

ᶇHave you Ⱡhurt yourᶄself?

B:

ɊYes, I’ve ᶑcut myᶆself.

40

A:

Did you say Ⱡfifteen | or ᶑsixteen?

B:

ᶑFifteen.

41

A:

He’s a Ɋpsychoᶑtherapist.

B:

ɊNo, a ᶑphysioᶆtherapist.

42

A:

I need Ɋten ᶑmilligrams.

B:

You mean Ɋten ᶅmilliᶑlitres.

43

A:

Do you Ɋwork Ⱡhard?

B:

Of ᶑcourse I ᶆdo!

44

A:

ᶑGod! I was Ɋso ᶑangry!

B:

I ᶑbet you ᶆwere!

45

A:

ᶑJason was to ᶆblame.

B:

ᶑWas he?

46

A:

ᶇDo you Ⱡsmoke?

B:

I ᶑdo.

47

A:

ɊWho likes ᶑspinach?

B:

ᶑI do.

48

A:

ɊHow ᶑare you?

B:

ᶑFine, thanks. ɊHow are ᶑyou?

49

A:

 Where’s your ᶑpassport?

B:

ɊI haven’t ᶑgot one.

50

A:

 Why

B:

I’ve Ɋgot an eᶑxam this ᶆafterᶆnoon.

51

A:

ɊEverything OᵽK?

B:

It’s a Ɋbit ᶑhot in ᶆhere.

52

A:

You’ve left Ɋthis Ɇline | ᶑblank.

B:

(Well, Ɋthose Ɇdetails) | Ɋweren’t ᶑasked for!

53

A:

 What’s

the ᶑmatter?

B:

The ᶑbaby’s ᶆcrying.

54

A:

 What’s

the ᶑmatter?

B:

My ᶑarm ᶆhurts.

55

A:

Will Ɋyou be ᶅleaving on ⱠThursday?

B:

Oh, I Ɋhaven’t deᶑcided ᶆyet.

56

A:

ɊAre you ᶅready to ᶅhand in your Ⱡessay

B:

No, I Ɋhaven’t quite ᶑfinished it ᶆyet.

57

A:

ᶇWas the Ⱡcheese ᶄstill OᶄK?

B:

It had Ɋgone ᶑmouldy | ᶑnaturally.

58

A:

ɊWho’s ᶑNikki?

B:

She’s my Ɋsister who ᶅlives in ᶑCanada.

59

A:

 Who’s ᶑNikki?

B:

She’s my ᶑsister | who Ɋlives in ᶑCanada.

60

A:

ɊWhat are you ᶑlooking ᶆfor?

B:

ɊWhere’s the ᶑnewspaper I was ᶆreading?

61

A:

ɊWho are you Ⱡtalking to?

B:

Oh, Ɋthat’s ᶑWinston. The Ɋman I was

are you ᶅlooking ᶑworried?

ᶄnow?

ᶑtelling you aᶆbout. 62

A:

ɊWhat’s Ⱡthat?

B:

It’s a ᶑspatula, | for Ɋcleaning the ᶑbowl with.

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Prof. Francisco Zabala - 2015

Task 6: In the classroom! 1

ɊNice ᶑwork!

2 3

15

ɊGo to ᶅpage eᶑleven.

ɊWell ᶑdone, kids!

16

ɊOpen you ᶑbooks.

ɊTen out of ᶑten.

17

ɊTurn your ᶑphones off.

4

ɊJust in ᶑtime.

18

ɊDon’t ᶑrush.

5

ɊThat’s a ᶅgreat ᶑquestion!

19

ɊDon’t ᶑpull.

6

ɊKeep ᶑgoing!

20

ɊTime’s ᶑup.

7

ɊDon’t give ᶑup!

21

ᶑSilence, ᶆplease.

8

ɊWay to ᶑgo!

22

ɊListen to the reᶑcording.

9

ɊWhat’s the ᶑanswer?

23

ɊCome to the ᶑfront.

10

ɊNice ᶑtry!

24

ɊTurn on your comᶑputers.

11

ɊNice atᶑtempt!

25

ɊWhat’s the ᶑdate toᶆday?

12

ɊTry aᶑgain.

26

ɊWhat do you ᶑcall this?

13

There’s Ɋno ᶑhurry.

27

ɊWhat the ᶑweather ᶆlike?

14

ɊNever ᶑmind.

28

ɊClean the ᶑboard, ᶆplease.

Task 7: Simon says! Get together in groups. Let’s play “Simon says”. Make sure you can build long intonation phrases whose head is static and whose nuclear tone is a fall. E.g.:

Speaker: ɊSimon says “ᶅstand ᶑup”. Speaker: ɊTouch your ᶑnose. Speaker: ɊSimon says ᶅclose your ᶅright ᶑeye.

Task 8: Long heads 1

We Ɋhaven’t ᶅheard from him for 8ages, you dsee.

11

When Ɋever will he ᶅget a ᶅchance like 8that!

2

I Ɋdon’t think he ᶅhad the ᶅchance to e8scape.

12

You can Ɋtake the ᶅfirst ᶅturning on the 8right.

3

I Ɋguess she ᶅmay be ᶅfree on ᶅSunday after8noon.

13

Take the Ɋwhole iᶅdea with a ᶅpinch of 8salt.

4

I guess she Ɋmay be ᶅfree on ᶅSunday after8noon.

14

ɊKeep the ᶅjacket for as ᶅlong as you 8like.

5

I Ɋfirmly beᶅlieve you’ll be ᶅbetter ᶅoff wi8thout him.

15

This is a Ɋpresent from my ᶅUncle 8Jonathan.

6

I Ɋcan’t quite ᶅmake up my 8mind aᶆbout it.

16

What Ɋhorrible ᶅweather for ᶅlate Ju8ly.

7

But Ɋwhy can’t he ᶅkeep his 8mouth ᶆshut.

17

What a Ɋlovely ᶅsunny ᶅday for our 8picnic!

8

We Ɋbrowsed aᶅround in the ᶅbackstreet 8shops

18

Just Ɋleave the ᶅwhole afᶅfair to ᶅPeter and 8me.

9

When Ɋare you ᶅgoing to ᶅlearn to be 8careful.

19

When Ɋwill you ᶅdate a reᶅspectable young 8man?

Can I Ɋsee him if I ᶅcome back in the 8evening?

20

Your Ɋreport card ᶅleaves ᶅmuch to be de8sired.

10

Task 9: Long tails 1

ɊUncle 8Duncan is ᶆcoming to ᶆsee us toᶆmorrow.

11

ɊHow much 8milk do you ᶆwant in your ᶆtea?

2

“It’s Ɋup to 8you, sir,” deᶆclared the ᶆsecretary.

12

Your 8zip has ᶆcome unᶆdone again, ᶆHunter.

3

“I Ɋdon’t think that’s 8fine,” he ᶆsaid ᶆcautiously.

13

My 8elbow has got ᶆsomething ᶆwrong with it.

4

There’s a 8bug in my ᶆvegetable ᶆsalad.

14

I 8knew she would ᶆnever ᶆmarry our ᶆson.

5

ɊHow aᶅbout going to a 8restaurant, for a ᶆchange.

15

ɊEven your 8husband can apᶆpreciate ᶆbeauty.

6

I guess she’ll Ɋnever be 8glad, as a ᶆmatter of ᶆfact.

16

ɊLeave the 8door open, ᶆplease, my ᶆsweety ᶆpie.

7

It’s 8obvious, I would have ᶆthought.

17

ɊPass the 8pepper, ᶆwill you, ᶆplease, ᶆPercy?

8

I Ɋhate the 8T-shirt that ᶆJimmy is ᶆwearing.

18

I 8do like the iᶆdea that she’s ᶆjust introᶆduced.

9

ɊWhat’s the 8point, I’d ᶆlike to ᶆknow.

19

ɊWhat 8courses have you ᶆtaken so ᶆfar, ᶆShawn?

10

ɊWhich 8flavour do you preᶆfer?

20

He’ll 8have to ᶆlet you ᶆtravel with your ᶆboss.

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Prof. Francisco Zabala - 2015

Pitch height: high, mid & low Key Contrastive

Context

Example

Peter’s problem is |

that he’s married.

Particularizing

And the winner is |

Titanic.

Additive Equative

Look for the icon |

ᶑclick on it.

Phone Mr. Brown |

the ȼheadmaster.

Cause-Effect

He was unfaithful |

she ȼdumped him.

Effect-Cause

She dumped him|

he was unȼfaithful.

High

Mid

Low

Analysis “married not single” “Titanic not the rest” (e.g. As Good as it Gets / The Full Monty / Good Will Hunting / LA Confidential) “and then wait a bit”. “Mr Brown = Headmaster” “He was unfaithful so she dumped him” “She dumped him because he was unfaithful”

Task 10: listen to these contrasts (Track 28) 1

Wonderful!

2

ȼWonderful.

3

Wow!

4

Great!

5

Cheers

6

Splendid!

7

Marvellous!

8

Wonderful!

9

It was great!

10

Then we’ll ᶆsee what ᶆhappens.

11

I ɍcan’t beᶄlieve he did ᶆthat!

12

ɊWhat a pity!

13

I Ɋneed some ᶅnew running ᶆshoes.

14

ɊGood for you!

15

ɊBully for you!

16

We Ɋdidn’t ᶅhear a thing.

17

I Ɋwon’t ᶅtell anyone.

18

I Ɋwonder ᶅwhen it would be.

19

ɍWho’s that?

20

I’m singing, | too!

21

ɍNice to see you aᶆgain, ᶆHumphrey.

22

I had an ɍunexpected letter ᶆyesterday.

23

I’ve Ɋgot some work to ᶆdo.

24

I love you. I adore you. I Ɍthink you’re wonderful.

25

ɍBetter than ever!

26

Well, ɍmake up your mind!

27

ɊHe Ⱡsays | we’re Ɋtoo ᶑyoung, | but we’re not too ᶆyoung!

28

ɊHe Ⱡsays | I Ɋcan’t afᶑford it,| but I can afᶆford it!

29

ɊHe Ⱡthinks | we’ll Ɋstay out ᶅtoo ᶑlate, | but we won’t stay ᶆout too ᶆlate.

30

He ᶑsays | we’ll make Ɋtoo much ᶑnoise | in the hoᶑtel, | but we won’t make ᶆtoo much ᶆnoise.

31

ɊHe Ⱡthinks | I Ɋhaven’t got a ᶑpassport, | but I have got a ᶆpassport.

32

He says I Ɋdon’t work ᶑhard eᶆnough | for ᶑschool, | but I do ᶆwork ᶆhard!

33

ɊHe Ⱡsays | I’ve got ᶑschoolwork to ᶆdo, | but I haven’t got any ᶆschool work to ᶆdo.

34

ɊHe Ⱡthinks | we Ɋcan’t look ᶑafter ourᶆselves, | but we can look ᶆafter ourᶆselves.

76

Prof. Francisco Zabala - 2015

35

A:

We’re Ɋgoing on an outing | toⱡday.

B:

ɍWhere to?

36

A:

I ɍneed you to ᶄgive me a ᶑlift.

B:

ɊWhere ȼto?

37

A:

ɍWhy don’t you ᶄwant to go?

B:

Well, it’s raining, | isn’t it?

38

A:

ɍWhy don’t you ᶄwant to go?

B:

Well, it’s ȼraining, | ȼisn’t it?

39

A:

I Ɋdon’t know ᶅwhat to ᶑdo!

B:

Can I help you at ᶆall?

40

A:

I Ɍdon’t know Ɍwhat to ᶑdo!

B:

Can I ȼhelp you at ᶆall?

41

ɍCome and have dinner with us!

42

ɊCome and have ȼdinner with us!

Task 11: contrast high, mid and low

1

Brilliant.

2

ᶑBrilliant.

3

ȼBrilliant.

4

That’s gross!

5

That’s ᶑgross!

6

That’s ȼgross!

7

You should Ɋcome back at ten.

8

You should Ɋcome back at ᶑten.

9

You should Ɋcome back at ȼten.

10

She was Ɋquite late, you ᶆsee.

11

She was Ɋquite ᶑlate, you ᶆsee.

12

She was Ɋquite ȼlate, you ᶆsee.

13

Her brother’s ᶆsent an ᶆemail.

14

Her ᶑbrother’s ᶆsent an ᶆemail.

15

Her ȼbrother’s ᶆsent an ᶆemail.

16

ɊDon’t look back.

17

ɊDon’t look ᶑback.

18

ɊDon’t look ȼback.

19

It’s Ɋrather dark outᶆside at the ᶆmoment.

20

It’s Ɋrather ᶑdark outᶆside at the ᶆmoment.

21

It’s Ɋrather ȼdark outᶆside at the ᶆmoment.

22

There’s a leak on the ᶆroof.

23

There’s a ᶑleak on the ᶆroof.

24

There’s a ȼleak on the ᶆroof.

25

It was Peter who ᶆdumped you.

26

It was ᶑPeter who ᶆdumped you.

27

It was ȼPeter who ᶆdumped you.

28

I knew she was ᶆgoing to reᶆsign.

29

I ᶑknew she was ᶆgoing to reᶆsign.

30

I ȼknew she was ᶆgoing to reᶆsign.

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Prof. Francisco Zabala - 2015

The Rise Awareness raising (track 29): Task 1:

(Brazil 1994, p.18)

Task 2:

(Brazil 1994, p.18)

78

Prof. Francisco Zabala - 2015

Focus ocus on form (track 30): The pitch goes from a lower note to a higher note. The starting point may vary; therefore the key of the tone may be high, mid or low. If the nucleus is not followed by a tail, then the fall takes place on this syllable as a rising glide. If there is a tail, the rise is spread through the tail in a gradual way. If a high rise ris is followed by a long tail, the syllables after the nucleus do not step up abruptly; it is the last syllables that complete the effect by means of a steep jump up.

Semantic criterion: the rise sounds like a checking question.

Ɋone Ⱡtime | at Ⱡband ᶄcamp.

Focus on meaning: The Rise: Basic Meanings & Uses School of London School of Birmingham • Yes/NO questions Can I Ⱡhelp you?

• Echo questions ɍWhen am I going to ᵽVegas?

• Repeat questions ᵽWhere did you ᶄsay?

• Minor information (dependent) It Ɋnever ᶑsnows | in this Ⱡcity city. (Trailing) In this Ⱡcity, | it Ɋnever ᶑsnows. snows. (Leading)

• Politeness ɊHave a Ⱡseat, ᶄplease.

• Continuation We Ɋneed Ⱡflower, | Ⱡsugar, | Ⱡmilk... Ⱡ (Listing) Do you preɊfer Ⱡtea | or ᶑcoffee? coffee? (Alternatives) ( ɊMr ⱠSmithson | has Ɋtwo ᶑsons. sons. (Topic) (

• Old information ɊLook at the ᶑboard. The Ⱡboard board | is ᶑnew.

• Checking questions Can you Ⱡhear me ᶄwell?

• Convergence (togethernes togetherness) ⱠOh, | I Ɋsee you ᶅgot an ᶑA A.

• Linguistic control ɊOnce upᶅon a Ⱡtime time | in a Ɋfar away Ⱡland |...

79

Prof. Francisco Zabala - 2015

Task 3: (track 31) Listen to these contrasts. 1

I’m ᶑsure.

2

I’m Ⱡsure?

3

I Ɋthink it was riᶑdiculous.

4

I Ɋthink it was riⱠdiculous.

Task 4: (track 32) Listen to what was happening at the end of Mandy and David’s conversation. (Brazil 1994, p.21)

MANDY:

Now Ɋlet me ᶅsee if I’ve ᶅgot it Ⱡright. I need the Ɋright hand Ⱡlane…

DAVID:

ⱠYes, | Ɋright hand Ⱡlane…

MANDY:

ⱠYes…

DAVID:

By the ɊShell Ⱳservice ᶆstation…

MANDY:

ⱠYes…

DAVID:

ɊCollege ⱠLane…

MANDY:

ⱠYes, | Ɋpast the Ⱳtechnical ᶆcollege…

DAVID:

ɊPast the Ⱳtechnical ᶆcollege, | Ɋpast the Ⱡprimary ᶄschool…

MANDY:

ⱠYes…

DAVID:

AɊnother Ⱡjunction…

MANDY:

ⱠYes…

DAVID:

ɊPark Ⱡroad,| Ɋturn Ⱡright…

MANDY:

ⱠYes, | take the Ɋfirst Ⱡexit…

DAVID:

ɊFirst Ɇexit | Ɋat the ᶅmini Ⱡroundabout…

MANDY:

And Ɋthat’s ᶅPark ᶑClose.

DAVID:

ɊThat’s ᶑit!

Task 5: (track 33) Listen to the answers. Are these checking questions (rise) or finding out questions (falls). 1

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

2

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

3

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

4

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

5

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

6

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

7

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

8

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

9

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

10

A:

ɊBill could ᶅask a ᶑfriend.

B:

Who?

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Prof. Francisco Zabala - 2015

Task 6: (track 34) Listen to these different types of rises. 1

ⱡWonderful

2

ᵽWonderful

3

/Wonderful

4

A: ɊHave you got the ⱡdetails? B: I ⱡhave.

5

A:

You’ve forɊgotten your gloves.

B:

I ᵽhave?

6

A:

You haven’t Ɽpaid for the coffee!

B:

/I have!!!

Task 7: (track 35) Listen to these intonation phrases and imitate them. /Now

33

ɊHaven’t they ᶅdone eⱠnough?

2

ⱡNow

34

ɊDidn’t you ᶅbring an umⱠbrella?

3

35

ɊCouldn’t you ᶅsend a Ⱡtext ᶄmessage?

4

ᵽNow /Now

36

ɊIsn’t she Ⱡready ᶄyet?

5

ⱠNow

37

ɊAren’t you ᶅgoing to ᶅintroⱠduce us?

6

ⱠThree

38

ɊWon’t it be a ᶅbit Ⱡcold?

7

ⱠPlay

39

ɊWasn’t she ᶅhere Ⱡlast ᶄweek?

8

ⱠGo

40

ɊHasn’t he Ⱡfinished ᶅyet?

9

ⱠWhy

41

ɊDon’t you feel a ᶅbit overⱠdressed?

10

ⱠBad

42

ɊCouldn’t we ᶅask for some Ⱡmore?

11

ⱠMine

43

Have you Ɋfinished your Ⱡessay?

12

ⱠYours

44

ɊDid you reᶅmember to Ⱡtell her?

13

ⱠGood

45

ɊCan you speak ⱠFrench?

14

ⱠTime

46

Are you Ɋgoing to comⱠplain?

15

ⱠNice

47

Is the Ɋwater Ⱡhot eᶄnough?

16

ⱠStop

48

ɊDid he aⱠpologize?

17

ⱠRight

49

Was she Ɋpleased to Ⱡsee you?

18

ⱠThanks

50

ɊWere the Ⱡchildren ᶄthere?

19

ⱠTest

51

ɊHave you ᶅvacuumed the Ⱡcarpets?

20

ⱠAlways

52

ɊDon’t Ⱡworry.

21

ⱠThousands

53

You could Ɋhave Ⱡcoffee, | or Ⱡtea...

22

ⱠThis one

54

Is Ɋthat my Ⱡlibrary ᶄbook?

23

ⱠCarrots

55

ɊCan I Ⱡget you ᶄanything?

24

1

Are you Ɋready to Ⱡanswer?

56

ɊCould you give Ⱡme some, ᶄplease? As Ⱡwell?

25

You Ɋwant to ᶅtalk to Ⱡwho?

57

ɊCould I ᶅborrow some Ⱡsugar?

26

ⱠAll of us?

58

“ᶇAre you Ⱡsure?” she ᶄasked.

27

ⱠWhat did you ᶅsay her ᶅname was?

59

ⱠChocolate, ᶄanyone?

28

You’ll be Ɋcoming to Ⱡdinner?

60

ɊDid you ᶅsee Big ⱠBrother on ᶅtelevision ᶅlast ᶅnight?

29

You Ɋtook his Ⱡpassport?

61

ɊThis is ᶅhow to Ⱡclose it.

30

ɊWhat’s your Ⱡname?

62

Is Ɋthat your Ⱡpartner?

31

ɊWhen did you arⱠrive?

63

ɊThat’s the Ⱡend of the ᶄweather ᶄforecast.

32

ɊWhat’s the Ⱡtime?

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Prof. Francisco Zabala - 2015

Task 8: (track 36) Listen to these exchanges. Imitate the drill, i.e. B’s part. 1

A:

ɊThis ᶅmoney is ᶑJohn’s.

B:

ⱠJohns?

2

A:

ɊThis ᶅmoney is ᶑJohn’s.

B:

ⱠWhose?

3

A:

I’d Ɋlike some ᶑchicken, ᶆplease.

B:

ⱠChicken?

4

A:

I’d Ɋlike some ᶑchicken, ᶆplease.

B:

ⱠGrilled?

5

A:

She was Ɋreading the ᶑTimes.

B:

ᶇThe ⱠTimes?

6

A:

You oughtn’t to ᶅeat that Ⱳpie...

B:

You Ɋmean it’s Ⱡpoisonous?

7

A:

So there were ᶑthree of them.

B:

Are you Ⱡasking me, | or ᶑtelling me?

8

A:

Do you Ɋsell ᶑstamps?

B:

We Ⱡdo.

9

A:

You haven’t Ɍbrought the ᶑmilk.

B:

I Ⱡhave.

10

A:

It was ᶑbrilliant!

B:

It Ⱡwasn’t.

11

A:

You  haven’t ᶅbrought the ᶑmilk.

B:

ᶑYes, | I Ⱡhave!

12

A:

It was ᶑbrilliant!

B:

ᶑNo, | it Ⱡwasn’t!

…

13

A:

ɊHave a ᶅcup of ᶑtea.

B:

That’s Ɋvery Ⱡkind of you.

14

A:

ɊAny ᶅproblems with the Ⱡbuilders?

B:

I Ɋdon’t Ⱡthink so.

15

A:

ɊAny ᶅproblems with the Ⱡbuilders?

B:

ɊNot Ⱡreally.

16

A:

ɊAny ᶅproblems with the Ⱡbuilders?

B:

No, Ɋeverything’s OⱠK.

17

A:

ɊGot the Ⱡkeys?

B:

ɊAre you Ⱡready? Is Ɋthat the Ⱡtime?

18

A:

ɊWhat did you ᶅthink of my ᶑsong?

B:

Do you Ⱡalways ᶄsing as ᶄflat as ᶄthat?

19

A:

What a Ɋlovely ᶑdress!

B:

You ᶑlike it,| Ⱡdo you?

20

A:

I’m ᶑthinking |of Ɋtaking a ᶑbreak.

B:

ⱠAre you?

21

A:

She  won’t be at ᶅall Ⱳpleased...

B:

ⱠWon’t she?

22

A:

They Ɋfinished the ᶑjob.

B:

ɊFinished the Ⱡjob?

23

A:

I was Ɋtalking to ᶅJames ᶑSmith.

B:

ⱠJames | ⱠSmith?

24

A:

She Ɋtook a ᶑtonga.

B:

She Ɋtook a Ⱡwhat?

25

A:

I …do find this Ⱳdifficult...

B:

ɊDon’t Ⱡworry, | it’s Ɋnearly Ⱡover...

26

A:

I’ve got Ɋsomething to ᶑtell you.

B:

ɊGo Ⱡon.

27

A:

ɊUnᶅscrew the ᶑcylinder ᶆhead.

B:

ⱠRight, | and Ɋwhat ᶑnext?

28

A:

I’m ᶑoff | Ⱡnow. ᶇGoodⱡbye.

29

A:

I’ve Ɋjust been into ᶑtown.

B:

UⱠhum.

30

A:

ɊWhat can I ᶑdo for you, ᶆsir?

B:

I’d Ɋlike this ᶑtie, | Ⱡplease.

31

A:

ɊAnd for Ⱡyou, ᶄmadam?

B:

Some ᶑpaper, | if you’d Ɋbe so Ⱡkind.

32

A:

I’m Ɋgoing to ᶑSheffield.

B:

ⱠReally? My ᶑmother’s | from ⱠSheffield.

33

A:

ɊLike a ᶅcup of Ⱡcoffee?

B:

No, I Ɋdon’t ᶑdrink coffee, | myⱠself.

34

A:

It’ll be ready toⱲmorrow.

B:

ⱠWill it?

35

A:

I …can’t ᶅstand Ⱳprawns...

B:

ⱠCan’t you?

36

A:

ɊMr. ᶑSmith! ɊHow ᶑare you?

B:

ɊI’m ᶑfine, Ms. ᶆJones.| And Ⱡyou?

37

A:

I’d like a Ɋpound of ᶑapples, ᶆplease.

B:

ɊHere you Ⱡare, ᶄsir.

38

A:

I Ɋwant a ᶑtaxi.

B:

ɊHere you Ⱡare, ᶄmadam. There’s Ɋone ᶑwaiting.

39

A:

ɊRed or ᶑwhite?

B:

I’ll Ɋhave the ᶑwhite, | Ⱡplease.

40

A:

Would you like Ⱡcoffee | or ᶑtea?

B:

ᶑTea, | Ⱡplease.

41

A:

ɊWhat are you ᶑdoing toᶆnight?

B:

I’ve got a ᶑmeeting, | Ⱡactually.

42

A:

ɊWhat’s ᶅRupert’s ᶑdriving ᶆlike?

B:

ɊPretty ᶑpoor, | if you ɋask Ⱡme...

43

A:

ɊWhat can I ᶑget you?

B:

One of those deɊlicious ᶑcakes you ᶆmake, | Ⱡplease.

44

A:

We Ɋought to be ᶑgoing | Ⱡsoon.

B:

There’s Ɋplenty of Ⱡtime, ᶄisn’t there?

45

A:

We could Ɋset off at aɆbout | ᶑseven.

B:

We Ɋdon’t ᶅneed to be there Ⱡearly, ᶄdo we?

46

A:

ⱠYes, | Ɋwhat Ⱡis it?

B:

ɊKeep the Ⱡnoise ᶄdown, would you ᶄplease?

47

A:

ɊCould I ᶅborrow your Ⱡpen?

B:

If you Ⱡmust...

48

A:

Do you Ɋever ᶅeat in the ᶅcanⱠteen?

B:

ⱠSometimes...

…

82

Prof. Francisco Zabala - 2015

Task 9: (track 37) Predict whether a fall or a rise is more suitable for each intonation phrase. Then, compare your choices with the recording.

An ɊInviᶑtation JANICE:

!Why don’t you ‡come and

see us?

JOHN:

!Where do you

JANICE:

In an !old

JOHN:

I’d !probably ‡come by

JANICE:

It’s only a !short w ‡ alk from the

JOHN:

And if I !came by

JANICE:

It’s !five

JOHN:

It’s in !Mill

JANICE:

The !first ‡house on the

live?

house | by the

river.

train. station.

bus?

minutes | from the Lane, |

bus stop.

isn’t it? !Where e xactly? left.

Task 10: (track 38) Predict whether a fall or a rise is more suitable for each intonation phrase. Then, compare your choices with the recording.

ɊGossiping at ᶅUniᶑversity JOHN:

!Who’s

that over /there?

JILL:

It’s

JOHN:

!What’s he

JILL:

Oh, he’s !one of our ‡best

JOHN:

!What’s he

JILL:

!Modern

Jim, | I

think.

like? students.

studying? languages.

JOHN:

Which /languages?

JILL:

English, |

JOHN:

That | sounds

French | and interesting!

Spanish.

83

Prof. Francisco Zabala - 2015

Task 11: (track 39) Listen to the text. Mark the onsets, nuclei and tones in each tone unit.

Central Station You’ll arrive | at Central Station. Wh en you get off the train | turn left | along the platform. At the end | o f th e platform | there’s an escalator. Go up it | and you’ll be in the main square. There’s a fo untain | in the square |and I’ll be waiting for you there.

Task 12: (track 40) ɊConfusing ᶑSurnames JOHN WATT:

ɊHelᶑlo. ɊAre you ᶑthere?

WILL KNOTT:

ᶑYes. ɊWho’s ᶑthat?

JOHN WATT:

ᶑWatt.

WILL KNOTT:

ɊWhat’s your ᶑname?

JOHN WATT:

Watt’s my /name.

WILL KNOTT:

ᵽWhat?

JOHN WATT:

My Ɋname’s ɍJohn ᶑWatt.

WILL KNOTT:

ɊJohn ᵽWatt?

JOHN WATT:

Yes. That’s ᶑright. ɊAre you Jones?

WILL KNOTT:

No,| I’m ᶑKnott.

JOHN WATT:

Well, Ã tell me your name, /then.

WILL KNOTT:

ɊWill ᶑKnott.

JOHN WATT:

Why not?

WILL KNOTT:

My Ɋname’s ᶑKnott.

JOHN WATT:

ɊNot ᶑwhat?

WILL KNOTT:

À

Not ⱲWhatt,| ᶑKnott!

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Prof. Francisco Zabala - 2015

Pitch height: high, mid & low Task 13: high rises in repetition questions (nucleus on interrogative) 1

A:

I think Ɋthis is ᶅJames’s ᶑIPod.

B:

ᵽWhose?

2

A:

ⱠGulliver | Ɋwent to ᶑLaputa.

B:

ᵽWhere?

3

A:

We’ll Ɋneed a ᶑdozen | at ᶑleast.

B:

ᵽHow ᶄmany?

4

A:

ɊThat was ᶅPrat ᶑGay.

B:

ᵽWhat was his ᶄname?

5

A:

He Ɋflies on the ᶅthirty ᶑfirst.

B:

ᵽWhat ᶄdate does he ᶄfly?

6

A:

That’s ɊBilly’s ᶑcousin.

B:

ᵽWhose ᶄcousin did you ᶄsay that ᶄwas?

7

A:

She’s Ɋhome by ᶑfive, in ᶆgeneral.

B:

ᵽWhat ᶄtime is she ᶄnormally ᶄhome?

8

A:

His Ⱳarm’s ᶆbroken, | so he Ɋcan’t ᶑplay.

B:

ᵽWhy ᶄcan’t he ᶄplay?

9

A:

I Ɋlike my Ⱡtea | at Ɋfive ᶑsharp.

B:

ᵽWhen do you ᶄlike your ᶄtea?

10

A:

ɊThese Ⱡroses | are for Graham.

B:

ᵽWho are they ᶄfor?

Task 14: high rises in echo questions 1

A:

ɊWhat ᶑis it?

B:

ɍWhat ᵽis it? Well, it’s a ᶑmemory ᶆstick.

2

A:

ɊHow many ᶑchildren has he ᶆgot?

B:

ɍHow ᵽmany? Seven.

3

A:

ɊHow ᶅold is his ᶑwife?

B:

ɍHow ᵽold, did you ᶄsay? ɍYounger than his daughter!

4

A:

We Ɋstart toᶅmorrow ᶅafterᶑnoon.

B:

You ɍstart toᶄmorrow ᶄafterᵽnoon?

5

A:

ɊMark’s quite ᶑtired these ᶆdays.

B:

ɍMark’s quite ᵽtired, did you ᶄsay?

6

A:

The Ⱡchildren | Ɋtook what they ᶑwanted.

B:

They ɍtook what they ᵽwanted?

7

A:

ɊIs it Ⱡraining?

B:

ɍIs it ᵽraining? Of course it is.

8

A:

Does your Ɋshop ᶅopen at weekⱠends?

B:

Does my ɍshop ᶄopen at weekᵽends? It’s always ᶆopen.

9

A:

ɊWhat’s that ᶑbowl ᶆfor?

B:

ɍWhat’s it ᵽfor? It’s for the cream you’re ᶆwhipping.

10

A:

ɊWhat’s the ᶅrabbit ᶑlooking ᶆat?

B:

ɍWhat’s the ᶄrabbit ᵽlooking ᶄat? Your carrots!

Task 15: contrast high, mid and low 1

ᵽReady?

2

ⱠReady?

3

ⱡReady?

4

Is it ᵽclear?

5

Is it Ⱡclear?

6

Is it ⱡclear?

7

ɊCan I ᶅclean the ᵽboard?

8

ɊCan I ᶅclean the Ⱡboard?

9

ɊCan I ᶅclean the ⱡboard?

10

Have you Ɋall ᵽfinished?

11

Have you Ɋall Ⱡfinished?

12

Have you Ɋall ⱡfinished?

13

Is Ɋthat the ᶅdirect ᵽobject?

14

Is Ɋthat the ᶅdirect Ⱡobject?

15

Is Ɋthat the ᶅdirect ⱡobject?

16

ɊCan I ᶅgo to the ᵽtoilet?

17

ɊCan I ᶅgo to the Ⱡtoilet?

18

ɊCan I ᶅgo to the ⱡtoilet?

19

ɊCan I ᵽhelp you?

20

ɊCan I Ⱡhelp you?

21

ɊCan I ⱡhelp you?

85

Prof. Francisco Zabala - 2015

Task 16: Long tails & low head 1

ⱡHow long are you ᶄplanning to ᶄkeep it?

2 3

11

ɊWho on ɋearth ᶆtold him to ⱡcome ᶄhere?

ⱡDid you ᶄfinish ᶄfirst, in ᶄfact?

12

ɋWhere did you ᶆget that iⱡdea ᶄfrom, ᶄNathan?

ⱡI’m not reᶄsponsible for ᶄany of ᶄthat.

13

I think it ɋmay have been ⱡyou who ᶄdid that.

4

ɊIs this ⱡseat free ᶄnow, ᶄmadam?

14

We ɋmight as well ᶆtry to ⱡdo it ᶄfor them.

5

ⱡWhy, may I ᶄask?

15

As ɋlong as it is conᶆvenient for you ⱡall.

6

ⱡWe didn’t ᶄlet him ᶄdown.

16

ɋCouldn’t it be ⱡcancelled, you ᶄsilly ᶄfool?

7

ɊEven ᶄJonathan can ᶄsee through ᶄthis.

17

ɋWouldn’t it be ᶆbetter to ⱡwait a bit ᶄmore?

8

ɊWhat ⱡnumber did you ᶄphone in the ᶄend?

18

They ɋdon’t let us ᶆdown ⱡoften, ᶄdo they?

9

ɊWhat ⱡseeds did you ᶄplant, my ᶄdarling?

19

She ɋcan be a ᶆbit more ⱡinteresting, you ᶄsee.

10

ɊMaybe ⱡSam can ᶄgive you a ᶄhand with ᶄthat.

20

ⱡTwelve, |ⱡthirteen, | ⱡfourteen, | ⱡfifteen, | ⱡsixteen, | ⱡseventeen, | ⱡeighteen, | ⱡnineteen, | ᶑtwenty.

Task 17: First sight reading Decide whether a fall or a rise would be more suitable in each intonation phrase. ɊText

JENNIFER:

Hi. ɊHow are you

SANDY:

Hi, |

JENNIFER:

Well, | I’m a Ɋbit wife, |

SANDY:

ɊWhat

JENNIFER:

As a Ɋmatter of

JOAN: MIRANDA:

tired, you see. ɊLast

fact, | she Ɋnever quite

you?

Monday | my

Susan, | has deɊcided to split

pinion, | she was Ɋafter his

ɊCan I

thanks. ɊHow are

great, |

happened? They’ve Ɋalways looked so

ɊText

MIRANDA:

news.

doing, Sandy?

Jennifer. I’m

back. His

o

1: ɊSad

son came

up.

happy together.

liked my son. In Ɋmy

money.

2: ɊProblems at

work.

talk to you for a second?

Yes,| Ɋcome

in, Miranda. ɊHow can I

I’ve been Ɋquite

help you?

worried lately, you see. I have Ɋchecked the

records we have | and some

money is missing. It’s Ɋquite a

lot of money, | I’m a fraid. JOAN: MIRANDA:

Oh, | that

is serious. ɊWhose ac

AcɊcording to my Brooks, |ɊCliff Quinn.

counts are affected?

info, | there are Ɋfour Howard, |ɊSteve

clients involved: ɊRobert

Green | and ɊKimberly

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Communicative activities! Task 18: (track 41) ɊOperating Operating a ᶑprinter FIONA:

ɍClose the Ⱡbox, box, |Ɋthat’s | Ⱡright. ᶑRight. ɍNow Now you can ᶄclose the ᶄwhole ᶑprogramme. programme. I Ɋthink we’re onᶑline | Ⱡnow. Now,  | Ɋtype the adⱠdress dress | in the Ɋbox at the ᶑtop. ɍNow Ɋlook look at the ɍwhole Ⱡpage | and  see if it ᶅlooks looks OᶑK. O ɊOᵽK?  Now you can print! print!

Task 19: Get pairs and choose one appliance or technological device. Instruct your partner on how to do something with it. Make sure you rise and fall at will ☺

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The Fall-Rise Awareness raising (track 42): Task 1: When you meet and old friend, the conversation is often about the people and places you both used to know, and you like to find out about what has changed. Several years ago, Tony left the office where Sue works, so when they happen to meet one day, there is a lot of catching up to do. Listen to part of their conversation.

Conversations like this one can be a bit confusing for anyone who isn’t in the know. For instance, it is sometimes difficult to keep track of the names of other people’s friends! Complete the table below with what you can remember about each of the people mentioned in the conversation.

Arthur

A senior member of staff who is rather secretive and set in his ways.

Jane Ted Mary Sarah Jane Harrison Angela John Fellows

(Brazil 1994, p.30)

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Focus ocus on form (track 43): 4 The fall-rise in detail rise glide occurs within the nuclear syllable. If there is a tail made up of unstressed If there is no tail, the fall-rise syllables, the nuclear syllable may be a falling glide (especially if the vowel is long) and the rise will spread through the tail. If there are prominent syllables in the tail, the rise will start on the last prominence. The normal onset before a fall-rise rise is a falling head. This consists of a narrow glide on the onset syllable followed by stepping tepping syllables in the head. This glide is not as marked as a falling nuclear tone.

Focus on meaning: The Fall-Rise: Fall Basic Meanings & Uses School of London School of Birmingham • Implicational (statement)

• Old information

…

I’m quite Ⱳhungry. hungry. (I.e. Let’s eat!)

• Minor information (dependent)

ɊGo is a ᶑverb. ⱲVerbs | Ɋtend tend to ᶅshow ᶑactions.

• Checking questions Can you …give me a Ⱳhand, hand, ᶆplease?

ⱲSometimes, | I Ɋcheat at eᶑxams. xams. (Leading) I Ɋcheat at eᶑxams | Ⱳsometimes. sometimes. (Trailing)

• Politeness (e.g. corrections)

• Convergence (togethernes togetherness) ⱲWell, | conɊgratuᶅlations lations on your ᶅnew ᶑbaby!

A: Paris is the capital of Canada. B: It’s the …capital of ⱲFrance. France.

• Continuation …

Our ᶅuniⱲversity | is Ɋone one of the ᶑbest.

• Contrast I ⱳwas ᶆsingle, | but ɍnow now I’ve ᶄgot ᶄtwo wives!

Semantic criterion: the fall-rise sounds like something is fishy (“but...”), or too obvious.

He’s Ⱳgorgeous… | (but stinks!) ⱲDuh

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Task 2: (track 44) Listen to these two texts. Think whether a fall or a fall-rise would be more appropriate in each of the boxes. Why?

TONY:

There was the Ⱳpost room | Ɇand | Ɋthen there was ɆAnd | there was the

SUE:

At the

photocopying room.

Arthur | ᶑnow?

Where’s …

Arthur’s ᶆplace.

top of the Ⱳstairs | was the

Ⱳthat | was the was the

coffee room | and

photocopying ᶆroom.

post room | and

…

opposite

…

Just beyond Ⱳthere |

Arthur’s ᶆroom | was about Ɋthree

doors aᶑlong.

Task 3: (track 45) Contrast: fall, rise & fall-rise. ᶑChair.

ⱠChair?

2

ᶑMonkey.

ⱠMonkey?

3

It was reɊmarkably ᶑgood.

4

You Ɋmustn’t ᶑworry.

1

ⱲChair… ⱲMonkey… It was re…markably Ⱳgood…

You Ɋmustn’t Ⱡworry.

You …mustn’t Ⱳworry.

Task 4: (track 46) 1

ⱲMine…

61

I …won’t tell Ⱳanyone…

2

ⱲNearly…

62

They’re …not ⱲChinese, | they’re Japanese.

3

ⱲProbably…

63

It …wasn’t ᶅreally Ⱳred, | just Ɋreddish.

4

ⱲPartly…

64

She …hasn’t ᶅdone very Ⱳwell, | ᶑhas she?

5

ⱲTrue…

65

The …trouble Ⱳis, | that we’re broke.

6

ⱲSoon…

66

She …doesn’t Ⱳsmoke. Not Ⱳnowadays, |

7

ⱲNo…

67

If you’re …feeling ᶅunⱲwell, | just say ᶆso.

8

ToⱲday…

68

She …felt that her Ⱳmother-in-ᶆlaw | Ɋalways

9

AⱲgain…

69

I Ⱳsaid | “Ɋpick them up.”

10

ⱲVertually…

70

ⱲThis ᶆtrain | Ɋterminates at ᶑEdgeware.

11

ⱲHappily…

71

…

12

ReⱲgrettably…

72

ɊThat’s the ᶅend of the Ⱳweather ᶆforecast |

13

ReⱲportedly…

73

…

Bill Ⱳthreatened ᶆJim |and Ɋthen he ᶑhit him.

14

AlⱲlegedly

74

…

Bill Ⱳthreatened ᶆJim |and then ɍhe ᶑhit him.

15

I Ⱳthink so…

75

…

Bill Ⱳthreatened ᶆJim |and then ɍhe hit him.

16

I Ⱳwish I was ᶆrich…

76

…

You and ⱲI | could Ɋsort it out quickly.

17

I’ll Ⱳtry…

77

…

Bill told ⱲMary | and then Ɋshe told ᶑJennifer.

18

She Ⱳmight…

78

The Ⱳweather | will Ⱳprobably | be ᶑawful

19

They Ⱳcould…

79

We …need some ᶅmore Ⱳrain…

20

He Ⱳsays so…

80

I’m Ⱳnearly | ᶑready.

ᶑanyhow.

looked ᶑdown on her.

When I say “Ⱳstop”, | ᶑstop.

Ɋnow we ᶅgo on to the news.

aᶆgain.

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21

I Ⱳhope so…

22

…

Do be Ⱳcareful…

23

…

Not at the Ⱳmoment…

24 25 26 27

ⱲYou’ve ᶆgot ᶆbetter, |but ⱲI ᶆhaven’t.

81

They’re Ⱳvirtually | Ɋindiᶑstinguishable.

…

Don’t forᶅget the Ⱳsalt…

82

I’m …sure he’s Ⱳwrong.

…

83

ⱲFortunately, | I was ᶑwrong.

I don’t think it’s Ⱳmine…

He was …only Ⱳjoking…

I’ve re paired the Ⱳwindows…

84

ⱲThen | I Ɋsaw a ᶑdog.

You can …try the Ⱳsalmon…

85

ToⱲday, | we’re Ɋgoing to do ᶑgrammar.

…

86

Mrs ⱲAston | will be Ɋtaking the ᶑchildren.

They’re only ᶅstaying for ᶅten Ⱳminutes…

87

…

It …wasn’t ᶅreally Ⱳbad…

88

Be…fore you ᶅjump to conⱲclusions, | Ɋlisten to

31 32 33

I’m …free toⱲday…

34

She could …read a Ⱳbook…

…

35

I can let you have Ⱳtwo…

36

They could …go on Ⱳfoot… Will you be ᶆable to ᶆwrite a Ⱳreference ᶆfor me?

38

I don’t supᶅpose you’d ᶅlike to Ⱳbuy one… You …couldn’t ᶅdo me a Ⱳfavour… Do you want to ᶅborrow my umⱲbrella?

41

…

…

Ⱳdifficult. 90

Can I open the Ⱳdoor ᶆfor you?

ᶑcolour. 91

She didn’t ᶅdo it beᶅcause she was Ⱳtired… She didn’t Ⱳdo it | beɊcause she was ᶑtired.

45

I …don’t ᶅwant to sound Ⱳrude, | but is Ɋthat

…

is | in a ɍstrong finᶄancial poᶑsition. 94

48

…

49

If …I were Ⱳyou, | I’d reᶑject it.

50 51

ᶑdifficult | ᶑjob. 96

If I were Ⱳyou, | I’d Ɋwait and ᶅsee what

53

ⱲAndy ᶆisn’t the ᶆonly one ᶆinterested, | ⱲNeil’s ᶆinterested, | too.

54

If ⱲMartha wants to ᶆcome, | as Ⱳwell, |we’ll

55

ɊWhy not ᶅgo for a ᶑwalk? …That’s what ⱲMary

56

The made the …outhouse into a Ⱳbathroom |

ᶑlecture. 97

and inɊstalled ᶅrunning water. 57

We’ve …solved ⱳthat ᶆproblem.

ⱲLima, | as I’m …sure you Ⱳknow, | is the ᶑcapital | of Peᶑrú.

98

If a comⱲplaint is ᶆmade, | Ɋand there’s no ᶑcertainty | at the Ⱳmoment | that this Ⱳwill be

need a Ɋbigger ᶑcar. ᶆdoes.

Pro…fessor ᶅDavid ⱲCampbell, | the …famous hiⱲstorian, |will be Ɇgiving | ɍnext week’s

ᶑhappens. UnⱲfortunately, | I’ve Ɋlost your ᶑletter.

ɊLearning aᶅbout proᶅnunciᶑation, | in particular ⱲEnglish proᶆnunciᶆation, |Ɋcan be a

…

52

Some of our Ⱳmajor ᶆexports | ᶑcoffee, | for

ᶆchange. 95

After Ⱳlunch, | we could Ɋcall on ᶑMary.

On the Ⱳtable, | you’ll Ɋfind a ᶑjug.

…

eⱠxample, | Ɋwould be hit ᶑbadly | by ᶑclimate

She Ɋsaid that she ᶑwouldn’t’ ᶆdo it, | …not that she Ⱳwould…

The Ɋfigures I’ve preᶅsented so Ⱳfar, |Ɋand will go Ⱳon to preᶆsent, |Ɋshow that the Ɇcompany

she ᶑwouldn’t. 47

She didn’t …fail the e…xam beᶅcause she was Ⱳlazy |she was Ɋreally ᶑill | on the ᶑday.

93

your Ⱡdog? She …didn’t say she Ⱳwould ᶆdo it, |she Ɋsaid

I didn’t Ⱳbuy the ᶆcar | beɊcause it was ᶑcheap | so I ᶑguessed | it Ɋwouldn’t be reᶑliable.

92

…

44

I …didn’t deᶅcide not to ᶅbuy the ᶅhat because it was ᶅtoo exⱲpensive, | I just didn’t Ɋlike the

Couldn’t you come aⱲnother ᶆday? …

ɊI Ⱡthought | the science eᶆxam would be ᶆhard, | but it was the Maths | that I found

…

40

As for Ⱳyou, | I’ll Ɋdeal with you ᶑlater.

what I ᶅhave to say. 89

…

39

46

ⱲYou’ve | Ɋgot ᶑbetter, | but ⱲI | ᶑhaven’t.

Well, …make up your Ⱳmind…

30

43

you finished your ᶆessay? 59

I’m awfully Ⱳsorry…

29

42

You …may have Ⱳstarted your ᶆessay, |but have

60

…

28

37

58

the ᶆcase, | Ɋwe will ᶅtake it ᶑseriously. 99

I’d Ɋrather meet at ᶑten, | if you can Ⱳmake it.

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Task 5: (track 47) In these examples, B partially agrees with something A has just said and then goes on to add more information. 1 2 3 4 5 6

A: B:

It’s important to get it right. Of COURSE it’s important to get it

A: B:

We don’t agree with you. I KNOW you don’t a gree with me, | but I’M

A: B:

The island’s beautiful. Of COURSE it’s beautiful, | but it’s TOO

A: B:

She likes diamonds. Of COURSE she likes diamonds, | but they COST a

A: B:

This hat’s a bargain! I KNOW it’s a bargain, | but I DON’T

A: B:

He’s a difficult person to work with. Of COURSE he’s a difficult person to work with, | but he’s VERy

right, | but it’s VERy

difficult!

right!

far. fortune!

need it! famous!

Task 6: (track 48) In these examples, the same words are used as responses to two different contexts. First listen to each context, predict the answer and contrast it with the audio. 1

There’s a very good fish restaurant where we could have dinner tonight. I HAD fish | for lunch.

2

We won’t have time to eat later. So I hope you’ve had something already. WELL I had fish | for lunch.

3

My cousin’s coming to stay in April. I’d like you to meet him. I’M going to France | in April.

4

So – you’re going to France and Italy for your holidays next year. Paris is lovely in May and June. I’m GOing to France | in April.

5

I always meet John when I go to the swimming pool. He must go there every day, I think. He’s TAKen up swimming | to KEEP fit.

6

I don’t know how Alan is going to keep in shape, working such long hours at the office. He’s TAKen up swimming | to KEEP fit.

7

I think I should write to the managing director but I don’t know where to send the letter. The FIRM’S head office | in London.

8

I complained to the shop in the High Street but the letter I got in reply came from London. The FIRM’S head office | in London.

9

His exam results were good. What did he do when he got them? He apPLIED for uni versity | when he KNEW he had passed.

10

So, he’s hoping to go to university. Has he applied yet? He apPLIED for uni versity | when he KNEW he had passed.

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Task 7: (track 49) Listen to the following utterances, which you will hear twice. In each case, mark the onsets and tones in the transcript and decide which of the questions, (a) or (b), provides a suitable context for what you hear. 1

I met Robert | this morning. Who did you meet today? When did you meet Robert?

A: B: 2

He A: B:

3

told me | he was in love. What did he tell you? How do you know he was in love?

She started to worry | a bout her e xams. How does Sue feel about her exams? What is Sue worrying about?

A: B: 4

I learned Spanish | at school. Where did you learn to speak Spanish? Did you learn any languages at school?

A: B:

Task 8: Carl is trying to persuade Brenda to go out for a drink but Brenda has something arranged every night and can’t accept. Choose the appropriate tone in Brenda’s answers. The onsets have been capitalized and in bold.

(track 50) Busy Brenda. CARL:

How about coming out for a drink on Tuesday?

BRENDA:

Un

CARL:

Why don’t we go on Wednesday, then?

BRENDA:

I’m aFRAID I have to go to a

CARL:

Can you go on Thursday?

BRENDA:

fortunately, | I’ve got some

Sorry, | I’ve

GOT

letters to write | on

meeting | on

to do some

Wednesday.

homework | on

CARL:

Well, let’s go on Friday, after work.

BRENDA:

I

CARL:

Could you manage Saturday, then?

BRENDA:

I’m aFRAID

CARL:

Oh, dear. Sunday, perhaps?

BRENDA:

It’s im

CARL:

Well, that just leaves Monday!

BRENDA:

Sorry, | I’ve GOT things to do | on Monday. I | for my self!

can’t! I’ve

GOT

to wait for a

not! I’m

possible! I’m

GOING

GOIng

phone call | on

to the

theatre | on

to visit my

Tuesday.

Thursday. Friday. Saturday.

sister | on

Sunday.

need | some

time

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Task 9: Carl and Brenda have finally arranged to meet. What they don’t know yet is what to do. Whatever Carl suggests Brenda has either done already or is going to do soon. This time, choose the appropriate onset and tone. Then check your answers against the recording.

(track 51)

Busy Brenda.

CARL:

Let’s go to the theatre.

BRENDA:

I’m

CARL:

Let’s go to the sports centre, then.

BRENDA:

I’m

CARL:

Would you like to see a film?

BRENDA:

I’m

CARL:

Shall we visit Janet? She keeps inviting us…

BRENDA:

I’m

CARL:

We could try the new Italian restaurant.

BRENDA:

I

CARL:

Why don’t we drive to the coast?

BRENDA:

We

CARL:

Well, let’s just stay in and listen to some music.

BRENDA:

We stayed end.

going to the

theatre | on

going to the

sports centre | to morrow.

going to the

cinema | this

going to visit went

Janet |

there |

last

drove to the

last night!

Decide on the type of onset and tone.

(track 52) ᶑTea time What can we ᶅhave for

BOB:

We’ve

got some

GLENN:

So,

what’s the

BOB:

We

haven’t ᶅgot any

Monday.

Saturday.

coast | on

in |

evening.

next

Task 10:

GLENN:

Saturday.

tea.

strawberries. problem? cream.

Thursday. That’s what we

always do in the

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(track 53) SARAH:

ɊCancelᶑlation I’m

not really

sure, | but I

think I may ‡have to

cancel our /meeting. IAN:

Oh, I’m Has

SARAH:

sorry about

that.

something come

Well,

mother. She

wants

(track 54)

trouble?

up?

actually, | it’s my

hospital | and she

What’s the

me | to

needs to ‡go into take her /there.

ᶑCornwall

PAUL:

Planning to go a way this year?

TILLY:

We’ve just

PAUL:

And

TILLY:

Oh, we had a the

how

Week in

So

TILLY:

Well, the

marvellous time. The

what did you utterly

Cornwall.

was it?

weather. Un fortunately, | it

PAUL:

it

been away. We had a

great at

only

problem | was

rained most of the time.

do during all this rain? traction | was the

Eden Project. I found

fascinating.

Task 11: Listen to this text. Provide the intonation marks needed.

(track 55) WAITER:

Bel Ami’s Welcome to Bel Ami’s restaurant, ladies and gentlemen. I’m your waiter this evening and I’d like to go through the menu with you. The first course offers a wide choice of starters. I’d particularly recommend the angels on horseback, the pumpkin soup, or the celery soup. For the main course, we have steak, lamb or fish – or also a vegetarian alternative. I believe the rump steak is particularly good tonight.

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Task 12: The fall rise in the classroom! 1

ⱲListen, | Ɋwhy don’t we (…)

13

Any Ⱳquestions?

2

ExⱲcuse me, | (…)

14

Can I …go to the Ⱳtoilet?

3

Can you reⱲpeat, ᶆplease?

15

Can you …lend me your Ⱳpen?

4

ⱲSorry, | but (…)

16

Is this Ⱳright?

5

ToⱲday, | (…)

17

Is this OⱲk?

6

ⱲFirst, |(…) and Ⱳthen, |(…) ⱲFinally, |(…)

18

Can you …speak Ⱳlouder?

7

ⱲLast ᶆclass, |(…)

19

Can I …have your atⱲtention, ᶆplease?

8

Is it Ⱳclear?

20

Any volunⱲteers?

9

Have you Ⱳfinished?

21

ⱲNext ᶆweek, | (…)

10

ⱲReady?

22

ⱲCareful…

11

Are you Ⱳready?

23

Are you Ⱳsure?

12

Does it …ring a Ⱳbell?

24

Is that corⱲrect?

Task 13: First sight reading TEXT 1

On the road

BENJAMIN:

The road to her house is on the left.

STELLA:

Not left, right.

BENJAMIN:

I don’t want to argue, but I am absolutely sure.

STELLA:

Don’t you remember that cottage?

BENJAMIN:

It was after that cottage!

STELLA:

You know it wasn’t…

BENJAMIN:

All right – if you say so…

TEXT 2

Double checking

SALLY:

Andy, did you say 10.30?

ANDY:

Yes, Sally. Why?

SALLY:

Nothing, really. I thought it was at 11.30.

ANDY:

Not as far as I know, but you can never be too sure.

SALLY:

Do you think Mary will know?

ANDY:

You can ask her, but she’s quite forgetful.

TEXT 3

On the phone

TELEPHONIST: Dr. Smithson is not in, I’m afraid. MS NEWELL:

I understand that, but is he coming back today?

TELEPHONIST: I’m sorry, I don’t know. MS NEWELL:

Well, let me think. Can I leave a message for him?

TELEPHONIST: By all means.

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TEXT 4

Raising funds

CLAIRE:

In my opinion, we should charge for participation.

WILLIAM:

Are you sure that’s a wise idea?

CLAIRE:

As you know, we have to cover our costs.

WILLIAM:

I agree with you, but there are other ways.

CLAIRE:

For example?

WILLIAM:

Like asking for contributions, that sort of thing.

TEXT 5

Warm, not hot…

TOBY:

Well, you told me to soak it in hot water…

CHARLES:

I never said that!

TOBY:

I even wrote it down, Charles. Look!

CHARLES: TOBY:

I said nothing about hot water. What I told you was to dip it in warm water. That’s exactly what I did!

CHARLES:

That’s not what you did. Warm is not a synonym for hot!

TEXT 6

Wrong solution

ROSE:

You told me to leave them in the solution, and that’s what I did.

SYBIL:

I didn’t tell you to leave them in the solution.

ROSE:

You know you did!

SYBIL: ROSE:

I certainly did not. What I told you was to leave the first lot in the solution, not these ones. That’s what you think you said, but that’s not what you actually said.

SYBIL:

Let’s agree to disagree.

TEXT 7

Footing the bill

HUGH:

Well, what’s it come to? Was it expensive?

TONY:

Hm? Oh, no – leave it to me. I insist.

HUGH:

No – please. It was my idea.

TONY:

Doesn’t matter. It’s on me today.

HUGH:

Look, I can’t possibly let you pay it all. Let’s split the bill.

TONY:

Well… if you’re absolutely sure. Thank you very much.

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Prof. Francisco Zabala - 2015

Task 14: Communication activity Student A: You’ve just come back from holiday in the south of Spain. You meet Student B who you know has been on holiday in Italy. Ask your friend about his/her holiday – assuming that he/she did the same sort of activities as you. ed in a hotel, so ask about student B’s hotel. E.g. You stayed You travelled by air, so ask what his/her flight was like. Using the information below, answer A’s questions about your holiday. Do not offer information until you’re asked about that part of your holiday.

Information: You travelled by air – It was a charter flight and was crowded and uncomfortable. Your holiday lasted two weeks – you got home yesterday. You stayed in a big hotel – It was new and didn’t have much character. The hotel was near the beach – You spent all your time sunbathing and swimming. You didn’t do any sightseeing – In fact, you didn’t travel at all while you were there. You didn’t eat any local/traditional food – the hotel gave you ‘international tourist’ food. You enjoyed a really good night life – varied and exciting. Now, you have no money left.

Student B: You’ve just come back from holiday in the south of Italy. You meet Student A who you know has been on holiday in Spain. Ask your friend about his/her holiday – assuming that he/she did the same sort of activities as you. E.g. You did part of the journey by boat, so ask him/her if the sea was calm. You visited lots of interesting places, so ask student A about the paces he/she visited. Using the information below, answer A’s questions about your holiday. Do not offer information until you’re asked about that part of your holiday.

Information: You made the journey by boat and train – and took your bicycle. You were away for three weeks – arrived back last week. You camped d in a small tent which you took with you. You stayed in a different place every night – always somewhere quiet. You spent all your time visiting places of historical interest – your special interest is art. You ate good country food – enjoyed the regional specialties. You were not at all interested in any night life – you spend the evenings reading about the places you planned to visit. Now, you feel fit and healthy – you spent very little, so you have a lot of money left.

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The Level Awareness raising

Focus ocus on form (track 56): The level tone in detail If there is no tail, the nuclear syllable is lengthened. If there is a tail, all its syllables remain at the same level as the nucleus.

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Focus on meaning: The Level: Basic Meanings & Uses School of London School of Birmingham • Continuation & Minor information

Oblique orientation (shift from attention

(dependent)

from the listener towards the language)

ɆSometimes, | I Ɋwant to ᶑkill kill you. (Leading)

• Pre-coded discourse

We ɍgot Ɇup, | we ɍhad Ɇbreakfast, breakfast, | we

ɆReady, |Ɇsteady, |ᶑgo!

ɍgrabbed our Ɇstuff, | and Ɋwent went to ᶑschool.

• Boredom, lack of involvement ɊOɆk.

I deɆclare you | Ɇhusband husband | and ᶑwife.

• Hesitations I would Ɋlike to Ɇorder | Ɇum… um… | Ɇer… | some

ɊDo as you Ɇwish.

ᶑsushi.

• Building up suspense The Ɇwinner is… | The ɊBig ᶑBang Bang Theory. Theory

• Continuation (avoidance of R tones) ɊHow Ɇlong | do you Ɋthink think that the Ɇpresident | will Ɋspend aᶑbroad?

Semantic criterion: the fall-rise sounds like a robot.

ɆStop it… ɊOh, Ɇno… ɆMaybe…

Task 1: (track 57) 1

I Ɋcan’t Ɇstand it.

2

ɍWhat do I do Ɇnow.

3

ɊOh, ɆLord | ɍopen thou our Ɇlips. lips.

4

ɊAre you ᶅready to Ɇanswer.

5

ɊSilly old ɇfool.

6

ɍThere he Ɇsat,| ɍdrinking his Ɇbear bear, | …

7

He ɍonly Ɇplays plays | when there’s a ɍlot of ᶑprize ᶆmoney.

8

ɍFirst we have Ɇone thing,| ɍthen then we have another! a

9

ɋThat’s the ᶆend of the Ɇweather weather ᶅforecast, | Ɋnow we ᶅgo on to the ȼnews.

10

And the Ɋname for this Ɇprocess process is | Ɋelecᶑtrolysis.

11

I’d …like you to ᶅnote parⱲticularly ticularly | the Ɋspelling of the Ɇword | deᶑfinitive.

12

ɆEr… |Ɇemmm… | Oh, | Ɇer... er... | a ɍcheese Ɇsandwich, ᶅplease, Chriᶅstina?

13

ɊOne ᵽbeef ᶄsandwich, | two two | Ɇcheese ᶅsandwiches, | ⱨand | ɍthree ᶑteas.

14

ɍHi, ɆGina. ɍHi, ɆBill.

15

We’ve ɍgot Ɇthese | ɍthree ᶄfree ᶑtickets ᶑ |

16

It’s aɆbout | the ɍsix Ɇbest | Oᶑlympic lympic | gymᶑnastic gym ᶆcompeᶆtitions.

17

cricket. The ⱨhistory | of ɍEnglish cricket.

18

ɊThere was Ɇthis | Ɇer… | Ⱡsmelly smelly | Ɋanchovy and ᶅsalad ᶑsandwich | you Ɋleft left on your ᶑdesk, ᶆAaron.

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She says ɍyou creɆɆate | a Ɋbad ᶑatmoᶆsphere.

20

You ɍhave to ᶄkeep your Ɇdesk | ɍspick and span.

21

ɆThis is | ᶑAntony. ɆI | Ɋhave to Ɇcontact you | aɊbout the ᶑmaps.

22

She Ɇsaid | ɍyou Ɇhad it | Ɋon ᶑSaturday.

23

ɆI | Ɋhave to let you Ɇknow | what’s ᶑhappened | at the ᶑtravel ᶆagency.

24

ɍSend a Ɇmessage | with your ᶑfax ᶆnumber.

25

ᶇI ɍwant a holiday | from this ɍhorrible Ɇjob | of Ɋwashing ᶑsocks.

26

ɆWell, | Ɋit was ᶑawful.

27

ɍCould you Ɇtell me | where you’ve Ɋput my Ⱡbook, ᶄBronwen?

28

ɍI’m going to Ɇput | ɍall my Ɇbooks | in a ⱳbox | Ɋand ᶑlock it.

29

The ⱨtwo | ɍrudest ᶄstudents in the ᶑschool.

30

ɍCould you Ɇtell me | …where I can ᶄget some Ⱳshoe ᶆlaces?

31

ɍCan you Ɇbuy | ɍsomething for Ɇme | at the Ⱳnewsagent’s?

32

ɆWell, | Ɋwhat do you ᶑwant?

33

Some Ⱳchocolates, | and a Ɋtin of Ɇsweets, | Ɋand an adᶑdress book.

34

ɆSnow | Ɋin Ocᶑtober.

35

ɍWhat Ɇis it, Joᶅanna?

36

ɍHave you Ɇlooked | Ɇcarefully | Ⱳeverywhere?

37

ɍUpɆstairs, | Ɇdownᶅstairs, | everywhere!

38

ɊPassports, ⱨplease.

39

ɊI Ɇthink | I’ve Ɋlost the ᶑpassports.

40

Perɍhaps you Ɇput them | in the Ɋplastic ᶑbag.

41

ɍPut the Ɇthings | in the Ɋplastic ᶑbag.

42

I Ɋwant to Ɇbuy | a Ⱳskirt…

43

ɍWhere can I Ɇget | some ɊThai ᶑfood?

44

The ɍnext Ɇcounter | on your ᶑleft.

45

ɍCould you Ɇtell me | Ɇwhere the… | Ɇer… | Ⱳtravel ᶆagent’s ᶆis?

46

ɍPlease, leave a Ɇmessage | and ɍwe’ll get ᶑback to you.

47

ɍGive us a Ɇcall, | ᶂbye!

48

ɆNews | ᶑUpdate!

49

ɍCharles Ɇtold me | Ɋtwo ᶑjeeps | crashed on it | in January.

50

ɍI Ɇsaw | ⱳWilliam aᶆgain on ᶆWednesday.

51

ɍI ᶄwant to Ɇbuy | the Ɋhat in the ᶑwindow.

52

Do Ɋyou want the Ɇone | with the ᶑfeathers?

53

…

I’m going to the Ⱳbar | to Ɋorder some Ɇmore | ɊGerman ᶑbeer.

Task 2: (track 58) Compare these two texts related to the covering of a football match. Mark the onsets and tones you hear:

TEXT 1: In Barce World

lona today, | sup porters Cup match | a gainst

held the champions | to re

sumed | a Jim

Spain, | the

one- one | until

England

present cup half

holders.

time, | but

played | their England had

soon after play was

penalty was awarded | a gainst them. Ac cording to our re

Bullock, | the de

fans, | and

clashed | when

this in

cision

turn |

supporters | in an ad joining |

caused |

uproar | among a

triggered an section of the

group | of

porter, | England

angry response | from some op posing stand.

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Text 2: Sup porters to

day.

| but

England | had soon | after

them. The de And

clashed |

this in

sup porters |

during

play | in the

held the

champions | to

play was re

cision |

caused

turn | pro

sumed | a

World Cup

match |

here

one- one | un til half

time,

penalty | was a warded a gainst

uproar | a mong a

voked | and

in an adjoining

angry re

section |

group | of

England

fans.

sponse | from some op posing |

of the

stand.

Task 3: (track 59) Listen to this recording. Provide the intonation of the sections in bold.

ɊFlight to ᶑBirmingham ᶑ VERNON:

I’d ɍlike to reᶄserve serve a Ɇseat | on the ɍten thirty Ɇflight | to ⱲBirmingham, |

ASSISTANT:

on ᶑThursday. Thursday. My Ɋname is ᶑVernon. Thursday May the twenty first?

Certainly, sir.

There’s a seat

in the third row.

VERNON:

ɍThat’s ᶑfine. …And I’m reⱲturning | on ɊMay the ᶅtwenty twenty ᶑthird.

ASSISTANT:

The …first Ⱳflight flight | ɍleaves ɆBirmingham | at Ɋeight ᶑthirty. thirty.

VERNON:

ɊThat’s a bit ᶑearly. early.

ASSISTANT:

Or there’s… twelve thirty,

VERNON:

ɊFour Ɇthirty’s thirty’s | Ɋtoo ᶑlate. ⱲTwelve ᶆthirty, ᶆplease.

ASSISTANT:

On the Ɇtwelve twelve |

…

or four thirty.

thirty Ⱳflight | on

…

May the ᶅtwenty twenty Ⱳthird, | there’s

ɍonly a Ɇseat ᶅfree free | in Ɇrow | thirⱲteen.

VERNON:

ɊRow thirɂteen? teen? ⱲNo, ᶆthanks. ɊI’ll go at ᶑeight ᶆthirty.

Task 4: Proverbs and sayings 1

ɍToo many Ɇhands | ____________________________________________

2

ɍJack of all Ɇtrades trades | ____________________________________________

3

ɊOne man’s Ɇmeat meat | _____________________________________________

4

When the ɍgoing gets Ɇtough tough | __________________________________

5

ɍHope for the Ɇbest best | ____________________________________________

6

If it ɍain’t Ɇbroke broke | ______________________________________________

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Task 5: First sight reading TEXT 1

Lord’s Prayer Our Father who art in heaven, hallowed be thy name. Thy kingdom come. Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from fro evil.

TEXT 2

Humpty Dumpty Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. All the king's horses and all the king's men Couldn't put Humpty together again.

TEXT 3

US Presidential Oath I do solemnly swear that I will faithfully execute the Office of President of the United States, and will to the best of my Ability, preserve, protect and defend the Constitution of the United States

TEXT 4:

UK Sworn Testimony Presidential Oath I swear by Almighty God that the evidence I shall give shall be the truth, the whole truth and nothing but the truth.

TEXT 5:

Solomon Grundy Solomon Grundy, Born on a Monday, Christened on Tuesday, Married on Wednesday, Took ill on Thursday, Grew worse on Friday, Died on Saturday, Buried on Sunday. That was the end, Of Solomon Grundy.

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Sequences of tones: leading and trailing tones LEADING TONE Minor info - Dependent Topic 1 ⱲArchibald, 2 Ⱡ Archibald, 3

Ɇ Archibald,

4

À

5

ɊLast ⱠSunday,

6

ɊLast ɆSunday,

MAJOR INFORMATION Major info - Independent Tone Comment

USE

Ɋwhere are the ᶑtowels I’ve just ᶆbought?

Topicalization

Last ⱲSunday, my Ɋwhole ᶅfamily ᶅvisited ᶑGranny.

MAJOR POINT OF INFORMATION

TRAILING TONE Dependent tone À last ⱲSunday.

Independent tone 1 2

Fronting

My Ɋwhole ᶅfamily ᶅvisited ᶑGranny

Separate IP

Ɋlast ⱠSunday. ᶆlast ᶆSunday.

3

USE

Non nuclear time marker as tail.

Task 1: Decide which part of B’s intervention is the major point of info and which are leading or trailing tones. Choose the leading tone you like and ask your partners to say what tone it was. Each nucleus is already undelined. 1

A:

ɊWhat was your weekᶑend like?

B:

Saturday | was Ɋabsolutely fantastic | you know.

2

A:

B:

If Ɋthat’s all, | I Ɋthink I’ll be going.

3

A:

I’m Ɋmost ᶑgrateful for your /help. So you ᶑdid go to their /house.

B:

Yes and Ɋwhen I arrived, | there was Ɋnobody in.

4

A:

I Ɋthought of ᶅgoing for a ᶑwalk.

B:

5

A:

ɊWho was the ᶑbest?

B:

ɊI’ll come too, | if I may. Graham, | in my opinion.

6

A:

B:

7

A:

IɊmagine going ᶅout in ᶑthis /weather! I …don’t really Ⱳtrust him...

B:

8

A: A:

ɊWhat’s the ᶑweather gonna /do? He’s sup…posed to be back Ⱳsoon...

B:

9

B:

ɊRain or shine, | they always go out on Sunday afternoon. !Whether you trust him or not, | we’ve just Ɋgot to believe him. It’s gonna rain | according to the forecast. If he’s Ɋnot here in a ten minutes, | I’ll Ɋleave without seeing him | I’m afraid. Nothing | his brother says.

10

A:

ɊHow much did ᶑGeorge /know?

B:

11

A:

ⱲI think | ᶑJames /broke it.

B:

If Ɋthat’s so, | Ɋwhat can we do about it now?

12

A:

ⱲSorry, | he’s ᶑout, I’m a/fraid.

B:

ɊWhen he comes back, | please Ɋtell him I phoned.

13

A:

Shall I Ⱳfetch them?

B:

If you’re Ɋsure you don’t mind | Ɋgo ahead.

14

A:

What a Ɋdreadful ᶑsummer.

B:

15

A:

ɊWhose fault ᶑwas it, /then?

B:

January | was terrible. It was Ɋnice in February | though. Dad says | it was yours | as a Ɋmatter of fact.

16

A:

Can I Ɋlend you a Ⱡhand?

B:

I’ve Ɋjust finished, | thank you very much.

17

A:

It Ɋlooks like ᶑrain, | I’m aⱠfraid.

B:

18

A:

ɊWhich one can I ᶑtake?

B:

Then Ɋlet’s stay at home | in that case. You can take both, | as far as I’m concerned.

19

A:

Is she Ɋstill Ⱡmarried?

B:

ɊYes she is, | as far as I know.

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The Rise-Fall Awareness raising (track 60) •

Who’s talking to whom?

•

What’s the problem?

•

How does the speaker feel?

•

How does she make you feel?

•

Why?

Focus ocus on form (track 61) The rise-fall in detail Cruttenden (2008, p. 275) states that a “fall may be reinforced by an introductory rise, being realized as a continuous glide.” The different variants are:

•

If there is no tail, the nuclear syllable is manifested as a rise-fall rise fall glide.

•

If the tail consists of one syllable, there are two possibilities: o the nucleus may be heard as an accented syllable followed by a falling glide that starts on a higher pitch level. o the nucleus may be heard as a rising glide followed by a low syllable.

•

If the tail consists of more than one syllable, the nucleus may be an accented syllable on a mid-level level pitch, the first syllable in the tail is higher than the nucleus and the remaining syllables are pitched low.

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Focus on meaning: The Rise-Fall: Rise Basic Meanings & Uses School of London School of Birmingham • A reinforced variety of fall

• Information that is new to listener

• The speaker may be impressed

AND SPEAKER This bag is full of gold!

Her Ɋhouse is ɂhuge! It’s like a ɂpalace! palace!

• The speaker may be challenging

• Linguistic control You’re ɂlate. ɊTell me ᶅwhere where you’ve ɂbeen.

He can Ɋthink what he ɂlikes. I Ɋknow know I’m

• Divergent (separateness)

ɂbetter than him.

ɂWell, | so you Ɋfinally deᶅcided cided to ᶅturn ᶑup.

Task 1 (track 62) Think about these two phrases. What punctuation marks would you use? Why?

Justin Dudley

¡ɂTodos! dos! (Julieta Prandi) ¡Corɂrecto! recto! (Susana Giménez)

NOTE: There are two allotones in English, each of them corresponds to a different phonological tone in Spanish. Spanish Be careful!!!

¡Susana! ¿Susana?

Use this tone with care (if at all)! Greatest source of interference (L1 > L2)

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Task 2 (track 63) 1

ɂNow!

30

ɊTake Ƚtwo!

2

ɂNice!

31

…

3

ȽHeavens!

32

It’s Aɂmerican!

4

ɂAwesome!

33

It was ᶑvery | exɂpensive.

5

ȽWonderful!

34

ɊSo you’re in ɂPortugal!

6

…

35

SurⱲprises | in the ɂpost ᶆoffice.

7

ɂWe are ᶆplanning to ᶆfly to ᶆItaly.

36

ɍThis Ⱡparcel | conɆtains | Ⱳsix | Ƚmice!

8

ɊWhat a surɂprise!

37

But the Ⱳsheets | have Ƚshrunk!

9

He Ɋthought I’d Ƚfinished the /essay.

38

ⱠOh, | ɂyes!

10

But Ɋhow do you ᶅwant to Ƚpay for it?

39

ⱠOh, | ɂdear!

11

So Ƚwill you /do it?

40

ɊWe just ɂlove ᶆliving ᶆhere.

12

ɊWhat do you ᶅthink it ɂwas?

41

ɂWilliam aᶆgain!

13

ɂPatients | are ɍnow en Ɇcouraged | to Ƚexercise |

42

ɊOh, ɂno!

Bill Ⱳthreatened /Jim | and then ɍhe hit Ƚhim.

It’s an eⱲlectric | Ƚcuckoo ᶆclock!

inɊstead of ᶑrest. 14

But in ᶑfact, | Ɋhe’s from ɂCanada.

43

ɂYes!

15

ɂKarl’s | Ɋgiven up his Ƚcollege /course!

44

There’s been a Ɋhorrible ɂaccident.

16

ɊHow emȽbarrassing!

45

ɍWhat’s Ƚhappened?

17

ɊHow Ƚcool!

46

ɍHow Ƚawful!

18

The Ɋview is ᶅmagᶑnificent | ɂisn’t it?

47

I Ɇthought | he was a  mathemaȽtician!

19

I Ɋdon’t like ɂanyone ᶆborrowing my ᶆbike.

48

SaⱲmantha ᶆgave me | Ƚnothing to ᶆdrink!

20

I’ll be Ɋstaying for a ɂmonth!

49

ɊWhat’s that ɂbanging ᶆnoise, ᶆSharon.

21

ⱲOnwash | is Ɋso ɂpopular!

50

ȽNo!

22

It’s Ɋon the ᶑfloor | Ɋnext to your ɂfoot!

51

She’s Ⱳrunning | to Ɋour Ƚhouse!

23

ɂMmm!

52

ⱳNow she’s ᶆringing | Ɋour Ƚbell!

24

I’ll be late | for my apȽpointment!

53

ȽYou’re very ᶆearly | for Ⱡlunch.

25

ɊWake Ƚup, ᶆJoe!

54

It’s Ƚonly | eɊleven o’Ⱡclock.

26

…

55

ɊBe ɂsensible, ᶆPaul!

56

…

57

ɂWonderful!

His Ⱳbeard | has Ⱳnearly | ɊdisapȽpeared ᶆinto

his ᶆbeer. 27

ɊSomebody Ⱡgave me | this Ƚblouse for my

Oh, Ⱳno. ɂRoland | is a ɂpilot, ᶆLara.

ᶆbirthday. 28

It’s Ɇgot… | Ɇmmm… | Ɇer... |  blue ɂbutterflies on it.

29

ɆSo… | ɆI… | Ɇer… | deɍcided to  stay at Ƚhome!

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Task 3 (track 64) 1

A:

She came ɍtop of the class.

B:

ɂDid she ᶆjust! ɊWell ɂwell!

2

A:

I paid ɍfifty dollars ᶆfor it.

B:

ɂFifty!

3

A:

ɍJane’s ᶄleft her husband.

B:

ɂTerrible, | ɂisn’t it?

4

A:

ɍSally’s ᶄjust had triplets.

B:

My ɂgoodness!

5

A:

I

B:

But you’ve ɍgot to be ɂfirm.

6

A:

I Ɋneed a ɂbreak.

B:

ɊDon’t we ɂall!

7

A:

ɊWhat ᶑcolour shall I ᶆchoose?

B:

ɊPlease youɂrself.

8

A:

I don’t

B:

Take ɂphysics, ᶆthen.

9

A:

ɊMay I ᶅtake this Ⱡnewspaper?

B:

ɂDo.

10

A:

The ⱨboss | Ɋwants the re Ɇport | by

B:

Toɂmorrow?

À

don’t want to ᶅanⱲtagonize her.

À

want to take Ⱳchemistry.

toᶑmorrow. 11

A:

ⱲKaren says | she Ɋwants to be a vet.

B:

ɂReally?

12

A:

ɊThey’ve got Ƚdiamonds in them.

B:

ȽDiamonds!

13

A:

I’m Ɋgoing to Ɇread | The ᶑRiders | ᶑnext.

B:

ɊThat’s the ᶅbook ɂI ᶆwonted.

14

A:

ⱲJane | has Ɋleft ᶑAdam.

B:

You’re ɂkidding.

15

A:

ᶇHe’s  bought a Porsche.

B:

A ɂPorsche!

16

A:

ⱲDan got | the ɂjob.

B:

ȽGreat!

17

A:

It’s inᶑcredible | to Ɇthink that it’s | over a

B:

AȽmazing!

18

A:

ⱲJacks just /bought | a Ɋnew ᶑcar! It’s ᶑpink.

B:

ȽPink?

19

A:

ᶇThis ⱡcheese | is frozen!

B:

ȽFrozen?

20

A:

You Ɋlove my ᶑcousin.

B:

ɂJustin?

21

A:

ⱠNo, | his ᶑbrother.

B:

ȽDudley?

22

A:

The ᶑforwards.

B:

The ɂforwards?

Ɋhundred years ᶑold.

Task 4 (track 65) My Ɋbrother’s ᶑbirthday DEIRDRE: !What can I Ɋgive my ᶑbrother | for his ᶑbirthday? ANGUS:

ɊWhat does he ᶅdo for a ᶑliving?

DEIRDRE: He’s a ᶑvan ᶆdriver. ANGUS:

 Give

him some Ƚdriving ᶆgloves.

DEIRDRE: He Ɋdoesn’t wear ᶆgloves | when he Ⱡdrives, | not  even in ᶑwinter. ANGUS:

ɊWhat does he ᶅdo as a ᶑhobby?

DEIRDRE: In w ; arm ᶆweather,| he Ɋgoes ᶑswimming.| ɍAnd he ᶄplays ᶑgolf. ANGUS:

 Give

him some ɂgolf clubs!

DEIRDRE: He’s alⱲready got a ᶆbag | Îfull of ᶆgolf ᶆclubs.| His ⱳgolf ᶆbag | is …so Ⱳheavy | he can Ɋhardly Îmove it.

ANGUS:

ɊWhat does he ᶅdo in the ᶑwinter?

DEIRDRE: He beɆlongs | to a football ᶆclub. | But he Ɋspends ᶅmore ɂtime | Ɋdrinking ᶅbeer in the Ƚbar | than …playing Ⱳfootball.

ANGUS:

ɋThat Ɋsolves your Îproblem! | Give him a Ɇbig | Ɋbottle of ᶑbeer!

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Task 5 (track 66) I …haven’t Ⱳseen you | for ᶑages SOPHIE:

ⱠMike? I’m ɍover here.

MIKE:

ȽSophie! You Ɋlook Ƚgreat! You Ɋhaven’t Ɇchanged | a ɂbit!

SOPHIE:

ⱠOh, | I …don’t Ⱳknow… It’s been over ɍten Ƚyears! I’m …definitely Ⱳolder, | if …

not Ⱳwiser…

MIKE:

ᶑWell, | you look …just the ᶅsame to Ⱳme.

SOPHIE:

ᶑAw…

MIKE:

ɊCome ᶑon, | we’ve got over Ɋten Ƚyears | to ɋcatch up Ⱡon, | and ᶑnot | a Ɋlot of ᶑtime. My Ɋplane Ɇleaves | at ᶑseven | this ᶑevening.

SOPHIE:

Tell me about ⱳyou, first. How ɍlong have you been Ɋworking in Maɂdrid?

…

ɍWhat are you ɂdoing ᶆthere?

MIKE:

ⱠWell, | ɊI Ɇwork | for a ɍbig interᶄnational IᶑT ᶆcompany. …And at the Ⱳmoment, | I’m ᶑbased in Maᶆdrid. ɍI’ve been Ɇthere aᶅbout | eighɊteen ᶑmonths, | Ⱡnow.

SOPHIE:

ɂWow! That Ɋsounds imⱠportant! Are Ɇyou… | enᵽjoying it?

MIKE:

ᶑYeah, | ɋvery ɇmuch. ɊBut there’s a ᶑchance | that I’ll Ɋhave to ᶅmove to Germany | in ɋthree Ⱡmonths. ɊThat’s where the ᶑheadquarters ᶆare.

SOPHIE:

That Ⱳsounds interesting, | Ƚtoo!

MIKE:

ⱲYeah, | Ɇbut… | ɊI have a ᶅSpanish ᶑgirlfriend, | Ⱡnow.

SOPHIE:

ȽAhhh! I Ƚsee! ɊWhat’s her ɂname?

MIKE:

ɂRosa. You’d Ƚlike her! She’s …great Ⱳfun… | ɍWe’ve been going Ɇout | nearly a ᶑyear | Ⱡnow.

SOPHIE:

ɂWhoa! ɊThat ᶅsounds ɂserious! ɊDoes Ɇshe | speak ⱲEnglish?

MIKE:

ɊOh, ȼyes. ɊHer ɆEnglish | is …much ᶅbetter than my ⱲSpanish. I ɍstarted Ɇgoing | to ɊSpanish Ɇlessons | six Ⱳmonths aᶆgo, | Ɇbut | I Ɋstill Ɇfind | …

Spanish proᶅnunciⱲation’s | …really ᶑdifficult.

SOPHIE:

ɆMmm. I ᶑknow.

MIKE:

ɂOh, | yeah, | you …studied Ⱳlanguages, | ɂdidn’t you?

SOPHIE:

ȽYes, | I studied ɊFrench and ᶑGerman | at uniⱲversity | ⱳbut, | I’ve Ɋalso been ᶅtrying to learn ɂSwedish | for the Ɋlast few Ⱡyears.

MIKE:

ȽSwedish! ⱠWhy? Come Ⱡon, | …now is Ⱳyour turn, ᶆSophie. ɊTell me about ᶑyou.

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The Rise-Fall tone in River Plate Spanish: The Greatest Source of Tone Interference

Do you think we use the rise-fall in River Plate Spanish? Probably you don’t think so, although the very title of this article states the opposite. We actually do use this tone, and a lot!!! We are totally unaware of this, as usual. Remember that we are normally aware of the existence of sounds because we have been trained at school to relate what we hear to what we write, but we have never been trained to listen to intonation in an analytical way. First of all, I want to test you! Read out the following phrase in a colloquial way. Let’s imagine that you are talking to a friend of yours: ¿Susy, ya terminaste toda la tarea?

Can you read the following chunks, please? ¿Susy| ya terminaste| toda la tarea?|

You are likely to have used three rise-falls. The first and second tone units may take a leading tone that shows continuity. The last tone unite may take another rise-fall to show that this is a checking question (this is typical of yes-no questions). ¿ ÎSusy| ya termi Înaste| toda la ta Îrea?|

Now… which tone would you use in its English counterpart? Suzie| have you finished | all your homework?

Definitely, a rise-fall would be out of the question. If the speaker does not want to sound divergent and dominant (see Brazil), or challenging (see O’Connor) a rise-fall would be wrong. Maybe a fall-rise is a nicer option. Actually, we may say that many times a rise-fall in River Plate Spanish is the equivalent of a Fall-Rise in Standard British English. 2 ;Suzie| have you

;finished | all your

;homework?

Where is the danger? We don’t always use a rise-fall in Spanish. We only use this tone in paroxytone words (i.e. palabras graves) or pro-paroxytone words (i.e. palabras esdrújulas) when they bear the nucleus. In other words, the rise-fall emerges when there are syllables in the tail. We normally use this tone in checking yes-no questions or as a continuative tone. In nuclear oxytone words (i.e. palabras agudas) we normally use a rise, as there are no syllables in the tail to spread the rise-fall (this is similar in English).

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E.g. Spanish

English

¿ Â Sí?

 See?

¿Venís por  mí?

Is that for  me?

¿Está al re  vés?

Is that for  Bess?

¿Conocés a ÎBetty?

Do you know  Betty?

¿Termi Înaste?

Have you  finished?

¿Sabés lo Î último?

Is that your  uniform?

Also, we may use this same tone to express surprise or irony (this use is similar in English). Think of Antonio Gasalla. When he becomes ‘the old lady’ and talks to Susana Giménez he is likely to use:

Declaratives: Su Ásana.

Yes-No Questions: ¿Su Îsana?

Exclamations: ¡Su Îsana!

Negative Transfer Make sure that you do not use a rise-fall in English unless you know that you really want to. E.g. You should say

You should avoid

Are you òready?

Are you Îready?

Have you òfinished?

Have you Îfinished?

;Billy| do you underòstand this?

Î Billy| do you under Îstand this?

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Unit 3: Tonicity Aims: To expand your knowledge of nucleus placement To compare and contrast different approaches to this topic To practise tonicity intensively

Contents: Tonicity: definition. Neutral and marked tonicity Tonicity as seen from the different models: the traditional model, the semantic model, the discoursal model and the focal model Intonational, lexical and grammatical focussing Focus and tonicity Broad and narrow focus Newness and givenness Exceptions to the LLI Fixed tonicity

Compulsory Bibliography: Ortíz Lira, Héctor (1998). Word Stress and Sentence Accent. Santiago de Chile: Universidad Metropolitana de Cs de la Educación. Facultad de Cs., Geografía y Letras. Chapter 4: Sentence accent Wells, J (2006). English Intonation. Cambridge University Press: Cambridge. Chapter 3: Tonicity Brazil et. al. (1980). Discourse Intonation and Language Teaching . Longman: London. Chapter 3 “The tone unit” Brazil (1994). Pronunciation for Advanced Learners of English. CUP: Cambridge. Pages 17-18.

Further Reading: Cruttenden, Alan (1997). Intonation. Second edition. Cambridge University Press: Cambridge. Section 4.3: Nucleus placement

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Nucleus Placement in Detail Cruttenden (1997) discusses the different focusing devices that are available in the language. It is interesting to note that this point presents marked differences between Spanish and English. These focusing differences are manifested phonologically in the choice of tonicity. Each language makes use of the intonation, grammar and lexis to show focus:

1. Intonational focusing – The focus structure of an intonation phrase is manifested by the placement of the nucleus. 2. Grammatical focusing–Certain grammatical structures are used to handle the focused material in specific ways. For example, the passive voice, cleft sentences and pseudo-cleft sentences are used to bring material into focus. In general, the nucleus is placed on the focalized elements.E.g.: !Granny was ac‡costed by a po Áliceman. (Focus on the agent) It is pho Ánetics that drives us crazy. (Focus on the real subject) What you !need is a ‡good Árest. (Focus on the object)

3. Lexical focusing – Some words can be used to bring material into focus. These words govern the placement of the nucleus. E.g.:

Even: The nucleus falls on the item it governs !Even J Á esus had /enemies.

Too: It is always nuclear if it is in final position. Optionally, it can be chunked off. !I want ‡holidays, Átoo. / !I want Áholidays, | Átoo.

If Spanish and English syntactic structure is compared, it will become evident that Spanish has a greater freedom of constituent mobility. The nucleus tends to fall on the last lexical item in Spanish almost exclusively because this syntactic flexibility allows many elements to be in nuclear final position. In English, however, the number of syntactic constraints has an impact on the phonological nucleus: the more restricted the syntactic freedom, the freer the placement of the nucleus. To illustrate this, let’s compare the behaviour of event sentences: Es!tá so ‡nando tu celu Álar.

Is !ringing your Áphone. Your Áphone is /ringing.

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The noun phrase can be placed at the end of the intonation phrase in Spanish, but not in English. Therefore, Spanish allows most items to be move to the end to take the nucleus. English, on the other hand, keeps the order fixed but moves its intonation focus, which is manifested as an early nucleus.

The intonation device to signal focus is always at work. As every intonation phrase needs a nuclear syllable, it is evident that there will always be an intonational manifestation of focus. However, there may also be other focusing devices at play at the same time: It was y Á ou who /let the /dog out. (Grammatical focusing + intonational focusing) !Even y Á ou can be of /use. (Lexical focusing + intonational focusing)

Broad and Narrow Focus Semantically, an intonation phrase contains different elements. These elements are linked to the whole text and the context. The interplay between these relationships and the intonation phrase has a bearing on the focus domain (i.e. the scope of the focus). In the next example, the question is too open to restrict the answer in any way: A: What happened? B: [I have !just had a

Ábath.]

All the items in the answer are new. The whole intonation phrase is in focus. In other words, this IP is in broad focus.

Now, the next context is different: A: Who has just had a bath? B: [ ÁI] have /just had a /bath.

This time, only part of the answer is in focus. The nucleus falls on the only new item, the pronoun. Narrow focus occurs when only part of the information is in focus: generally, the last new item in the focus receives the nucleus while the elements that are old remain out of focus and are deaccented.

Old Information Old (or given) information is normally left out of focus. The big question is, then, what information can be categorized as old information. In real-time native speech, this question does not present much difficulty: each speaker discriminates between new and old information according to what they think that their interlocutor knows or ignores at that very instant. A word of caution is called for here: a speaker can choose to present information as old or new, even if it is not like that (just like politicians!). The greatest stumbling block, however, becomes evident when speakers need to analyze a ready-made text, for they

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have to act it out.. In real life, participants are aware of contextual information (i.e. time, place, relationships between the participants, etc.), but in reading aloud, the speaker has to infer what is new and what at is old in that particular context.

Ortiz Lira (1998) provides the following following taxonomy of old information. The examples illustrate cases in which the old information is out of focus:

Situationally

Linguistically

(On a sunny day) I [love] dry weather. Repetition

Synonymy

A: Are you glad?

A: Are you a politician?

B: I'm [very] glad

B: I´m m [not] a criminal. Hyponymy A: Do you have a pet? B: I[am allergic to] animals.

Sense relations

Converse The cop was away | so the [thieves] started to work.

Activity 4

1 2 3 4 5 6 7

A: B: A: B: A: B: A: B: A: B: A: B: A: B:

Shall we !buy some ‡cans cans of òCoke? […Have] we [run ;out] out] of /fizzy /drinks? !Where shall we Ásit? [!What a bout] b ‡ out] those [ Ámodern] /stools? !What are your views v ‡ iews on the ‡Royal ÁFamily? I [!can’t under Ástand] stand] the/British/monarchy. the Do you !like that òguy guy over ‡there? I [!don’t] like [ Áany] any] of the /guys over /there. !Why did you ‡stop ‡talking talking to your Ásister? Because I [!never ‡got got on w Á ell with] /Sandra. !Why did you ‡leave leave your w Á ife? I [ Álive with] my /wife! wife! !Don’t you w ‡ ant a òburger? burger? I [ Áhate] meat.

Converse

Hyponymy

Synonymy

Repetition

Example

Situational

Decide what type of old information is presented in each answer. Tick the right box.

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Nucleus on Old Information Sometimes, old information is made nuclear. First, if the whole chunk is old,, the nucleus will naturally fall on old information (the focus will be broad,, as the whole of the IP has the same informational status). Second, if there is contrast,, this may imply the accenting of information that has been given before. Finally, when a statement is followed by a Wh-question, Wh , the nucleus in the latter may fall on old information. 1.-

Customer: I /want a !pizza pizza and a Ábeer. Waiter: [A !pizza pizza and a Ábeer.]

2.-

A: Do you !want Âtea tea | or Ácoffee? B: [ ÁCoffee, /please.]

3.-

doctor. A: She’s a !good Ádoctor. B: She’s Ànot ‡really really a ;doctor | she’s a Ánurse.

4.-

A: I have !split Áup. B: [!Why have you split s ‡ plit Áup?] (In Spanish we would say [¿Por qué] q Á ué] te sepa/raste?).

Exceptions to the Last Lexical Item Rule Broad focus is realized phonologically by placing the nucleus on the last lexical item (LLI rule). In general, the focus is narrow if this is not the case. For instance: a-.. The nucleus falls on a grammatical item. E.g. I’m [ from] f; rom] Rome, [!not [ Áin] Rome. b-.. The nucleus falls on a grammatical item other than the last one. E.g. A: [!Where’s Where’s your Ácar?] B: I [!don’t Áhave] have] a car. Exceptionally, there are intonation phrases in broad focus in which the nucleus does not fall on the last lexical item. These exceptions to the LLI rule may (a) have the nucleus in an early argument (nouns, in general); (b) end in items that are deaccented due to their low semantic weight.

Notice! Most of the exceptions to the LLI imply that a noun is nuclear,, in spite of the following lexical items. For some reason, nouns are preferred in English, while verbs may be preferred in Spanish. Be on the alert! A practical memorable tip is to think of “the “ Supernoun”. ”. If you follow this “hero”, you will definitely transcribe and use tonality satisfactorily.

Reading - Ortiz Lira (1998): Exceptions to the LLI (pages 59-68). 59

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Activity 5 After reading Ortiz Lira (1998, pages 59-68), complete the chart with the examples below.

Exceptions to the LLI Rule 1. Nucleus on the last Noun a. Event Sentences: b. Noun + Infinitives: c. Nouns + Adjectives: d. Causative constructions: e. Wh-questions ending in a verb: f. Final relative clauses: g. Separable Phrasal Verbs: h. Subject + passive verb:

__________________________ __________________________ __________________________ __________________________ __________________________ __________________________ __________________________ __________________________

2. Final elements of low semantic weight a. Final objects of general reference: b. Final vocatives: c. Final reporting clauses: d. Final comment clauses: e. Final adverbials: i. General time adverbials: ii. General place adverbials: iii. Of courtesy:

__________________________ __________________________ __________________________ __________________________

__________________________ __________________________ __________________________ __________________________ iv. Downtoners: __________________________ v. Non-assertive proper functioning: __________________________ vi. Non-reinforcing sentence adverbials: _________________________

1. Are you FREE tonight? 2. Can you HEAR me well? 3. GIVE me that thing. 4. He’s hadhis HAIR cut. 5. Hurry UP, honey. 6. I like the SCARF you knitted. 7. I want a CHEESE burger, please. 8. I’ll DO it, he said. 9. I’ll take the CALL, thank you. 10. It’s FREEZing out there.

11. 12. 13. 14. 15. 16. 17. 18. 19.

Leave the DOOR open. Put your TOYS away. She’s not MARried, I guess. The MEETing’s been put off. The TEACHer’s arrived. WAIT a bit. We can LEAVE it, though. We’ve got a TASK to finish. What BOOK did you buy?

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Typically Non-nuclear Expressions Gussenhoven (1986) discusses a class of “typically [-Focus] expressions”. Unlike Ortiz Lira (1998), Gussenhoven believes that “the expressions concerned refer to aspects that are somehow inherently present in the discourse model, like time, or the relationship with the interlocutor” (page 93). Since opinion seems to be divided, you should not worry about whether these expressions are really in or out of the focus domain. However, you should be aware of the fact that, regardless of their focal status, these expressions are normally non-nuclear. Some have been discussed above (e.g. vocatives and time and place markers) but others are more clearly defined by Gussenhoven.

1.

Time-space markers a. Time: they may refer to the idea of when something happened, its duration or its frequency. These expressions are extremely frequently non-nuclear. She’s Ácoming in a /minute. !Let’s go Áout to/night. She’s Áill from /time to /time. She !stays at Áhome a /lot. She was !walking by the Ápond the /other /day. b. Space: Only very general space markers are non-nuclear (as opposed to the highly frequent non-nuclear time-markers). It’s !too Ádamp in /here. I !can’t ‡find my Ábooks /anywhere.

2.

Cohesion markers They show the relationship between the content of the IP and the context in which it appears. a. Additive It’s !tooÁlate, in /fact. I’m !quiteÁhungry, as a /matter of /fact. He’s !not very at Átractive, /really. She’s !really Ámean, /actually. You could !get a Ádiscount, for e/xample. She may !call a Ádoctor, for /instance. She’s !getting Átired of him, in /other /words.

b. Inferential He !must be Ácoming, /then. She !can’t be Áright, of /course.

c. Concessive She !could have been Áhappy, /though. d. Reinforcing !Don’t ‡use that Álanguage, /thank you /very /much. She’ll Áfail, of /course. I’ll !take you Áhome, if /necessary.

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e. Contrastive Let’s !go to a Árestaurant, for a /change. It’s Átime con/suming, on the /other /hand. 3.

Hearer-appeal markers (or “solidarity modifiers”) a. Softeners It’s !pretty Áhard, you /know. It !can’t be Átrue, I /mean. !That’s e Ánough, /thanks. !Pass the Ásalt, /please. It’s a !bit ex Ápensive, you /see. She !won’t Áflicker, /mind you. b. Vocatives ;Hello, /Sandra. It’s Áme, Dad. ÁStop it,you /two. !Don’t òworry,my ‡sweetie ‡pie.

4.

Textual markers (or “parentheticals”) a. Reporting clauses. “You are w Á rong,” she /said. “!Did you òdo that?” I‡asked. “!How Áterrible!” he e/xclaimed. b. Comment clauses. She’s !not Áfollowing, I /think. It !may be Ádifficult, I sup/pose. !That’s Álife, I /know. It was be!ginning to be Ádark, I /realised. Is !that the Áend, I /wonder. It !can’t be Átrue, I /hope. She !must be Áglad, I i/magine.

5.

Approximatives I ;am, in a way. She can !buy it for ‡twenty Ádollars or /more. I’ll be a!round for a Áday or two. She’s Ábusy or /something. They’re !focused on the w Á edding and /all /that. They !got >married, |!had a Ábaby and /so on.

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Notice! Veliz (2001) compares the post-nuclear patterns of Standard British English and Chilean Spanish. He finds that the LLI is indeed preferred, but there are some exceptions anyway. Some points of contact have been found. 1-.Final softeners: Por a Ácá, porfa/vor. Cf. !Over Áhere, /please. 2-.Final vocatives: !No Ágrites, Ma/má. Cf. !Don’t Áshout, /Mother. 3-.Some time markers: !Hizo ca Álor estos/días. Cf. It’s been Áhot these /days. 4-.Some place markers: !Hace ca Álor acá. Cf. It’s Áhot in /here. 5-. Cohesionmarkers: Es Ágrande, de /hecho. Cf. It’s Ábig, in /fact. 6-.Textual markers: Es!tá can Ásada, pa/rece. Cf. She’s Átired, it /seems.

Activity 7 Decide the tonicity in each IP. What rule can you use to account for each choice?

1 2 3 4 5 6 7 8 9 10 11 12 13

Gary’s a cute baby. Gary’s coming. Open the window, please. “She’s a cow,” Sally whispered. The project’s been turned down. I can’t get any word you say. Don’t let the dog loose. Shall I put the kettle on? He’s not frank, I guess. It’s too hot in BA. I’ll pick you up tonight. I should have this mole removed. Don’t buy cheap things.

14 15 16 17 18 19 20 21 22 23 24 25 26

What tone should I use? I’ve got a text to transcribe. Shush, you stupid fool. I’m fine, thanks. I don’t understand much. Leave your husband, then. I can’t draw very well. Uncle Sam has just texted me. My head aches. I’ve got to have the walls painted. Sally comes from Ireland. She’s got a screw loose. My sister’s coming to see me tomorrow.

Activity 8 Decide the tonicity in each IP. What rule can you use to account for each choice?

1

Can I see your boarding pass, please? Certainly, officer. How much luggage do you have? I haven’t brought much. Just a carry on. You’re travelling on business, I guess. You’re right. I’ll get to Paris at six thirty a.m. | and I will be returning at six thirty p.m. A: What airline have you chosen? B: American Airlines. A: All right, Mr. Brown. You can leave now. You have a plane to catch. A: B: A: B: A: B:

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A: B: A: B: A: B: A: B: A: B: A: B:

Can I help you, Madam? Can I see that DVD player? The silver one. You can’t, I’m afraid. That’s just for display. Oh, I’m sorry to hear that. What other models do you have? The new Sony has just arrived. It’s a wonderful device. How much is it? Very expensive? It’s quite inexpensive, as a matter of fact. It’s just one hundred dollars. Do you take debit cards? Are you there, Dad? I’m here, darling. I’m free right now. I need a hand | with the camera I’ve just bought. I can’t take the battery out. Wait a second. You’d better read the manual first. Here it says | that you can’t open the lid | when the red light is on.

Hi, Hillary. This is Emma speaking. Hi, Emma. Is everything OK? I’m at the bank at the moment. There’s some money missing. That’s sounds bad,| terribly bad. Is that the company’s money? There’s a problem with the deposit you made.

4

A: B: A: B: A:

5

A: The computer’s crashed. B: It’s happened three times today. Have you had the system checked? A: I do want to have it checked, of course. I’ve found the IT guys,| but they never come. B: I hate technicians. I think they enjoy our suffering. What does your boss say? A: He wants to have their manager fired.

6

A: Look, the paint is peeling off. And there’s a leak in that corner. B: We should get the house painted. If not, we won’t be able to sell the place. A: How much money do we need? B: It depends. Do you want to get a permanent | or a temporary repair? A: I don’t care if the repairs don’t last. I just want to get rid of this property.

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Fixed Tonicity Some cases of nucleus placement are more difficult to account than the previous ones. Many times, the tonicity has become fixed as an idiomatic expression. Some other times, certain lexical items demand a specific accentual treatment. In this section, a number of fixed expressions presented by Wells (2006) are presented:

1. Pronouns in nuclear position a. Verb TO BE + nuclear pronominal complement It’s Áme. That’s Áit. This is Áit.

b. Nuclear pronouns that are not contrastive !FollowÁme.

!Get Áher! (= Look at her putting on airs)

!Good for y Á ou! (genuine congratulation)

!Bully y Á ou! (sarcastic congratulation)

!What are y Á ou doing here?

!Blow Áme! (=I’m very surprised)

!What do ÁI care?

!Search Áme! (I’ve no idea)

c. Nucleus + “of mine/his/hers/yours/theirs/ours” She’s a Áfriend of

/mine. /his. /hers. /yours. /ours. /theirs.

d. Final nuclear demonstratives !Look at Áthis! I’d !like some of Áthose, /please.

e. Locative THERE. !Hold it ‡right Áthere. (Nuclear: it refers to a new location and it is a complement.) !Look at that Ádog there.(Non-nuclear: it works as a setting because it is an adjunct.)

f. Reflexive pronouns !He did it ‡all by him Áself. (Nuclear: it is an emphatic reflexive – “porsimismo”) He’s c Á ut him/self.(Non-nuclear: it is just a reflexive – “se cortó”)

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2. Operators in nuclear position: Short questions and short answers A: òDid he?

B: ÁYes, | he Ádid. / B: Yes, he Ádid.

B: òHas she?

B: ÁNo, | she Áhasn’t./ B:No, she Áhasn’t.

3. Prepositions in nuclear position a. Wh- word + nuclear preposition !What Áof it?

!What a Ábout it?

!Who w Á ith?

b. Wh- word + BE + pronoun + nuclear preposition !What’s it Áfor?

!What’s it a Ábout?

4. TOO, AS WELL, EITHER When these occur at the end of a clause, they may alternatively be nuclear or take a separate chunk. I Álove you, | Átoo.

I !love you, Átoo.

Can you òcome | as òwell?

Can you !come, as òwell?

She !can’t Ásing | Áeither.

She !can’t sing, Áeither.

5. ENOUGH a. Nuclear adjective + ENOUGH She’s !not Ásmart e/nough.

Your !test wasn’t Ágood e/nough.

b. Nuclear adjectival or nominal ENOUGH !That’s e Ánough.

You !haven’t ‡studied e Ánough.

6. AGAIN at the end of an IP a. Nuclear if it explicitly means “one more time” You !have to ‡call her a Ágain.

b. Non-nuclear if it does not specifically mean “one more time” I !haven’t Áseen her a/gain.

7. INDEED at the end of an IP a. Nuclear reinforcing adverb !That was ‡very good in Ádeed.

b. Non-nuclear comment ÁHas he, in/deed?

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8. TO BE in nuclear position a. Wh- word + nuclear TO BE + pronoun / Wh- word + pronoun + nuclear TO BE !How Áare you?

!Tell me ‡how you Áare.

!Who w Á ere they?

!Tell me w ‡ ho they w Á ere.

b. HERE + pronoun + nuclear TO BE !Here they òare.

!Here it òis.

!Here you òare.

c. TO BE acting as a separable phrasal verb The nucleus may fall on the object or the adverb Is the òtelevision ‡on?

Is the !television òon?

!What’s the Ábook a/bout?

!What’s the ‡book aÁbout?

d. Fossilized expressions The

!trouble

òis | that we !need more Ácash.

!problem !thing !difficulty

9. SOME in nuclear position to express a fossilized contrast In ;some /cases | it’s !hard to j‡ ump to a con Áclusion. For ;some /reason | this !doesn’t ‡seem to be a‡good so Álution.

10. ONE: a. Not accented after an adjective !Press the Áred one.

!Bring me the Ábig one.

b. Nuclear in the following fixed expressions ( ‡right) ( w ‡ rong) !Mary’s the

( ‡first) ( ‡last) ( ‡only)

!Which Áone?

Áone.

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11. Single stressed phrasal verb TO !POUR DOWN

It was !really Ápouring /down.

12. Double stressed prepositional verbs (they take long prepositions) $LOOK !AFTER

!Who are you ‡looking Áafter?

$DO WI!THOUT

!What can you ‡do wi Áthout?

$BUMP !INTO

!Who did you ‡bump Áinto?

13. Nouns in nuclear position a. Fossilized idiomatic expressions !Pizza ‡makes my Ámouth /water.

!Don’t get your Áfingers /burnt.

She’s !got a Áscrew /loose.

Let’s !wait for the Ádust to /settle.

!Keep your Áfingers /crossed.

It !makes my Áhair stand on /end.

They’ll !get on ‡like a Áhouse on /fire.

‡ alling the k Á ettle /black. The !pot c

He’ll !have his w Á ork cut /out.

!What’s Áthat sup/posed to /mean?

You can !say Áthat a/gain.

T Á here’s a /clever/boy.

They were Áat it.

She !threw a Áspanner in the /works.

!What’s Áthat when it’s at /home?

!Who let the Ácat /out?

You can !wait till the Ácows come /home. !Wait and see w ‡ hich way the w Á ind is /blowing. She looked like !something the Ácat had brought /in.

b. Nuclear proper noun + BE UP TO I !wonder what SaÁmantha’s /up to.

c. Nucleus on expected items !Mary’s an in ‡telligent Ágirl. !London is a ‡lively Ácity. It’s a !beautiful Áday.

14. Repetition a. Repetition of the same information for emphasis I 1can’t ac Ácept it | I 1simply ‡can’t ac Ácept it.

b. Idiomatic expressions It’s Ànot what he ;said | it’s the !way that he Ásaid it. I’ll !see you when I Ásee you.

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c. [X and X] or [X + preposition + X] She !shouted ‡more and Ámore. We !talked for ‡hours and Áhours. She !does it a ‡gain and a Ágain. Let’s !talk ‡face to Áface. She got !fatter from ‡day to Áday. We !walked for ‡miles and Ámiles. She got !louder and Álouder

Reading After reading Ortiz Lira (1998, pages 59-68), read Wells (2006, chapter 3). The two texts complement each other: Ortiz Lira will give you a broader perspective that focuses on the needs of Spanish speakers learning English intonation. Wells will give you a more detailed analysis with lots of idiomatic expressions. Also,

Wells provides you with plentiful activities.

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Unit 4: Tone in Detail Aims: To explore the contributions of the Schools of London and Birmingham To uncover the meanings associated to each tone To compare this system to Spanish

Contents: Abstract and local meanings The School of London o

Sentence types: statements, questions, exclamations, commands, interjections and greetings

o

Sequences of tones

The School of Birmingham o

Transaction and interaction

o

The general and social meanings of tone

o

Proclaiming and referring

o

Convergence and divergence

o

Dominant and non-dominant tones

Compulsory Bibliography: Brazil, D., M. Coulthard, C. Johns. (1981) Discourse Intonation and Language Teaching. Essex: Longman. Wells, J (2006). English Intonation. Cambridge University Press: Cambridge. Chapter 2: “Tone: going up and going down”

Further Reading: Cruttenden, Alan (1997). Intonation.Second edition. Cambridge University Press: Cambridge.

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Tone in Detail In the second unit you were introduced to the shape and configuration of the English tones. The information there was mainly phonetic so as to guide you in the process of recognition and production of English intonation. Also, you were provided with a list of possible meanings derived from the two major schools of thought: the School of London and the School of Birmingham. In this unit, the focus will be placed on the semantic and pragmatic use of the subsystem of tone.

The abstract and local meanings of the English tones It is in the area of tone that the greatest differences between the School of London and the School of Birmingham become evident. As you might have realised in the previous chapter, the Discoursal approach to nucleus placement is perhaps too broad. The selection of prominences based on the speaker’s assumption of what is part of the common ground and what is not does not seem to account for the whole range of possibilities and constraints available in the tonicity subsystem. It is clear that the more prescriptive rules presented by the traditional approach may be more beneficial for a foreign learner of English. However, the contributions of the discoursal approach to the analysis of tone are thorough and extremely useful.

Traditionally, the choice of tone is accounted for by two major factors: the grammatical structure of an intonation phrase and the attitudes conveyed. For instance, yes/no questions are expected to take a rise – a low rise is thought to be neutral, while a high rise is thought to be more casual or livelier. The circumscription of tone choices to grammatical categories such as statement, yes/no question, whquestion, etc., may at first be interesting for a learner because this would entail a matching exercise. However, as the system unfolds, the list of combinations becomes endless and cumbersome. Also, the attitudes conveyed by the tones may even seem contradictory as they are normally also connected to the choice of lexis.

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The discoursal approach has uncovered the phonological value of tone. In other words, the number of contrasts has been reduced to the basic ones that can be systematized in a meaningful way. Therefore, the more abstract meanings of each tone are presented. This means that instead of focussing on labelling the attitude a falling tone conveys in one particular utterance, this model focuses on the meaning that a falling tone has when applied to any utterance.

All in all, the attitudinal approach is useful to understand the local meanings of tones (i.e. the meaning that is exploited in a particular context where both the intonation and the lexis are taken into account) while the discoursal approach comes in handy to comprehend the abstract meanings of tones (i.e. the more general meanings that can be applied to all occurrences of a tone).

The School of London – the traditional approach The starting point is the study of the model presented by Wells (2006). Although he belongs to the School of London, he has minimized the episodic tendency that the attitudinal approach had. He presents the most typical combinations of sentence-types and tone-choices. In other words, he is neither too general nor too specific.

First, Wells (2006) describes the tone choices in intonation phrases that are made up of one chunk. From this analysis, he derives the rules that govern statements, questions, commands, interjections, etc. After having worked at the IP-level, he moves on to discuss the behaviour of IPs that are closely connected – he calls this sequences of tones.

Reading Read chapter 2: “Tone: going up and going down” from Wells, J (2006). English Intonation. CUP: Cambridge.

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Activity 1 Complete the chart with the examples below. TONE 1. Independent a. Fall i. “The Definitive Fall” 1. Statement /answer ________________________________________ 2. Wh- question ________________________________________ 3. Exclamation ________________________________________ 4. Command ________________________________________ 5. Interjection ________________________________________ 6. Greeting ________________________________________ ii. Insistent 1. Yes/no question a. Full ________________________________________ b. Elliptical ________________________________________ c. Tag ________________________________________ iii. Reinforcing adverbial ________________________________________ b. Fall-Rise i. Implicational Uses: implication, contrast, reservation, tentative, polite correction, partial statement, negative, warning 1. Statement ________________________________________ 2. Command ________________________________________ c. Rise i. Encouraging 1. Statement ________________________________________ 2. Wh-question ________________________________________ 3. Command ________________________________________ 4. Interjection ________________________________________ 5. Greeting ________________________________________ ii. Non-supportive 1. Statement ________________________________________ iii. Yes/no 1. Full question ________________________________________ 2. Tag question ________________________________________ 3. Elliptical question ________________________________________ 4. Pardon question ________________________________________ iv. Uptalk ________________________________________ 2. Dependent a. Leading ________________________________________ b. Trailing ________________________________________ c. Lists/Alternative questions i. Open ________________________________________ ii. Closed ________________________________________

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Examples: 1. !Come òin. 2. !Good Ámorning. 3. !Good òbye. 4. !How in Ácredible! 5. òRight. 6. !Sit Ádown, /please. 7. ;Sometimes, (I feel gloomy.) 8. S Á ure. 9. ÀTake ;care. 10. (The !weather will im Áprove,) I òguess. 11. W Â hat did you ‡say? 12. !Where’s your òglass? 13. !Whose Ápen is /this? 14. (You must Ásue them,)|of Ácourse.

15. (You’re !travelling to ÁGreece,)òaren’t you? 16. Do you Âneed me| or can I Áleave? 17. Is òMary ‡coming? 18. Is it Áfar? 19. My !name’sòLilly. 20. My !name’s Her ‡mione ÁGranger. 21. She’s Áleaving,| Áisn’t she? 22. We need òtea,|òcoffee,|òsugar. 23. You !look òwonderful. 24. You $should have /known òbetter. 25. You !want to ‡leave me aÁlone? 26. You are òbusy? 27. You may ;phone. (But…)

Activity 2

1 A: 2 3 4 5 6 7 8

B: A: B: A: B: A: B: A: B: A: B: A: B: A: B:

!Look how I ‡climb this Átree, /Dad. ;Careful. Is !this the ‡shortest w ‡ ay to the òstation? I ;guess so. (But I’m !not Ásure.) !Why did you ‡go to ÁSpain? My w ; ife /wanted to | !I w ‡ anted to Ástay. !Finish the re ‡port by ÁFriday, /please. I’ll ;try. (But I’m !not sure I’ll Áfinish it.) Are your !children òmarried? J ; anice is. (But !not the Áothers.) !What was the Áparty /like? It Àwasn’t very a ;musing. !Two times òfive | is Átwelve. T ; en. Should !I talk to the òmanager? You ;may. (If he !comes to the Áoffice.)

Warning

Negative

Polite correction Partial statement

Tentative

Reservation

Example

Contrast

Decide what use of the implicational fall rise is at play. Tick the boxes.

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Sequences of Tones On average, a tone unit normally takes up to seven syllables. A 7-syllable-long chunk will surely be manageable for you in terms of sounds and intonation, without sacrificing your fluency.What can you do if you think that one tone unit is meaningfully complete but too long? Simple: you can chunk it. For instance, non-nuclear expressions in the tail can alternatively be chunked off. Now, a new question arises: if you have already decided on the tonicity and tone of the original chunk, what should you do with the resulting one?

First of all, it is necessary to think about the information value of the tones. When a long intonation phrase is chunked into two parts or more, you should focus on what type of information is important and what is not as important. You should normally use a falling tone on the major point of information and a non-fall on the dependent tone unit.

Leading tones: If the tone unit that contains a minor point of information precedes a tone unit that has a major point of information, then the first tone unit takes a ‘leading tone’ (a dependant non-fall). The most frequent leading tone is a fall-rise; a rise is possible too, as well as a level tone. E.g.

LEADING TONE Minor info. Dependent Topic ;Charlie òCharlie >Charlie

MAJOR INFORMATION Major info. Independent Tone Comment

USE

!where are the Átowels I’ve just /bought?

Topicalization

my!whole ‡family ‡visited ÁGranny.

Fronting

À

Last ;Sunday !Last òSunday !Last >Sunday

Long subjects (or any subject that you want to highlight) may be topicalized – i.e. they may be chunked off. When final elements, such as adverbs, are fronted the same may happen. These are typical examples of minor points of information that take a leading tone.

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Trailing tones: If the tone unit that contains a minor point of information follows a tone unit that has a major point of information, then the final tone unit takes a ‘trailing tone’ (a dependant non-fall). The most frequent leading tone is a rise; a fall-rise is possible too. The level tone is ruled out as it cannot normally be final. Minus-focus tails may be granted a separate tone unit provided they take a dependent non-fall. E.g.

MAJOR POINT OF INFORMATION Independent tone My !whole ‡family ‡visited ÁGranny

TRAILING TONE Dependent tone À last ;Sunday. !last òSunday. /last /Sunday.

USE Separate IP Non nuclear time marker as tail.

The Intonation of Questions in Detail A more detailed description of the intonation of questions is found in Lee (1963). This author classifies the different types of questions according to their grammatical form.

1. Yes/No Questions: They normally take a rise. Would you !like some òcoffee? Have you òfinished? Are you òready ‡now?

2. Tagquestions: a. Fall: This is not really a question. The speaker suggests that the listener will agree with him/her. Still, the listener may agree or disagree. A: It was !very Áinteresting,| w Á asn’t it?

(B: !Yes, it w Á as.)

(Optional)

b. Rise: This is a type of Yes/no question. The speaker thinks the listener will agree, but he wants to check whether this is true. A: It was !very Áinteresting,| òwasn’t it? B: !Yes, it w Á as.

3. Wh-questions: They normally take a fall. A rise may also be possible, especially if the speaker wants to show a deferential attitude towards the hearer. !What’s your Áname? !What’s your òname?

(Normal) (Deferential)

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4. Choice questions: These are also called alternative questions (Wells, 2006). The speaker demands limited information. The hearer has to choose from the options given by the speaker. The final element takes a fall, while the initial element (or elements, for that matter) normally takes a rise (see notes on Sequences of Tone). It is possible, also, to have only one tone unit where the initial element is the onset. These questions seek for one of the items offered to be chosen. A: Is that òtea| or Ácoffee? A: Is that !tea or Ácoffee?

B: B:

T Á ea. T Á ea.

A: Is he òFrench| or òGerman| or ÁDutch? A: Is he !French or !German or ÁDutch?

B: F Á rench. B: ÁFrench.

5. Example questions: They look like choice questions, but they do not seek for one item to be chosen as the answer. They demand a yes/no answer to the whole thing. The question can take a sequence of the same tone (e.g. all falls, or all rises). A: So, you’ve !visited ÁParis. Did you !see the òLouvre,| the !Eiffel òTower,| !Notre òDame? (i.e. ‘Did you go to all the famous places?’) B: òYes,| I Ádid. A: Did you !finish it last w Á eek| or B: ÁNo. I’m a!fraid I òhaven’t.

y Á esterday? (i.e. ‘Have you finished it?’)

6. Repeated Questions: A question of any type (be it a wh-question or yes/no question) may be repeated if the speaker has not heard properly, or has forgotten it, or because he is surprised. The repetition does not need to be verbatim. The nucleus is normally placed on the first stressed syllable (normally the wh-word or the operator). They are said on a rise. A: How Áold is your /wife? B: Four Áteen. A: ÂHow old did you ‡say she w ‡ as? B: Four Áteen.

7. Echoed questions: The speaker may echo a question he has just been asked by repeating the same words or making a slight change of words. The original nucleus is kept, but the tone is almost invariably a rise. These questions are normally used to gain time to think, as well as when the speaker needs time to evaluate the content of the question. A: !When are you ‡going to ‡buy me a òwedding ‡ring? B: !When am I ‡going to ‡buy you a w  edding ‡ring?

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8. Rhetorical questions: They are similar to exclamations. The answer is normally obvious, so they do not need an answer. They take a fall. !Don’t be a Áfool. !How can a Ádead man /chase you? A Ástalker /started to /follow me – and !was I Øscared?

Notice! Tone and style According to Davy (1968, cited in Gussenhoven 1986), the choice of tone changes depending on whether the speaker is reading or talking. These are the percentages he found:

Fall

Fall-rise

Rise

Level

Rise-Fall

Reading

50.5%

16.6%

24.9%

5.5%

2.1%

Conversation

58.9%

12.5%

16.3%

8.0%

4.2%

Activity 3: Let’s recycle your previous transcription work. In unit 3 you have worked on the tonicity, now decide what tone to use in each chunk. What rules have you followed?

Can I see your boarding pass, please? Certainly, officer. How much luggage do you have? I haven’t brought much. Just a carry on. You’re travelling on business, I guess. You’re right. I’ll get to Paris at six thirty a.m. | and I will be returning at six thirty p.m. A: What airline have you chosen? B: American Airlines. A: All right, Mr. Brown. You can leave now. You have a plane to catch.

1

A: B: A: B: A: B:

2

A: B: A: B: A: B: A:

Can I help you, Madam? Can I see that DVD player? The silver one. You can’t, I’m afraid. That’s just for display. Oh, I’m sorry to hear that. What other models do you have? The new Sony has just arrived. It’s a wonderful device. How much is it? Very expensive? It’s quite inexpensive, as a matter of fact. It’s just one hundred dollars. B: Do you take debit cards?

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3

A: Are you there, Dad? B: I’m here, darling. I’m free right now. A: I need a hand | with the camera I’ve just bought. I can’t take the battery out. B: Wait a second. You’d better read the manual first. Here it says | that you can’t open the lid | when the red light is on.

4

A: B: A: B: A:

5

A: The computer’s crashed. B: It’s happened three times today. Have you had the system checked? A: I do want to have it checked, of course. I’ve found the IT guys,| but they never come. B: I hate technicians. I think they enjoy our suffering. What does your boss say? A: He wants to have their manager fired.

6

A: Look, the paint is peeling off. And there’s a leak in that corner. B: We should get the house painted. If not, we won’t be able to sell the place. A: How much money do we need? B: It depends. Do you want to get a permanent | or a temporary repair? A: I don’t care if the repairs don’t last. I just want to get rid of this property.

Hi, Hillary. This is Emma speaking. Hi, Emma. Is everything OK? I’m at the bank at the moment. There’s some money missing. That’s sounds bad,| terribly bad. Is that the company’s money? There’s a problem with the deposit you made.

Reading Wells, J (2006). English Intonation. Cambridge University Press: Cambridge. Section 6.3: “Passages for analysis.” Wells integrates the content of his book in these short passages. A discussion of chunking, nucleus and onset placement, and tone for each IP is presented. Transcribe these texts and then check them against the key in the book.

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The School of Birmingham – the discoursal approach

Reading Brazil et. al. (1980).Discourse Intonation and Language Teaching .Longman: London. Chapters 1 “Tone” & 4 “More on tone.” Brazil (1994).Pronunciation for Advanced Learners of English. CUP: Cambridge. Pages 7-30. Brazil (1980, 1994) believes that the intonation choices speakers make are not derived from the grammar but from the speaker’s appraisal of the state of affairs in the context of interaction. These choices take place in real time as the conversation unfolds. At this point, two functions of intonation come in handy: the transactional function and the interactional function. The transactional function is concerned with the exchange of information, while the interactional function is connected with the social side to communication. These functions will first be analyzed in the discussion of tone selection for statements.

Transactional function of intonation: the general meaning of tones When two participants interact, their worlds meet. The intersection between these two worlds is the common ground, which is made up of whatever they share. This is the area of convergence of their worlds. The area of divergence between these participants consists of what they do not share. For example, the first time I meet students in class they are likely to know that we are members of an institution, my name and surname, the fact that I am male, and other physical data. However, they are likely to ignore other bits of information, such as my address, marital status, favourite colour, etc.

We can base our analysis on the world that the speaker and hearer build together. They may talk about events that are already part of their ‘common ground’: i.e. what they share. The speaker may ‘refer’ to this material. The speaker may also decide to introduce a new topic, something he presumes the hearer does not know, so he ‘proclaims’ something that is new to his hearer. As he does so, their common ground becomes larger because they share more. When the information is presented as new, the speaker will use a proclaiming tone (a fall or a rise-fall). When the information is presented as shared, the speaker will use a referring tone (a fall-rise or a rise).

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Let’s imagine that you are presenting a topic in a class. If the information is new, you will step forward in the conversation ( ): you will proclaim this information.

Teacher: !This is a Ágnat.

The moment an item is proclaimed, it becomes part of the common ground. Once you have established this topic, which is part of the common ground now, you can refer to it. When you refer to something already shared, you do not step forward in the conversation, you just loop in the same place ( ). Teacher: ;Gnats | are !very small Áinsects.

Compare: ;Sally | will be at Áschool | this ÁSaturday. We both know her. I’m telling you about time and place, which I presume you ignore.

;Sally | will be at ;school | this ÁSaturday. We both know who she is, and that she is at school. I’m telling you when she’ll be there, which I presume you ignore.

;Sally | will be at Áschool | this ;Saturday. We both know who she is, and that we are talking about this Saturday. I’m telling you where she’ll be there, which I presume you ignore.

Interactional function of intonation: the social meaning of tones Some of the things people say are not informative. Their function is just to show social interaction. The speaker may choose different tones to express togetherness or detachedness from his hearer. We can show convergence (i.e. togetherness) with a referring tone (fall-rise or rise). We can show divergence (i.e. separateness) with a proclaiming tone (fall or rise-fall). This is all the more evident in semantically empty elements like “oh, hm, well,” etc.

ØOh | (so your Ámother’s /coming to/night, /Love.) ‘Oh’ isn’t informative. Yet, it shows I am detached.

òOh | (my !little Ábaby’s /here at /last!) ‘Oh’ isn’t informative. Yet, it shows I am showing solidarity.

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Linguistic control: dominance Some speakers can exploit linguistic dominance in the conversation. These speakers are in control because they may perform a social role of authority (such as a doctor, a judge, a teacher, a parent) or they may have greater knowledge about something (such as a shop assistant when you need their help to get something you want). They have the greater freedom to use both dominant (+ tones: p+, r+: rise fall and rise, respectively)and non dominant tones (p, r: fall and fall-rise, respectively). A non-dominant speaker is supposed not to use the dominant tones. However, a non-dominant speaker may claim dominance anyway (e.g. a naughty child talking to the head of the school, etc.). The dominant role may change in a conversation: for example, a shop assistant may be dominant when he/she offers help and assists the customer, but the customer is dominant when it comes to the final decision of choosing to buy an item or not.

Activity 6: Mark the tones that are missing. Who is the dominant speaker in this conversation? Is Lisa convergent or divergent? (Bradford 1988, page 29).

Track 67

The Suit LISA:

TONY: LISA: TONY: LISA: TONY:

But Tony | surely | you òrealised | !everybody would be w ‡ earing Âsuits. A òjob ‡like |òthat! !Such a good salary | with !so much re ‡sponsiòbility. ÊYou Ãought to have ‡known Ábetter than to /wear /jeans! !Don’t reØmind me. I Àknow it was ;stupid. >Well, |Ãwhat was the Áproblem? I Àknow you’ve ;got a /suit. ÁOh,| y Î es. I’ve got /one. It was at the Ácleaners. ÊIt was where? At the cleaners. It still Áis.

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This chart summarizes the treatment of statements from a discoursal perspective. Follow the different paths that will guide you to a deep analysis of the text.

New Sense Selection

Is the selected material informing?

What’s the status of the information?

Shared Togetherness

What bond does the speaker show?

Social Selection

Separateness

Is the speaker claiming linguistic dominance? No Fall. Yes Rise-Fall.

Is the speaker claiming linguistic dominance? No Fall-Rise. Yes Rise.

Is the speaker claiming linguistic dominance? No Fall. Yes Rise-Fall.

Notice! Do not confuse dominance with divergence/convergence. Dominant does not mean “aggressive”.

Activity 7: Mark the tones that are missing. Is the information missing proclaimed or referred? IS the speaker dominant or not? Why? (Brazil 194, page 23).

Track 68

Giving instructions The !thing to ‡look òout for | is the

playing /fields.

And !soon ‡after you’ve òpassed them, | you’ll !go ‡under an underpass. !After òthat | !hang òon | you’ll !be in ‡Hospital

Lane. You’ll

be!cause of the | on your

know | it’s $Hospital òLane |

hospital. It’s a !big Vic

torian/building

left. ÀAnd at the ;end of /there | you’ll !come

to some traffic/lights.

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The intonation of questions Again, Brazil does not focus on the grammar structure of a question to determine its tone. He is interested in the function of these questions: is the speaker checking a presupposition or does he really need to find out what the answer is, as he has not got a preconceived idea on his mind? Is this question triggered by a social need for convergence?

Although this view seems to contradict the traditional approach, this is not really a contradiction. Very often, speakers ask yes-no questions when they want to confirm whether they are right in thinking that a certain state of affairs is true. In other words, yes-no questions tend to originate when a speaker wants to check whether his/her idea is right. Conversely, when a speaker feels there is a gap of information, and he/she needs to find out something he/she ignores completely, he/she is likely to ask a wh-question – this wh- element seeks for an answer that is informative.

•

Checking questions to make sure

“[T]he meaning of the referring tone is something like this: the speaker expects that what the other person will say in reply will not be new to the speaker.” (Brazil 1994, page 41) In other words, the speaker has a presupposition in mind which he/she expects to be confirmed by the listener.

E.g.:

Let’s suppose you meet a girl at a party. You look at this person and pass judgment on her

appearance. If she is wearing lots of black items of clothing, you may infer that black is indeed her favourite colour. You can check that presupposition by means of a making sure question. Either of these will have the same effect:

•

A: !What’s your ‡favouriteòcolour?

B: ÁBlack.

A: Is òblack your ‡favourite ‡colour?

B: ÁYes.

Questions to find out

Brazil (1994, 43) states that “[i]f we use a proclaiming tone when we are asking, we expect the reply will be new to us. We use proclaiming tones to find out.” To, put it differently, when a speaker does not have a preconception in his/her mind there is nothing to check. On the contrary the speaker wants to fill that gap of information with new material. For example, if you phone your bank because there is a problem with your credit card the assistant will ask find out questions to learn what has gone wrong. A: !What was the Áproblem, /sir? B: My Ádebit card /doesn’t /work. A: !When did this ‡error Ástart? B: !Yesterday Ámorning. I Àfound an AT ;M | but I !couldn’t Áoperate. A: Has this !happened be Áfore? B:ÁNo. I Àdon’t ;think so.

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This chart summarizes the treatment of questions from a discoursal perspective. Follow the different paths that will guide you to a deep analysis of the text. No: r tone (fall-rise)

TO CHECK What’s the purpose of this question?

TO FIND OUT

Is the speaker claiming linguistic dominance?

Yes: r+ tone (rise) No: p tone (fall) Is the speaker claiming linguistic dominance?

Yes: p+ tone (rise fall)

Notice! Brazil (1994, 44) “[I]n informal ‘social’ conversations ... [w]e quite often ask questions in order to be friendly, rather than because the answer is of any real importance, or even interest, to us. When we do this, it is usually better to seem to be ‘making sure’ than to seem to be ‘finding out’.” This means that we show convergence in many social questions.

Activity 8: Account for the choice of tone in each chunk. (Brazil 194, page 35). Track 69

What you’re looking for... À

IONA: (1) You know where my ;room is? ROY: (2) òYes. IONA: (3) òWell | (4) imÀmediately ;facing you | (5) when you go ;in | (6) you’ll !see a Ácupboard. ROY: (7) OòK. IONA: (8) And in ;there | (9) you’ll Ãsee a Átin. ROY: (10) !What Ákind of /tin? IONA: (11) ÊIt’s a !sort of Øflat tin.(12) I !think it >says |(13) Áthroat /pastilles | (14) on the Álid. (15) And if you Àlook in ;side | (16) you’ll !find a Ákey | (17) to the Øbookcase. ROY: (18) òRight. IONA: (19) And on the Àsecond ;shelf | (20) you’ll !find what you’re Ølooking /for. ROY: (21) !Thanks a Ølot. (22) I’ll !go and Øget it.

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Activity 9: Listen to this dialogue (Marks 2007, page 107). Do the following tasks:

1. Mark tones you hear in the empty boxes. 2. Account for : a. Tonality b. Onset placement c. Nucleus placement d. Tone i. School of London (Wells) ii. School of Birmingham (Brazil)

Track 70

Asking for directions Jess:

E xcuse me.

Rick:

òYes

Jess:

Can you

Rick:

ÁYes, | you just go a!long this

tell me | the

À

way to the ;station, /please? road, | !cross the

bridge

|!over the òriver | and there’s a !big Ápark | on your lÁ eft, | you  know? and the Jess: Rick: Jess:

Is it

Well, | you go !through the òpark |

station’s | !just on the ‡other Áside.

far?

No, |

À

not

;very /far.

OØK, | >so | I !go along this òroad, | !cross the òbridge | !and through the Øpark , | Âright?

Rick:

!That’s Øright.

Jess:

!Thanks ‡very Ømuch.

Rick:

You’re w Á elcome, | bye.

Jess:

;Bye.

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How to go about FIRST SIGHT READING You have already studied the Three T’s: Tone, Tonality and Tonicity. Now, it’s time to put them into practice! This guideline is useful for transcription practice as well as for reading practice. You will find an example at the end of this document.

First things first: Go global The first thing you have to do when you are going to work on a text is to get the gist of it. You can do nothing unless you know what the text is about: reading it is essential! Do not think about intonation, just read it for the sake of meaning. If you fail to understand a text you will surely not be able to work on its intonation. Once you have the global picture, you will be able to analyze the following items:

1. What type of text is it? As you may know, the genre of a text will affect the uses of intonation. Informal dialogues normally contain a lot of prefabricated language (e.g. greetings, phatic questions) but they are not scripted. Speakers don’t prepare conversation pieces in advance! This means that there may be false starts, rephrasing of ideas, etc. The chunks are likely to be short, because the intonation phrase is thought to be the unit of thought (i.e. we think in terms of one tone unit at a time, or two at a time if we have already decided to contrast certain items). Prose, for example, is much more loaded with descriptions and longer phrases. It’s more common to find complex and compound sentences in literary prose, which is intended to fulfill an aesthetic function. Good readers do not abound, and even those who are really gifted need to rehearse before reading out! If you rehearse a text, you will get to know it well enough so as to use longer chunks. Warning: remember that the listener takes in the info one chunk at a time. You need to give the listener time to process the info.

2. Does it start in medias res? If a text starts in medias res you should imagine what has happened before. Remember that discourse is built bit by bit, so you should try to picture what was going on so as to establish what is shared and what is new.

3. Who are the participants? Some pieces of discourse involve just one participant (e.g. monologues, soliloquies, speeches, etc.). Some other times, there may be two or more participants. The relationship between them can help you account for who holds the floor for a longer period of time, who decides on turn-taking, and so on.

4. What roles may the participants take? Some types of discourse involve a more rigorous interaction scheme. A doctor’s appointment normally requires a dominant physician and a non-dominant patient. Now, a conversation among friends may imply that the speakers are on an equal footing. You should try to picture what the relationships between the speakers are like. Warning: although we normally think that one speaker is linguistically dominant, you should not forget that this means that this speaker can choose to use a dominant tone or not. They are not forced to use dominant tones all the time! Also, sometimes dominance may switch from speaker to speaker. When you go shopping, the shop assistant may be dominant when he offers a customer his help and knowledge, but the customer will be dominant when he or she wants to pay or complain about something.

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5. What is the context like? It is very important to imagine what the ‘when’ and ‘where’ are like. This will shed light on several aspects that can build to the common ground. For example, people may refer to objects in their vicinity which are evidently part of the common ground to them. That is to say, if the speakers are in a hospital they may deaccent information that is given by the very context (e.g. [The Áambulance is coming] is an event sentence that normally expresses that all the info is new, but in a hospital ambulances are quite normal, so the focus is likely to be narrow: The ambulance [is Ácoming]).

Tonality The next step is to decide on how to chunk the material. You should bear in mind that according to the context of interaction some items may need to stand out while some other things, which might be predictable, may be sent to the background. Shared information can be part of tails or preheads, but information that is highlighted may sometimes be granted a whole intonation phrase. If you are transcribing a text, it is useful to chunk it and describe your choice.

Tonality: a. Neutral or unmarked: one intonation phrase corresponds to one clause.

My name is Sam.| I am 25 years old.| I live in Bristol.| I left my husband | to start my life again. b. Marked: a clause is split into several IPs or two or more clauses are included in one IP. (Marked Tonality) On Sundays| I normally go to church. (Neutral Tonality) (Neutral Tonality)She’s a funny girl,| Rose. (Marked Tonality) I think that my children will never succeed.| (Marked Tonality)

Tonicity: Once you know the boundaries of the chunk you are dealing with, you need to focus on whether this fulfils a transactional function or an interactional function (see notes on Brazil, The Discoursal Approach). If what is at stake in the chunk is the information value of its elements, then you need to consider what info is new and what is old. This is linked to the construct of Focus. Establishing the focus domain (i.e. what info is new) will help you see where the nucleus should go because it normally signals the end of the focus domain.

Tonicity: a. Neutral or Unmarked: Last Lexical Item Rule [I have always loved jazz.|] Broad Focus [Have you seen the juice maker?] Broad Focus b. Marked: The nucleus is placed in a lexical item that is not the last one or it may be placed on a grammatical item. [How could you] betray me? Narrow Focus (Context: ‘I understand why other may betray me, but you of all people?’) [Shall we buy] a flat in Miami? Narrow Focus (Context: ‘We can rent a flat in Miami, but shall we buy one?’)

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[Don’t talk to me, you fool.] Broad Focus (Context: A wife is angry at her husband because he’s been foolish.) Note: Marked tonicity does not necessarily imply narrow focus. Neutral tonicity does not necessarily imply broad focus. Tip: you should always analyze the chunk backwards! You should start on the very last word and decide whether this is a suitable nucleus. If it is not, you go on doing this till you spot the right place for the nucleus. E.g. Do you love me? Not suitable: It’s a gramar Word. Suitable: It’s the last lexical item.

‘Stop it, Charles,’ she said. Not suitable: It’s a final reporting clause. Not suitable: It’s a final vocative. Not suitable: It’s a grammar word.

Onset Choice

Suitable: It’s the last lexical item in direct speech.

The choice of onset is not a straightforward process. In contrast with the placement of the nucleus, the onset is not subjected to the same principles. It is true, though, that the first lexical item that is new tends to be selected as the onset. My !dog’s called Rusty. Rusty is !quite old now. First new lexical item Not suitable: It’s old information First new lexical item

Some grammar words may become the onset so as to contribute to special meanings. They can be contrastive. !You like dogs| but !we love kittens. There are optional cases, too. For example, yes no questions may take a strong operator. !Were you present when the accident happened? Optional strong form

Were you !present when the accident happened? First new lexical item

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Tone The choice of tone is highly dependent on the context of interaction (see notes on the Discoursal Approach). The first thing you need to think of is whether the nucleus is the result of a sense selection or a social selection. Once you know that, you would be able to apply a referring or a proclaiming tone. A referring tone may be used for shared information (sense selection) or convergence (social selection) while a proclaiming tone may be used to show that the information is new (sense selection) or to create divergence (social selection). You will be able to resort to another system according to the roles the speakers take: you could choose a dominant or a non-dominant variant of referring or proclaiming tones.

Sample Transcription This is an example of the kind of analysis we want you to provide. You will be using this format in your tests and transcription practice.

At the Shoe Shop Assistant: Can I help you, madam? Customer: Oh, yes. How much is this pair of shoes? Assistant: It’s $120. These are really good shoes. This type of leather is of an exceptional quality. Customer: Have you got them in brown? Assistant: Let me see. We don’t, I’m afraid. Customer: That’s a pity. I liked this model, but I’ve already bought black shoes.

KEY: Type of text: This is a short dialogue. The chunks are likely to be short because this is not rehearsed speech. There is likely to be some formulaic discourse because this is a well-defined type of interaction (i.e. there are fixed roles and expectancies in this routine situation). Context: At the shoe shop. The country is not specified, and there’s no information about the time. Speakers: A customer and an assistant. We don’t know if they are male or female. The assistant is likely to be the dominant speaker because he knows about the items the shop has. 1. [At the ÁShoe Shop] Tonality: Marked. This is a phrase, not a clause. Focus: Broad. Nothing can be taken for granted. All the info is new. Tonicity: Neutral. LLI rule. (shoe shop is an early stressed compound word). Onset: There’s no onset. The first two words are not meaningfully rich. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

2.

[!Can I òhelp you, madam?]

Tonality: Neutral. This is just one clause. Focus: Broad. Nothing can be taken for granted. All the info is new. Tonicity: Marked. The nucleus falls in a lexical item that is not the last one. The word madam can’t be nuclear because it’s a final vocative. The word you can’t be nuclear because it is a grammar word. The word help is nuclear because it is the LLI before the vocative.

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Onset: Yes/No questions always present a choice of onset. The auxiliary verb may be the onset, thus becoming a strong form. The speaker may choose not to make the operator the onset, so it would be a weak form. Tone: A rise is likely. The assistant presupposes that he will be able to help the customer, so this is a checking question; he is using a dominant variant of the referring tone because he wants to show he can be in command of the situation (offers of help tend to take a dominant tone because the speaker shows he is capable of helping) (Brazil). This is a yes-no question (O’Connor, Lee, Wells).

3. [Oh, y Á es.] Tonality: Neutral. This tone unit corresponds to one clause. Yet, the interjection could have taken a separate intonation phrase. Focus: Broad. Nothing can be taken for granted. All the info is new. Tonicity: Neutral. LLI rule. Onset: The speaker has chosen not to have an onset. However, this interjection may have been the onset. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

4. [!How much is this pair of Áshoes?] Tonality: Neutral. This tone unit corresponds to one clause. Focus: Broad. Nothing can be taken for granted. All the info is new. Even though they may see the shoes, the speaker is presenting this as new info. Tonicity: Neutral. LLI rule. Onset: The wh-interrogative word is likely to be the nucleus because it stands for the information gap. Tone: A fall is likely. The customer wants to find out the price, he/she has no presuppositions about this (Brazil). This is a wh-question (O’Connor, Lee, Wells).

5. It’s [a !hundred and twenty Ádollars.] Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The pronoun it replaces the idea of pair of shoes, which is old. Tonicity: Neutral. LLI rule. Onset: The word hundred is the first lexical item. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

6. These are [really Ágood] shoes. Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The two items in focus show are the only new bits of information. Tonicity: Marked. The word shoes is deaccented because it has already been mentioned. The nucleus falls on the last new lexical item. Onset: Not applicable. Tone: A fall is likely. This is new information that is being proclaimed (Brazil). This is a statement (O’Connor).

7. […This type of ;leather] Tonality: Marked. This is not a clause but a phrase. This topicalization may be useful to highlight the subject and to break the original sentence into two chunks so as to ease pronunciation and to give more time to the listener to take in the information. Focus: Broad. All the info is new. Tonicity: Neutral. LLI rule. Onset: The demonstrative this carries meaning related to the here and now (deixis). Tone: A fall-rise is likely. This is the typical tone used in topicalization. The info in this chunk is dependent on the next chunk, so this is a minor point of information. This chunk is given a leading tone (Wells). The fall rise expresses continuity (O’Connor).

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8. [is of an ex!ceptional Áquality.] Tonality: Marked. This clause lacks its subject. Focus: Broad. Everything is presented as new info. Tonicity: Neutral. LLI rule. The speaker has chosen to present the idea of quality as new, even though it may be argued that he has already commented on the value of the shoes before (in tone unit number 6, the word good was introduced). Onset: the word exceptional is the first lexical item. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

9. [Have you !got] them [in òbrown?] Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The pronoun them refers back to the word shoes, which is old information. Tonicity: Neutral. LLI Rule. Onset: The onset is the first lexical item. The word have might have been the onset because this is a yes-no question. (See IP 2) Tone: A rise is likely. The customer may presuppose that there may be brown shoes, so this is a checking question; he is using a dominant variant of the referring tone because he is the customer and he wants to choose what to buy (Brazil). This is a yes-no question (O’Connor, Lee, Wells).

10. [!Let me Ásee.] Tonality: Neutral. This tone unit corresponds to one clause. Focus: Broad. All the info is new. Tonicity: Neutral. LLI rule. Onset: The word let is the first lexical item. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

11. We [ Ádon’t, I’m afraid.] Tonality: Marked. There are two clauses in this tone unit. Focus: Narrow. The word we is old info because it refers back to the word you in IP 9. Tonicity: Marked. I am afraid is a final comment clause, so it isn’t likely to carry the nucleus. The nucleus falls on the word don’t because it is semantically rich: it carries the negative adverb, so this operator indicates polarity. Onset: Not applicable. The word we is not likely to be the onset because of its low informational value. Tone: A fall is likely. This is new information that is being proclaimed (Brazil). This is a statement (O’Connor).

12. !That’s [a òpity.] Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The expression that’s refers to the content of the previous sentence, so this makes it old information. Tonicity: Neutral. LLI rule. Onset: The word that is the first semantically rich item because it is a demonstrative. However, it might have been unaccented if the speaker wished so. Tone: A rise is likely. This tone unit does not contain much information: this may be a case where social selection prevails. The speaker may want to create convergence, especially when he is aware of the fact that he won’t be buying the shoes (this is what comes next in the text) (Brazil). O’Connor would say that a rising tone is used to express kindness.

13. [I ;liked] this model Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The expression this model is old info because it refers to the pair of shoes that they can see in the physical world. Besides, they have been talking about these shoes all the time. Tonicity: Marked. The word model is deaccented because it is a kind of hyponym for the idea of shoes. The word this is deaccented because this refers to the shoes that they have been talking about. The word liked is the last new lexical item, so it will bear the nucleus.

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Onset: Not applicable. Tone: A fall-rise is likely. Brazil would argue that the speaker presents this information as shared: the fact that the customer liked that model is evident because he has been trying to get a pair in brown. Wells and O’Connor would say that a fall-rise can be used to express continuity – this is a leading tone, because the major point of information is about to come. There is a kind of cause and effect relationship: even though the customer likes the design, he is not buying the shoes because he already has another pair of black shoes. This is an implicational fall-rise which anticipates an adversative construction (i.e. it anticipates a ‘but’).

14. [but I’ve al!ready Ábought] black shoes. Tonality: Neutral. This tone unit corresponds to one clause. Focus: Narrow. The words black and shoes are old information. Tonicity: Marked. The words black and shoes are shared information, so they get deaccented. The nucleus falls on the word bought because it is the last new lexical item. Onset: The word already is the first lexical item. Tone: A fall is likely. This is all new information that is being proclaimed (Brazil). This is a statement (O’Connor).

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FSR & Analysis: Snapshot Pre-Intermediate

1

2

Track 71

MAN:

3

Text 1: At the restaurant Excuse me. I’ve got an early train to catch tomorrow morning. Could I have breakfast at six o’clock, please?

4

NICOLA:

I’m afraid that isn’t possible, sir. Breakfast isn’t served until seven.

5

MAN:

But I only want coffee, toast and marmalade. Surely that’s possible?

6

NICOLA:

I’m afraid there’s nothing I can do about it, sir.

7

MAN:

Oh, forget it!

8

NICOLA:

Well, it’s not my fault!

9

MORRIS: Nicola, you’re expected to be polite and helpful to our guests at all

10

times. Is that clear?

11 NICOLA:

Yes. Sorry, Morris.

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Track 72

TOM:

Text 2: The Bully Jamie, can you take this video back to the rental shop for me, please?

3

JAMIE:

Sorry, I’m reading my book.

4

TOM:

You’ve been reading that book for days!

5

JAMIE:

So? Anyway, I’m going to have a shower in a moment.

6

TOM:

Oh, come on, Jamie! Do me a favour for once! It’s not far to the shop.

7

JAMIE:

No!

8

TOM:

Why not?

9

JAMIE:

Well, if you must know, I don’t want to go past Rick Ward’s house.

10 TOM:

Rick Ward! That creep! Why?

11 JAMIE:

Because he and his friends always pick on me when I go past.

12 TOM:

What do you mean ‘pick on’ you?

13 JAMIE:

They call me names and push me around.

14 TOM:

How long has this been going on?

15 JAMIE:

Since the beginning of term.

16 TOM:

Would you like me to go and sort them out?

17 JAMIE:

No, it’s OK. Give me the video. Shall I get another one for you?

18 TOM:

No, don’t bother. Jamie, are you sure you’ll be all right?

19 JAMIE:

I’ll be fine.

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Track 73

TOM:

3

Text 3: You ought to try them Well, what do you fancy to eat? What about hot dogs? We can grill some sausages and we’ve got some rolls.

4

NICOLA:

Yum! Sounds great! Can I give you a hand?

5

TOM:

Yes, OK. Could you turn the grill on?

6

LOUISE:

No hot dogs for me, thanks.

7

TOM:

But these sausages are really nice. You ought to try them.

8

LOUISE:

No, thanks. I’m a vegetarian. I’ll just have a cheese salad. Have you

9

got any grated cheese?

10 TOM:

Yes, I think so. You should eat more, Louise. You’re too thin. Turn

11

the grill up higher, Nicola.

12 NICOLA:

You shouldn’t have it too hot. The sausages will burn.

13 TOM:

Relax! I know what I’m doing. Let’s go and watch TV.

14

A few minutes later

15 JAMIE:

I’ve got hiccups. I must get a glass of water. Hey! What’s that smell?

16 TOM:

Oh, no! The sausages have caught fire!

17 NICOLA:

Quick! Turn off the gas!

18 TOM:

Pass me that tea towel!

19 NICOLA:

Well, Jamie. I hope you like burn sausages.

20 JAMIE:

I don’t. But at least my hiccups have stopped!

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Track 74

BEN:

3 4

Text 4: He said he’d been away Hello. Cliff Hotel. Can I help you? Yes. One moment, please. I’ll get her. Louise, there’s a phone call for you!

LOUISE:

5

Oh, thanks! Some minutes later

6

LOUISE:

That was my boyfriend Joe on the phone.

7

NICOLA:

So what did he say? Why hasn’t he kept in touch?

8

LOUISE:

He said he’d been away with his parents.

9

NICOLA:

Why didn’t he phone to tell you?

10 LOUISE:

He said he phoned before he went away, but he couldn’t get through.

11 TOM:

Oh, yeah? I bet! They always say that. He’s probably having a great

12

time without you.

13 LOUISE:

Not at all. He said he was missing me and that he wanted me to go

14

up to Manchester to see him when I get back home.

15 NICOLA:

And you said you would, of course.

16 LOUISE:

No, I haven’t made up my mind yet. I said I’d tell him at the weekend.

17 TOM:

So you’re playing hard to get, are you?

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Track 75

Text 5: Someone had dropped it

2

NICOLA: This is a beautiful place for a theatre!

3

TOM:

Yes. It’s great to hear the sea and the music at the same time.

4

LOUISE:

And it was a great concert!

5

TOM:

Yes. It was, wasn’t it?

6

NICOLA: Thanks for inviting us, Tom.

7

TOM:

8

NICOLA: Oh, no! I’ve left my jacket behind! I’ll just go and get it.

9

TOM:

10

That’s OK. I enjoyed it, too.

We’ll tell the driver to wait. A few minutes later

11 NICOLA: Guess what! Someone had dropped a twenty pound note on the 12

steps.

I found it on the way out. I gave it in at the box office.

13 TOM:

What did they say?

14 NICOLA: They asked me to phone next week to see if anyone had claimed it. 15

If not, I can have it. So keep your fingers crossed!

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1

Track 76

2

NICOLA:

You look very pleased with yourself.

3

MATT:

I’ve just done a TV interview with Sue Turner.

4

NICOLA:

What was it about?

5

MATT:

Oh, the surf competition. And me, of course.

6

NICOLA:

Fame at last! What did they ask you?

7

MATT:

They asked me where I was from, how long I’d been surfing – you

8 9

Text 6: TV interview

know, just general stuff. NICOLA:

Next stop, Hollywood! Have you got your surfboard back, by the way?

10 MATT:

No, worse luck! I’m getting really worried.

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1

Text 7: At St Michael’s Mount

2

TOM:

Look! The tide’s going out. You can see the road.

3

LOUISE:

Great. Let’s walk out to the island and climb up to the castle.

4

NICOLA:

But it’s such a long way to walk!

5

LOUISE:

No, it isn’t. Don’t be so lazy!

6

TOM:

It’s really worth it, Nicola. There’s such an amazing view from the top.

7

NICOLA:

Can’t we go at the weekend instead?

8

TOM:

No, now’s a good time because it’s a weekday. The place is so

9

crowded at the weekend that you can hardly move.

10 LOUISE:

Is it that bad?

11 TOM:

Yes, some friends of mine came last Sunday but there were such

12

long queues that they left.

13 NICOLA:

OK, but can we buy an ice cream first?

14 TOM:

No! you can get one at the castle. Let’s hurry before the tide starts

15

to turn!

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Track 77

Text 8: If I were you

2

NICOLA:

You seem a bit fed up, Louise.

3

LOUISE:

Yes, I am. I haven’t heard from my boyfriend Joe for ages.

4

NICOLA:

Can’t you forget about him for a while?

5

LOUISE:

That’s easier said than done! What do you think I should do?

6

NICOLA:

If I were you, I wouldn’t do anything. Or… I’d go out with somebody else, just to teach him a lesson.

7

LOUISE:

Maybe I will.

8

NICOLA:

Oh, no! Here comes Jake!

9

JAKE:

Hi, Nicola! Did you enjoy the disco the other night?

10 NICOLA:

Sorry, Jake, I must go. Bye, Louise. See you later.

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Track 78

TOM:

3

Text 9: You’re Nicola, aren’t you? Hi, Nicola! This is your first morning in the restaurant, isn’t it? How’s it going?

4

NICOLA:

It’s a disaster! I’ve already done something wrong!

5

TOM:

What’s the matter? What have you done?

6

NICOLA:

Look. I’m so clumsy! I’ve just spilt coffee on the sleeve of my blouse.

7

TOM:

Have you seen Morris yet?

8

NICOLA:

No, I haven’t. He’s the deputy manager, isn’t he?

9

TOM:

Yes. He’s quite fussy. You’d better go and change. Whoops! Too

10

late! Here he is now!

11 MORRIS: Morning, everybody! Hello, you’re Nicola, aren’t you? 12 NICOLA:

Yes, that’s right.

13 MORRIS: Have you worked in a restaurant before? 14 NICOLA:

No, I’m afraid I haven’t.

15 MORRIS: Well, we all work very hard, don’t we, Tom? Just a minute, Nicola. 16

That isn’t a stain on your blouse, is it?

17 NICOLA:

Yes. I’m sorry. It’s only coffee.

18 MORRIS: Well, please go and change. I like my staff to look smart.

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1

Track 79

2

NICOLA:

Hello, Jake! Do you remember me – Nicola?

3

JAKE:

Sure I do!

4

NICOLA:

These are some friends from the hotel. Louise and Tom.

5

TOM:

Hi! What’s the surfing like today?

6

JAKE:

Ah, the waves are great! They’re much better than yesterday.

7

TOM:

How long have you been here in Newquay?

8

JAKE:

Since last Friday. I arrived the same day as Nicola.

9

LOUISE:

How do you like it?

Text 10: Surfing in Newquay

10 JAKE:

It’s OK. But it’s not as lively as Cape Town. Have you ever been to

11

South Africa?

12 TOM:

No, never. Is the surfing good?

13 JAKE:

You bet! It’s got the best surfing beaches you’ve ever seen!

14 NICOLA:

Are the beaches better than the ones in Hawaii?

15 JAKE:

Yes, absolutely! Have any of you ever been to Hawaii?

16 TOM:

No.

17 JAKE:

Ah, it’s radical! The waves are the highest in the world and you get...

18 TOM:

Really? How wonderful! Does anyone fancy a hot dog?

160

1

Prof. Francisco Zabala - 2015

Track 80

Text 11: I’m here to work

2

JAKE:

Excuse me. Which bus do I take to get to Fistral Beach?

3

NICOLA:

You need a number fifty three.

4

JAKE:

Are you waiting for the fifty three too?

5

NICOLA:

Yes, I am. Are you a surfer?

6

JAKE:

Yes, I’m here for the surfing championships.

7

NICOLA:

Where do you come from?

8

JAKE:

Cape Town. I’m in the South African surfing team.

9

NICOLA:

Are you? Brilliant!

10 JAKE:

What about you? Do you live here?

11 NICOLA:

No, I live in London.

12 JAKE:

Do you? Are you in Newquay on holiday?

13 NICOLA:

No. I usually come here on holiday with my parents but this time

14

I’m here to work.

15 JAKE:

Really? Hard luck!

16 NICOLA:

I don’t mind. It’s a part-time holiday job at a hotel. My aunt’s the

17

manager there. Oh, here comes our bus!

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Ear Training & Reading of Tonetic Marks A) Read these IPs aloud.

A – Fall 1 2 3 4 5 6

B – Rise

C – Fall-Rise

D – Level

E – Rise-Fall

ÁBob

òBob

;Bob

ɆBob

ȽBob

ÁSally

òSally

;Sally

ɆSally

ȽSally

ÁActually

òActually

;Actually

ɆActually

ȽActually

ÁNo he can´t

òNo he can´t

;No he can´t

ɆNo he can´t

ȽNo he can´t

!Peter òAtkinson

…

Peter ;Atkinson

ɍPeter ɆAtkinson

ɍPeter ȽAtkinson

!Ron bought the òcar

…

Ron bought the ;car

ɍRon bought the Ɇcar

ɍRon bought the Ƚcar

!Peter ÁAtkinson !Ron bought the Ácar B) 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37.

Read these sentences aloud. Then contrast them with the recording. Think of possible contexts for each one. ÁI de/test snob /people. I detest Ásnob /people. I de!test Ásnob /people. I de Átest snob /people. I de ;test snob /people. I deòtest snob /people. I !detest Ásnob people. I !detest òsnob /people. ↘ I detest ;snob /people. The Áphone’s /ringing /now. The phone’s Áringing /now. The !phone’s Áringing /now. The !phone’s ‡ringing Ánow. The Áphone’s /ringing /now. The òphone’s ‡ringing ‡now. The ;phone’s /ringing /now. The !phone’s ‡ringing Ánow. The !phone’s ‡ringing ònow. ↘ The phone’s ‡ringing ;now. Ms ÁScott has /bought the /tea for you. ÁMs Scott has /bought the /tea for you. Ms !Scott has Ábought the /tea for you. Ms !Scott has ‡bought the Átea for you. Ms !Scott has ‡bought the ‡tea for Áyou. Ms ÁScott has /bought the /tea for you. Ms ;Scott has /bought the /tea for you. Ms òScott has ‡bought the ‡tea for you. Ms !Scott has ‡bought the Átea for you. Ms ÀScott has ‡bought the ;tea for you. Ms !Scott has ‡bought the òtea for you. Ms !Scott has ‡bought the ‡tea for Áyou. Ms !Scott has ‡bought the ‡tea for òyou. Ms ÀScott has ‡bought the ‡tea for ;you. ÁEllen may /visit /Danny on /Tuesday. ;Ellen may /visit /Danny on /Tuesday. òEllen may ‡visit ‡Danny on ‡Tuesday. !Ellen Ámay visit /Danny on /Tuesday.

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38. 39. 40. 41. 42. 43. 44. 45.

À

Ellen ;may visit /Danny on /Tuesday. !Ellen òmay visit ‡Danny on ‡Tuesday. !Ellen ‡may visit ÁDanny on /Tuesday. À Ellen ‡may visit ;Danny on /Tuesday. !Ellen may visit òDanny on ‡Tuesday. !Ellen may visit ‡Danny on ØTuesday. !Ellen may visit ‡Danny on òTuesday. À Ellen may visit ‡Danny on ;Tuesday.

C) Assign the intonation you hear – see the key below. 1.

The bus is not dark red.

2.

The bus is not dark red.

3.

The bus is not dark red.

4.

The bus is not dark red.

5.

The bus is not dark red.

6.

The bus is not dark red.

7.

The bus is not dark red.

8.

The bus is not dark red.

9.

Simon Burns is in Paris now.

10. Simon Burns is in Paris now. 11. Simon Burns is in Paris now. 12. Simon Burns is in Paris now. 13. Simon Burns is in Paris now. 14. Simon Burns is in Paris now. 15. Simon Burns is in Paris now. 16. Simon Burns is in Paris now. 17. Sally’s son is a horror story writer. 18. Sally’s son is a horror story writer. 19. Sally’s son is a horror story writer. 20. Sally’s son is a horror story writer. 21. Sally’s son is a horror story writer. 22. Sally’s son is a horror story writer. 23. Sally’s son is a horror story writer. 24. Sally’s son is a horror story writer. 25. Sally’s son is a horror story writer. 26. Sally’s son is a horror story writer. 27. Sally’s son is a horror story writer. 28. Sally’s son is a horror story writer. 29. Sally’s son is a horror story writer. 30. Sally’s son is a horror story writer. 31. Sally’s son is a horror story writer. 32. Sally’s son is a horror story writer.

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Fall & Rise

Text 1: ɊInterviewing ᶑTony

1 2

INTERVIEWER:

ɊWhat's your ᶑname?

3

TONY:

It's ɊTony ᶑCooke.

4

INTERVIEWER:

ɊHow do you ᶑspell ᶆCooke? ɊHas it ᶅgot an ⱠE?

5

TONY:

ⱠYes. ⱠC | Ɋdouble Ⱡ0 |ⱠK | ᶑE.

6

INTERVIEWER:

ⱠThanks. ᶑNow, | can you Ⱡdrive, ᶄTony?

7

TONY:

ɊYes, I ᶑcan.

8

INTERVIEWER:

Can you Ɋplay a ᶅmusical Ⱡinstrument?

9

TONY:

ⱠYes, | I can play the ᶑsaxoᶆphone.

10 INTERVIEWER:

Can you Ɋspeak any ᶅforeign Ⱡlanguages?

11 TONY:

ᶑYes, | ⱠGerman | and ᶑSpanish.

12 INTERVIEWER:

Can you Ⱡcook?

13 TONY:

ᶑNo, | I ᶑnever ᶆcook!

14 INTERVIEWER:

Can you Ɋplay any Ⱡsports?

15 TONY:

ᶑYes, | I can play Ⱡfootball, | Ⱡtennis, | Ⱡgolf, |and ᶑrugby.

16 INTERVIEWER:

Can you Ⱡswim?

17 TONY:

ᶑNo, | I ᶑcan't.

18 INTERVIEWER:

ᶑThank you, | ⱠTony.

1

Text 2: ɊMartin and ᶑJulia

2

We Ⱡlive | in a Ɋsmall ᶅold ᶑhouse | in ᶑOxford. ɊOur Ⱡhouse | is Ɋquite ᶅnear

3

the ᶑcentre. We’ve Ɋgot a Ⱡliving ᶄroom, | a Ⱡdining ᶄroom, | a Ɋsmall Ⱡkitchen,

4

| Ɋtwo Ⱡbedrooms | and a ᶑbathroom. And there’s a Ɋsmall ᶑhall. We’ve got a

5

Ɋbig front ᶑgarden. We preɊfer to be ᶅnear the city ᶑcentre – | it’s Ɋclose to the

6

Ⱡshops | and it’s Ɋvery conᶑvenient | for the ᶑcinema. We’ve Ɋgot a Ⱡcar | but

7

we Ɋhaven’t got a ᶑgarage – | we Ɋhave to Ⱡpark it | in the ᶑstreet.

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Fall & Fall-Rise

Text 3: ɊMaking aᶑrrangements

1 2

JENNY:

3

SECRETARY: HelⱲlo, ᶆJenny. I've Ɋgot the ᶑmanager ᶆfor you. JENNY: ⱲOh, | ɊOᶑK.

4

HelⱲlo. ɊJenny ⱲMills.

…

5 6

MANAGER:

7

JENNY:

The …BAⱲG conference? …Can't ⱲStephen ᶆgo?

8 9

MANAGER:

ⱲNo, | I'm aɊfraid he ᶑcan't. He

ⱲJenny. We've Ɋgot a ᶅbit of a ᶑproblem.

Can you ᶅgo to the

ᶅBAⱲG conference | on ⱲTuesday? …

has to ᶅgo to ⱲSpain | on

ɊMonday ᶑnight.

10 JENNY:

ⱲWell. ⱲTuesday? ᶑYes, | Ɋthat's OᶑK.

11 MANAGER:

ᶑGood. ɊThanks very ᶑmuch, ᶆJenny.

Fall, Rise & Fall-Rise 1 2 3 4

Text 4: ɊMaking an aᶑppointment RECEPTIONIST: ɊGood Ⱡmorning. ɊCan I Ⱡhelp you? MR SMITH: ᶑYes, | …can I ᶅmake an apⱲpointment | with

…

Doctor ⱲWall,

ᶆplease?

5 6

RECEPTIONIST: ⱠYes. ɊCan you ᶅcome at ᶅten to Ⱡthree | on ɊWednesday

7

MR SMITH:

ᶅafterⱠnoon? ⱲNo, | I'm Ⱳsorry. I ᶑcan't. ɊWhat aᶅbout the ᶑevening?

8 RECEPTIONIST: …Doctor ⱲWall | ᶑisn't here in the ᶆevening on ᶆWednesday, | 9 I'm aⱠfraid. I can …put you Ⱳin | at Ɋhalf past ᶑsix | on 10 ᶑThursday ᶆevening. 11 MR SMITH: ᶑYes, | Ɋthat's ᶑfine. 12 RECEPTIONIST: ɊWhat ᶑname is it, ᶆplease? 13 MR SMITH: It's ɊTom ᶑSmith. 14 RECEPTIONIST: ⱲThank you, Mr ᶆSmith. Goodᶑbye. 15 MR SMITH: GoodⱠbye.

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1

Text 5: ᶑMargaret | the ᶑspinster …

2

I

3

Soutᶑhampton. I’ve got a Ɋbig ᶅliving room downⱠstairs | and a Ɋsmall

4

Ⱡkitchen | with a ᶑwashing maᶆchine. There …isn’t a Ⱳhall. There’s a

5

Ⱡbedroom | and a ᶑbathroom | upⱠstairs. I …haven’t got a ᶅvery big Ⱳgarden,

6

| but it’s ᶑvery ᶆnice. I Ɋreally ᶑlike | the Ⱡhouse. It’s Ɋvery ᶅnear to the

7

Ⱡshops, | and the Ⱳneighbours | are Ɋvery ᶑfriendly. …Now I’m Ⱳold | that’s

8

ᶑvery | imᶑportant.

live on my Ⱳown | in a Ɋsmall ᶅmodern ᶑhouse | in a Ⱳvillage | Ɋnear

1

Text 6: ɊCheap ᶑLabour

2

ɊSanjit ⱠRay | Ɋworks for a comᶑputer ᶆcompany | in ɊLos ᶑAngeles,

3

|ɊCaliᶑfornia. He …writes comⱲputer ᶆprograms, | but he Ɋdoesn’t ᶑgo to Los

4

ᶆAngeles | Ɋevery Ⱡday. In ᶑfact, | he Ɋdoesn’t ᶑlive | in the ɊUSⱠA. He Ⱳlives |

5

in ᶑIndia.

6

ᶑSanjit: “ɊEvery Ⱡday | I take the …bus into BomⱲbay | and I Ɋgo to an ᶑoffice

7

ᶆthere. The coⱲmputer ᶆcompany | Ɋsends inforᶑmation to me | by ᶑe-mail. I

8

Ⱳwork on the ᶆinforᶆmation | Ɋon the comᶑputer | and Ⱡthen | I Ɋsend the

9

ᶑprogram ᶆback | to ɊCaliᶑfornia.”

10 The coⱲmputer ᶆcompany | Ɋdoesn’t do the ᶑwork | in the ɊUSⱠA | because it 11

…

costs Ⱳless | to Ɋdo it in ᶑIndia. ⱲSalaries there | are ᶑlower. ⱠAlso, | ⱲIndia |

12 is Ɋtwelve ᶅhours aᶑhead | of ɊCaliᶑfornia. ᶑSo | the comⱲputer ᶆcompany | 13

…

sends inforᶅmation at the Ⱳend of the ᶆday | and ɊSanjit Ⱡworks on it |

14 when it’s ᶑnight time in the ᶆUSᶆA. When he …sends the ᶅprograms Ⱳback, | 15 they arɊrive in ᶅCaliⱠfornia | Ⱳbefore the ᶆcomputer ᶆcompany | Ɋstarts in the 16 ᶑmorning.

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Fall, Rise, Fall-Rise & Level

Text 7: ɊKaren’s Week ᶑend

1 2

BEN:

ⱲHi, ᶆKaren.

3

KAREN:

ⱲHello, ᶆBen. ɊHow ᶑare you?

4

BEN:

I'm Ⱳfine, ᶆthanks. And Ⱡyou?

5

KAREN:

ⱠFine.

6

BEN:

Were Ɋyou and Josh aᶑway | at the weekᶑend?

7

KAREN:

ᶑYes, | we were at ᶑWOMAD.

8

BEN:

ⱲWOMAD? ɊWhat's ᶑthat?

9

KAREN:

ɆOh, | it's a ᶑmusic ᶆfestival: ɊWorld of ɆMusic, | ɆArts, | and ᶑDance.

10 BEN:

Oh, I ᶑsee. ɊWhere was ᶑthat?

11 KAREN:

It was in ᶑReading.

12 BEN:

ᶑOh, | ᶑright. Was it Ⱡgood?

13 KAREN:

ᶑYes, | it was Ɋfanᶑtastic. There were Ɇbands | and Ɇsingers | from Ɋall

14

over the ᶑworld. My Ⱳfavourite ᶆband | was from ᶑThailand. They were Ɋso

15

ᶑgood. And there was ᶑlots | of Ɋwonderful ᶑfood: |

16

ɆAfrican, | ɆMexican, | ɊJapaⱠnese.

17 BEN:

ɊDo you Ɇthink | that there were Ⱳloads of ᶆpeople ᶆthere?

15 KAREN:

ⱲYes, | ᶑthousands of people.

19 BEN:

It Ɋsounds ᶑgreat

20 KAREN:

ⱠYes, | it ᶑwas – the Ɋonly Ɇproblem | was the ᶑweather!

21 BEN:

ⱠWhy? ɊWhat was the ᶑweather ᶆlike?

22 KAREN:

ᶑWet. ᶑToo ᶆwet.

23 BEN: 24

Oh, Ⱳreally? It

25 KAREN:

ɆWell, | it was ɊOɆK | on ɊSaturday ᶑmorning in ᶆReading,| ᶑtoo. It

26

…

wasn't Ⱳtoo bad ᶆhere. It was a

…

…

ⱠIndian, | ɊNorth

bit Ⱳcloudy, | but it was

ᶑdry. wasn't ᶅvery Ⱳsunny, | but it was Ɋquite ᶑwarm, you ᶆsee. But then the

27

Ⱳrest of the ᶆtime | it was Ɋvery ᶑwet, | and ᶑcold, | ᶑtoo.

28 BEN:

Oh, Ɋthat's a Ⱡpity.

29 KAREN:

Yes, but at Ⱳleast | Ɋwe were in a Ɇcaravan, | so we were Ɋall ᶑright, | but

30

a Ⱳlot of ᶆpeople | were in ᶑtents, | so it …wasn't ᶅvery ᶅnice for Ⱳthem.

31 BEN:

ⱲNo, | I Ɋbet it ᶑwasn't. Were you …there all weekⱲend?

32 KAREN:

ⱠYes, | from ɊFriday Ɇevening | till ᶑSunday ᶆevening. And Ɋhow was ᶑyour

33

weekᶆend?

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Fall, Rise, Fall-Rise, Level & Rise-Fall 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Text 8: ɊHoliday in ᶑScotland WILLIAM: ⱲHi, ᶆJulia. Did you Ɋhave a ᶅgood Ⱡholiday? JULIA: ⱲYes, ᶆthanks. It was ɂvery ᶆnice. WILLIAM:

 Where

did you ᶑgo?

JULIA:

We Ⱳwent | to ɂScotland. WILLIAM: ɂReally? That  sounds ᶅreally ᶑgreat! ɊWhereabouts ᶑwere you? JULIA: We were in ᶑEdinburgh. WILLIAM: ɊVery Ⱡnice. ɊHow Ɇlong | were you ᶑthere for? … JULIA: Just a Ⱳweek, | but we  wanted to ᶅstay ᶑlonger! WILLIAM: ɊWhat was the ᶑweather ᶆlike? JULIA:

Well, it ɂrained | for the Ɋfirst couple of Ⱡdays, | but

…

after Ⱳthat | it was

ɊOᶑK. It was Ⱳcloudy, but it was ᶑdry. WILLIAM: ⱲThat's not ᶆtoo ᶆbad. Did you Ⱡdrive? JULIA: ᶑNo, | we Ⱡdidn't. We Ɋdon't ᶑlike | Ɋdriving long Ⱡdistances, | so we Ɋwent by ᶑtrain. WILLIAM: ɊHow long did the ᶑjourney ᶆtake? JULIA: Oh, aɆbout | Ɋfive ᶑhours, I ᶆthink. We Ɋgot to ɆEdinburgh | at aɊbout ᶅ7.00 in the ᶑevening. WILLIAM: Did you …stay in a hoⱲtel? JULIA: ⱠNo, | we Ⱡdidn't. We Ɋstayed with some ᶑfriends. They've got a …new Ⱳflat | in the Ɋcity ᶑcentre. WILLIAM: Oh, ɂright. ɊWhat things did you ᶑdo? JULIA: We did Ɋquite a ᶑlot, | as a Ɋmatter of Ⱡfact. We Ɋvisited the Ɇcastle, | some muⱠseums, | Ɋquite a ᶅnumber of Ⱡpubs, | and we did a Ɋlot of ᶑshopping, | ᶑtoo!

26 WILLIAM: ɂGreat. So Ɋwhen did you get ᶑback? 27 JULIA: ɊTwo ᶑdays ago. 28 WILLIAM: ᶑWell, | Ɋnice to ᶑsee you again. ɊSee you aᶑround. 29 JULIA: ɊOⱠK. ⱲBye!

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1

Text 9: ɊTrip to Mi ᶑlan

2

ɊJake ⱠCruise | woke Ɋup in his hoᶅtel in ⱠParis | and Ɋlooked at his aᶑlarm ᶆclock.

3

It was Ɋeight ᶑthirty. It was ɂlate! He had a …flight to MiⱲlan | at ɂten ᶆthirty, |and

4

an imɊportant Ɇmeeting | with SiɊgnor Rosᶑsini. He would have …loved to ᶅhave a

5

Ⱳshower, | but there was Ɋno ᶑtime to ᶆwaste. He Ɋgot dressed Ⱡquickly, | Ɋdidn’t ᶅeat

6

any Ⱡbreakfast, | Ɋpacked his Ɇbag | and Ɋhurried downᶑstairs. …As he checked

7

ᶅout of the hoⱲtel, | the reⱲceptionist | Ɋgave him a ᶑmessage | but he Ɋdidn’t ᶑlook

8

at it. He Ɋput it in his Ɇpocket, | Ɋran out of the hoⱠtel | and Ɋgot into a ᶑtaxi. The

9

…

traffic on the ᶅway to the Ⱳairport | was ɂterrible | and the Ⱳtaxi | cost a ᶑlot | of

10 ᶑmoney. He …didn’t arⱲrive at the ᶆairport | until Ɋten past ᶑten. He Ɋchecked Ⱡin, | 11 showed his Ɋboarding ᶅpass and Ɇticket | and Ɋrushed to the ᶑplane. He got Ⱳon the 12 ᶆplane | Ɋjust in ᶑtime. He Ɋfound his Ⱡseat | and Ɋsat ᶑdown. ɊFive minutes Ɇlater | 13 the ᶑplane took ᶆoff. He Ɋremembered the ᶅmessage in his ᶑpocket. He Ɋtook it Ⱡout | 14 and ᶑread it. It was from his Ⱳsecretary | and the Ⱳcontent was: ‘ɊDon’t go to Miᶅlan 15 toᶑday. Our ᶑdeal is ᶆoff.’

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Stress: Suffixes Neutral

Stress Attracting

Stress Rejecting

Origin: Anglo Saxon

Origin: French

Origin: Latin

The original stress pattern is kept

The primary stress is taken by this syllable. Oxitone words. Secondary stresses? Rule of Derivation!

Where's the main stress? Grally. 1 syllable before the suffix, or 2 syllables before.

Examples

Examples:

Stress on previous syllable:

-hood: 'likelyhood

-ese: ˌChi'nese

-ic(s): ro'botic(s)

-ful: 'beautiful

-nique: ˌu'nique

-ify: in'tensify -ion: ion: proˌnunci'ation pro

-less: 'limitless

-ree: ˌrefe'ree

-ness: u'niqueness

-aire: ˌmillio'naire

-ish: de'molish

-ish: 'yellowish

-ette: ˌciga'rette

-city: au'dacity

-ship: 'citizenship

-oon: car'toon

-id: 'solid

-ly: 'plainly

-oo: sham'poo

-ety: va'riety

-or: 'governor

-eer: ˌengi'neer

-ity: com'munity

-er: 'teacher

-esque: ˌpictu'resque

-ify: i'dentify

-ing: 'fantasizing

-esce: ˌcoa'lesce

-ed: 'dedicated

-ate: (2 syl.) nar'rate

-able: re'liable

Stress 2 syllables before:

-al: 'digital

-ate: cer'tificate

-ive: com'municative

-dom: 'boredom

-ude: 'solitude

-ward: 'backward

-ate: (polisyllabic) e'valuate

-wise: 'moneywise -ble: re'sponsible

-ise: 'recognize

Exceptions: -ic: ic: 'lunatic, 'arithmetic, 'rhetoric, 'catholic, 'heretic, 'arsenic, 'arabic (all nouns)

Adapted from Prof. Roxana Basso

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The Logical Song By Supertramp When I was young, it seemed that life was so wonderful, a miracle, oh it was beautiful, magical. And all the birds in the trees, well they'd be singing so happily, Oh, joyfully, oh playfully watching me. But then they send me away to teach me how to be sensible, logical, responsible, practical. And they showed me a world where I could be so dependable, Oh clinical, oh intellectual, cynical. There are times when all the world's asleep, the questions run too deep for such a simple man. Won't you please, please tell me what we've learned I know it sounds absurd please tell me who I am. Now watch what you say or they'll be calling you a radical, liberal, fanatical, criminal. Won't you sign up your name, we'd like to feel you're acceptable, respecable, presentable, a vegetable! At night, when all the world's asleep, the questions run so deep for such a simple man. Won't you please, please tell me what we've learned I know it sounds absurd please tell me who I am.

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Californication Psychic spies from China Try to steal your mind's elation Little girls from Sweden Dream of silver screen quotations And if you want these kind of dreams It's Californication It's the edge of the world And all of western civilization The sun may rise in the East At least it settles in the final location It's understood that Hollywood sells Californication Pay your surgeon very well To break the spell of aging Celebrity skin is this your chin Or is that war your waging [Chorus:] First born unicorn Hard core soft porn Dream of Californication Dream of Californication Marry me girl be my fairy to the world Be my very own constellation A teenage bride with a baby inside Getting high on information And buy me a star on the boulevard It's Californication Space may be the final frontier But it's made in a Hollywood basement Cobain can you hear the spheres Singing songs off station to station And Alderon's not far away It's Californication Born and raised by those who praise Control of population everybody's been there and I don't mean on vacation [Chorus] Destruction leads to a very rough road But it also breeds creation And earthquakes are to a girl's guitar They're just another good vibration And tidal waves couldn't save the world From Californication Pay your surgeon very well To break the spell of aging Sicker than the rest There is no test But this is what you're craving

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Compound Words Single Stressed /Early Stressed 1.

N1 (DO)+N2(agent) = N a. !Record $player – !lie de$tector. b.

2.

but: $stage !manager, $school !governor.

N1 + N2=N (N1 delimits the meaning of N2 – what type of N2 it is) a. N1 has no specific reference (!school $boy). If it had specific reference, it is double stress ($school !secretary). b.

!family $name (surname) $family !name (reputation).

3.

N1+N2=N (N1 material, the compound is something unintentionally created) !raindrop.

4.

N + V[ing] = N or Adj ( N is the DO of V – !sight$seeing is “X sees sights”)

5.

a.

!sight $seeing (n) !time-con$suming (adj).

b.

but: $family !planning, $zebra !crossing.

V[ing] + N = N (N is not the subject of V. If it is, the action is not in progress) a. !walking $stick ($walking !stick – a stick that is walking). b.

!lending $library (it is the subject, but it is not a library that is lending, but that lends).

6.

Adj + N = N (restricted group. One or two-syllable adjectives with little semantic value). !blackboard, !redhead, !black $people, !English $teacher, !White $House.

7.

N + Participle = N generally subject of Participle !horror $stricken, !air-con$ditioned, !red-$coloured.

8.

N + Adj (adj). (few cases) !homesick, !accident-$prone, !colorblind, !streetwise.

9.

V+N=N !talk $show, !playboy.

10. N + V = N !sunshine. 11. V + Particle = N !take-$off. 12. Adverb + N = N !background, !underground, !supermarket, !overtime. 13. ‘X + street, ‘X + gate !Oxford $Street, !South $Gate. 14. V + Adverb = N !get-to$gether, !know-$how, !Stand$still. 15. V + V = V, N or Adj !touch-$type (V), !Make-be$lieve (N). 16. Abbreviation + N = N !A-$level, !u-$turn, !v-$neck.

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Double Stressed/Late Stressed 1.

N1 + N2 = N a. N1 (with specific reference) + N2= N $kitchen !sink. b.

N1 (a place) + N2= N $shop !window.

c.

N1 (an organization) + N2 = N $Academy A!ward.

d.

N1 (time) + N2 = N $morning !paper.

e.

N1 (a value) + N2 =N $pound !note, $dollar !bill.

f.

N1 + N2 = Noun in the genitive $teacher’s !pet.

2.

N1 + N2 = N (both nouns are the referent) $baby !boy (It’s a baby and a boy), $twin !sister (She’s a twin and a sister).

3.

N1 + N2 = N (N1 is a proper name –places, street names- or proper nouns in the genitive). a. $Buckingham !Palace, $Cambridge Uni!versity, $Addam’s !Apple, $Madison !Avenue. b.

4.

5.

But: !Lake $District, !Labour $Party, !Home $Office.

N1 + N2 = N (N1 is a mass noun with which N2 is made with, it is intentionally created). a. $Apple !pie, $brick !wall (intentionally created – !raindrop, unintentionally created). b.

But: !cornflakes, !X $juice (!orange $juice, !lemon $juice), !X $cake (!sponge $cake, !chocolate $cake).

c.

Compare: $paper !bag (made of paper) !paper $bag (for newspapers).

Adjective + N (typically $ !) a.

$compact !disk, $second !hand, $direct !object, $civil !war, $front !door.

b.

Proper names: $Old !Testament, $New !York.

c.

But: !White $House, !Holly $Week.

6.

N + Adj = Adj $user !friendly, $crystal !clear, $world !wide (this is $world !wide, the $world wide !web).

7.

Adj + N[ed] $old !fashioned, $absent !minded ($absent minded !children), $blue !eyed.

8.

N + N[ed] or N + Participle $home !made, $hand !made, $middle !aged, $self !centered.

9.

V[ing] + N(subject of the V)= N $rolling !stone, $flying !saucer, $working !class, $running !water, $weeping !willow.

10. Adj1 + Adj2 = Adj (by default) $Latin A!merican, $Anglo!Saxon, $Light !blue, $red !hot. 11. Adj + V [ing] $good !looking, $easy !going. 12. Self + V[ing] = adj $self sup!porting. 13. N (agent) + Adverb = N $passer !by, $runner !up. 14. Adv + Participle = Adj $far !fetched, $far !flung, $far !gone.

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Key and Termination System: Relative Pitch Level

• •

• •

Linguistic choice within a system. (i.e. NOT emotional, cultural, indexical choices). Relative Vs. Absolute Pitch Level o HIGH o MID o LOW Pitch sequence Position choices: o KEY: Onset Syllable (Points backwards: related to what has been said) o TERMINATION: Tonic Syllable (Points forwards: related to what will be said) o KEY + TERMINATION: Coterminous if there is a minimal tonic segment.

Internal Significance of Key and Termination: Context Susana Giménez got married | My cousin got married | Susanita got married |

Example and she´s 7HAPpy now | and she´s 8HAPpy now | and she´s 9HAPpy now |

1. HIGH KEY: Binary opposition a. CONTRASTIVE: “X not Y” b. PARTICULARIZING: “X not the rest” 2. MID KEY: Additive “and X” 3. LOW KEY: a. EQUATIVE: “X = Y” b. LOGICAL RELATIONSHIP i. Cause-effect “X so Y” ii. Effect-cause “Y because X” Key Contrastive

Context Peter’s problem is |

Example that he´s 7MARried |

Particularizing

And the winner is |

ti 7TANic |

Additive Equative

Look for the icon | Phone Mr. Brown |

8CLICK on it| the 9HEADmaster |

Cause-Effect

He was unfaithful |

she 9DUMPED him |

Effect-Cause

She dumped him|

he was un9FAITHful|

High

Mid

Low

Analysis “married not single” “Titanic not the rest” (e.g. As Good as it Gets / The Full Monty / Good Will Hunting / LA Confidential) “and then wait a bit”. “Mr Brown = Headmaster” “He was unfaithful so she dumped him” “She dumped him because he was unfaithful”

External significance of Key and Termination: Concord:

1. HIGH TERMINATION projects ADJUDICATION on the part of the listener (i.e. the speaker invites the listener to pass judgment). 2. MID TERMINATION projects CONCURRENCE on the part of the listener (i.e. the speaker expects agreement).

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3. LOW TERMINATION projects the end of the Pitch Sequence. Sequences

Example

Analysis

Termination

Key

Adjudication

High Termination – High Key

A: did she ACTually 7SAY that? |

B: She 7DID |

Concurrence

Mid Termination – Mid Key

A: can i wHELP you?|

8YES please|

End of pitch sequence

Low Termination – Any Key

A: so THAT was 9IT.|

Speaker A wants speaker B to pass judgment, i.e. to adjudicate. Speaker B’s answer matches the expectation: “She DID” = Not “She didn’t”. Speaker A wants speaker B to agree with a presumed shared opinion. Speaker B confirms this. Speaker A has ended the pitch sequence, i.e. he’s brought the topic to a close. Speaker B is free to choose any key to start a new pitch sequence.

Concord breaking: Although a speakers’ termination choice projects a certain type of response, the interlocutor can choose to do otherwise. For example, a speaker may project concurrence by choosing mid termination. In other words, this speaker projects a context of interaction where he expects his interlocutor to agree. However, the interlocutor is may challenge this and answer in a contrastive key, thus showing adjudication.

Sequences

Mid Termination – Mid Key (Concord)

Mid Termination – High Key (Concord Breaking)

Example Termination

A: will you tMARry him ?

A: will you tMARry him ?

Analysis Key

B: 8SURE. |

Speaker A wants speaker B to agree with a presumed shared opinion. Speaker B confirms this.

B: 7NO. |

Speaker A wants speaker B to agree with a presumed shared opinion. Speaker B passes judgment, but this is of a contrastive nature. “NO” = “not S”.

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Phonetics II – Questionnaire Stress 1. 2. 3.

4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Word stress: How does the presence of stress affect the structure of a syllable? Discuss weak and strong vowels. Can Spanish vowels be reduced and obscured like their English counterparts? Sentence stress: What kinds of words are stressed? What kinds of words are unstressed? What is the relationship between stress and rhythm? Polysyllabic word stress: Why is it important to find the stressed syllables in a polysyllabic word? What kinds of vowels are used in the unstressed syllables? What kinds of vowels are used in the stressed syllables? Define and exemplify the use of the Teutonic Rule and the Rule of Alternation. Explain and exemplify the middle of three rule. Discuss stress attracting, stress rejecting and neutral suffixes. Provide examples. Discuss early or single stressed compound words. Which rules are the most productive ones? Provide examples. Discuss late or double stressed compound words. Which rules are the most productive ones? Provide examples. What is stress shift? How do double stressed words behave when they occur in the attributive and predicative positions? What is the traditional difference between stress and accent? How is rhythm in Spanish and English supposed to differ? Why can we say that stress can be lexically distinctive? Provide examples of words whose stress pattern varies according to their grammatical category. Provide examples of words whose stress pattern is variable.

Introduction 14. 15. 16. 17. 18. 19. 20. 21.

Define the concept of intonation. What are the prosodic features? Define pitch. What causes pitch? What is its linguistic significance? Define tone. How many nuclear tones are there in English? How does Wells group them? Why? What are the functions of Intonation? Name them and describe them. What are the Three T’s? Why is it useful to talk about them? Describe the anatomy of a tone unit. Define and illustrate pre-head, onset, head, nucleus and tail. What is the difference between a tune and a tone, according to O’Connor and Arnold (1973)?

Tonality 22. Define tonality. Define and illustrate marked and unmarked tonality. 23. Comment on the connection between speech planning and tonality. Why is it important for the listener if the speaker chunks his/her speech properly? How long are intonation phrases on average? 24. What is the connection between tonality and grammar? What kinds of boundaries normally suggest the end of a chunk? 25. What is topicalization? Provide examples. 26. What is fronting? Provide examples. 27. What is the connection between chunking and tone assignment? What kind of tones are used when a speaker chooses to segment one potential long tone unit into smaller pieces? 28. How does chunking disambiguate defining and non-defining relative clauses? 29. Compare and contrast the treatment of initial elements such as “yes, oh, well, no” in English and Spanish. 30. Compare and contrast the treatment of final elements such as “please, thanks, thank you,” or vocatives in English and Spanish.

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Tone 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.

Describe the production of a fall in detail. Focus on the nuclear syllable and the tail. Describe the production of a rise in detail. Focus on the nuclear syllable and the tail. Describe the production of a level tone in detail. Focus on the nuclear syllable and the tail. Describe the production of a fall-rise in detail. Focus on the nuclear syllable and the tail. Describe the production of a rise-fall in detail. Focus on the nuclear syllable and the tail. What tone is the default choice for a statement according to Wells? Exemplify. What is an implicational fall-rise according to Wells? Exemplify. Define and illustrate uptalk. According to Wells, what is the typical intonation used in exclamations? According to Wells, what is the typical intonation used in commands? According to Wells, what is the typical intonation used in greetings and interjections? According to Wells, what is an independent rise? What is a dependent rise? What is a sequence of tones? What possibilities are available? What is a leading tone? What is a trailing tone? What kind of material typically takes a leading tone? What kind of material typically takes a trailing tone? Why is the level tone not a good choice for a trailing tone? 44. What is the typical intonation of a list? Compare and contrast an open and a closed list. Illustrate. 45. What is tone concord? What kinds of structures demand this? 46. Discuss the intonation of Yes/No, Wh- and Tag questions according to Wells.

Tonicity 47. Explain why Wells (2006:93) says that “phonetically we accent a syllable (...) pragmatically we accent a word”. 48. Define tonicity. Define neutral and marked tonicity. Provide examples. Do you think that the exceptions to the LLI rule are instances of marked or neutral tonicity? Why? 49. Define focus. What is it related to? 50. Define broad focus. Provide examples. 51. Define narrow focus. Provide examples. 52. What is contrastive focus? Is it related to broad or narrow focus? Provide examples. 53. Account for the assertion “contrast breaks all rules”. 54. What happens when all the information in the intonation phrase is old? 55. What is the LLI Rule? 56. What is the treatment of compound words as regards the placement of the nucleus and the LLI Rule? Exemplify. 57. Define deaccentuation. Compare and contrast this in English and Spanish. 58. Define and illustrate prospective and implied givenness? 59. Exceptions to the LLI Rule. Provide a list of these exceptions, describe and illustrate them. What kinds of words are normally nuclear in these exceptions? 60. Discuss typical non-tonic expressions (or [-FOCUS] expressions). 61. What’s the intonational treatment of vocatives? How does the position in which they occur in the utterance affect tonicity and tone? 62. What kinds of time and place adverbials in final position are nuclear and which are not? Why? Exemplify this. 63. Describe the treatment of prepositional, phrasal-prepositional and phrasal verbs in final position. What about separable phrasal verbs? 64. When can old material be accented again?

Discourse Intonation: Brazil 65. 66. 67. 68. 69. 70. 71.

Why does Brazil prioritize the function of a tone over its phonetic shape? Describe the anatomy of the tone unit in Brazil’s theory. What is the tonic segment? Why is intonation systematic? What is a paradigm? What is a syntagm? Define the transactional and the interactional functions of intonation. Define the system of prominence. What is selection? What does it depend on? How many selective choices are available in a tone unit?

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72. Compare and contrast sense and social selection. 73. Define the concept of “context of interaction”. 74. What is the common ground? What is the area of convergence in the diagram? What is the area of divergence? What do convergence and divergence mean from the social meanings of tone? 75. Define the system of tone. What do P and R stand for? What do p, p+, r and r+ stand for? What’s the meaning of “plus” here? 76. Define the concept of linguistic dominance. Who can be dominant? Will a dominant speaker always use dominant tones? What happens if a non-dominant speaker claims dominance? 77. Compare and contrast the concepts of dominance and divergence. Compare and contrast the concepts of non-dominance and convergence. 78. Describe the system of pitch level. Is pitch level absolute or relative in speech? Why? 79. Compare and contrast Key and Termination. 80. What is the meaning of High, Mid and Low Key? 81. What is the meaning of High, Mid and Low Termination? 82. What do we associate the term “solidarity” with? 83. What do we associate the term “world-changing” with? 84. Intonation of questions: a. Brazil’s view on Checking questions. b. Brazil’s view on Finding-Out questions. c. Compare Brazil’s view with Well’s view on Yes/No questions and Wh- questions. 85. Orientation: discuss oblique and direct orientation. Provide examples. 86. How can intonation mark old or shared information? Provide three possibilities.

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Phonetics II – Sample Test 1

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

ᶑLaundry SARAH:

…

Sarah ⱲMills.

DANIEL: ᶑHi, Sis! ɊThis is ᶑDan. …Are you Ⱳfree this afternoon? SARAH: ɆOh, | I ɂam, | I Ⱡthink.  What’s the ᶑmatter? DANIEL: I don’t know how to put it, but I had a silly problem at home. I was doing the laundry. I got hold of the laundry-basket, I sorted out white and coloured items, and I filled the washing machine. SARAH: You’re learning at last! Congrats! DANIEL: I wouldn’t be that happy... What do you think happened next? I turned the machine on, and left. When I came back, I saw the water was blue, dark blue. SARAH: How’s that possible? Was the machine empty when you filled it in? DANIEL: I hadn’t realized, I’m afraid. All my white underwear, T-shirts and shirts are ruined now, so I need to get some new stuff. SARAH: Are we going on a shopping spree? Count me in, please! DANIEL: I thought you would agree.

Written Exam: Transcribe the text into phonemic script. Assign tonality, tonicity, onset and tone appropriately. Leave one line in between.

Oral Exam:

1. 2. 3. 4.

Comment on the text. Retell the story and tell us what you think of it. Read the text aloud. Analyse the words that have been underlined. Comment on their stress pattern. Discuss tonality, tonicity, onset and tone.

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Phonetics II Checklist: • • • • • •

• • •

• •

•

•

•

• • •

Single stress compound Double stress compound Polysyllabic word Deaccentuation Contrast Nucleus on the last Noun o Event Sentences: The TEACHer’s arrived. o Noun + Infinitives: We’ve got a TASK to finish. o Nouns + Adjectives: Leave the DOOR open. o Causative constructions: He’s had his HAIR cut. o Wh-questions ending in a verb: What BOOK did you buy? o Final relative clauses: I like the SCARF you knitted. o Separable Phrasal Verbs: Put your TOYS away. o Subject + passive verb: The MEETing’s been put off. Final objects of general reference: GIVE me that thing. Final vocatives: Hurry UP, honey. Final reporting clauses: I’ll DO it, he said. Final comment clauses: She’s not MARried, I guess. Final adverbials: o General time adverbials: Are you FREE tonight? o General place adverbials: It’s FREEZing out there. o Of courtesy: I want a CHEESE burger, please. I’ll take the CALL, thank you. o Downtoners: WAIT a bit. o Non-assertive proper functioning: Can you HEAR me well? o Non-reinforcing sentence adverbials: We can LEAVE it, though. ‘Any-’ words: o Broad Focus (non-nuclear): I don’t DATE anybody. o Narrow Focus (nuclear): I don’t date ANybody. ‘–self’: o Reflexive pronouns (non-nuclear): Don’t HURT yourself. o Emphatic pronouns (nuclear): You’ll have to do it yourSELF. Adverbials: o Sentence Adverbials (non-nuclear): I speak ENGlish, naturally. o Non-sentence Adverbials (nuclear): I speak English NATurally. o Reinforcing (nuclear): I’m tired, TOO. o Non-reinforcing (non-nuclear): I’m TIRED, though. o Specific time/place (nuclear): I saw your mother yesterday at ten THIRty. o Non-specific time/place (non-nuclear): I saw your MOTHer the other day. Intonation of questions (Wells & Brazil) Sense and social selection. Proclaiming and referring tones.

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• • • • • • • • • • • • • • • •

Shared and new information. Convergence and divergence. Dominant and non-dominant tones. The intonation of lists. Major and minor points of information. Sequences of tones: leading and trailing tones. Topicalization. Fronting. Grammatical, intonational and lexical focusing. Implicationa fall-rise. Oblique and direct orientation. Teutonic rule. Rule of alternation. Rule of derivation. Stress-shift. The middle-of-three rule.