Владимир Аракин - Практический курс английского языка 3 курс [calibre 2.43.0]

a)Listen carefully to the extract from the lecture suggested below.11 Mark the stresses and tunes. Your teacher will help you and all the members of the class to correct your variants. Practise reading every sentence of your corrected variant very carefully.

b)Concentrate your attention on the peculiarities of the lecturing style introduced in the text.

c)Act as a teacher. Make up a microlesson applying the structures, vocabulary and intonation of the lecture below.

J . D . O ' C o n n o r : We showed you last time two ways of combining the glide down and the glide up in English sentences. Firstly,

we showed you how it was possible to have a glide up followed by a glide down. And here, as an example, is a sentence from our last

talk, said with the words in a different order:

M i s s Too l e y: If you listen closely you'll hear us use this pattern very often.

O'C.: Then secondly, we said that you could have a glide down followed by a glide up. And taking the same sentence again with

the words in their original order we get the example:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Both these combinations are very common indeed. The glide up followed by a glide down is generally used — not always,

but generally— when the subordinate clause of a sentence is before the main clause: and the glide down followed by a glide up is

generally used when the main clause is before the subordinate clause. I'll just say that again (repeat words in italics). Well now, this

was the case in our two examples. With the subordinate clause first we had:

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: And with the main clause first:

T.: You'll hear us use this pattern very often, if you listen closely.

O'C.: Now today, I think we'll start by considering what would happen to the sentences we have just used if we introduce special

emphasis on one of the words. First just let's hear once more the sentence said with the subordinate clause first: the glide up followed

by a glide down.

T.: If you listen closely you'll hear us use this pattern very often.

O'C.: Now suppose that we want to draw special attention to the word 'closely' — to stress the fact that we want you to listen really

closely — how do we do that? Wel just listen, and you'll hear that a different tune is used.

T.: If you listen closely you'll hear us use this pattern very often. If you listen closely you'll hear us use this pattern very often.

O'C.: Now that pattern wasn't a glide up followed by a glide down, was i t ? No, it was a high dive followed by a glide down. And the

rule is this: if the subordinate clause has a specially emphasized word in it, you must use a high dive. (Repeat.)

11

SECTION FIVE

Intonation Pattern XV

(LOWPRE-HEAD +) LOW ASCENDING HEAD + HIGH (MID)

RISE (+ TAIL)

Before the High Rise the Low Head often starts very low but then rises gradual y, syl able by syl able, ending just below

the starting pitch of the nucleus.

The high rising nucleus begins in high level; the medium rise begins in mid level. This intonation pattern is used;

1 . I n s t a t e m e n t s , heard in official speeches, lectures, over the radio (in latest news programmes); or in colloquial speech to

draw the listener's attention by using this somewhat occasional intonation pattern, e. g.\ /English ^leather goods | are „also of ^great

de'mand in other countries.

2 . I n q u e s t i o n s;

a ) i n g e n e r a l questions when they sound very inquisitive, important, willing to discuss; sometimes with a shade of disbelief or

impatience, e. g,:

/Have you lived here 'long?

b ) i n s p e c i a l questions, sounding insistent, inquisitive with a shade of doubt or sometimes even mockery, e. g.\

"And /what have you been Hdoing hither 'to?" I asked him.

3 . I n i m p e r a t i v e s , used as official announcements, e. g.:

/Have your passports 'ready, please.

EXERCISES

1."' Listen carefully to the following situations. Concentrate your attention on the phrases pronounced with the rising head + High Rise.

"Do you stay in town all day?" "Sometimes I do and sometimes I don't."

As a matter of fact I'm going in the same direction myself, so if you come with me I'll show you.

"And now what sweet will you have, Mrs. Thompson?"

"There's apple tart and cream or chocolate trifle."

"We're sure to have a good crossing."

"Oh well, I'll risk it, but if the worst comes to the worst, don't blame me."

"Do you travel much?"

"Not more than I can help by sea. I've crossed the channel once before but frankly I did not enjoy it."

"Why don't you fly across?"

"I think I shall one of these days. It couldn't possibly be worse than a really bad sea crossing."

Tennis is played all the year round, on hard courts or grass courts in summer and on hard or covered courts in winter.

"About how long will it be before I die?"

"You aren't going to die."

"I heard him say a hundred and two."

"People don't die with a fever of one hundred and two." (E.Hemingway)

I sat down and opened the Pirate book and commenced to read but I could see he was not following, so I stopped.

"About what time do you think I'm going to die?" he asked. (E.Hemingway)

"A five shilling book of stamps, please, and a large registered envelope."

"Will this size do?"

"I'm told one ought to see the British Museum."

"Do you think I shall have time for that?"

"I think the best way from here is to walk across Regent's Park."

"Is it much of a walk?"

However I'm quite ready to enter your name should your answers be what a really affectionate mother requires, Do you smoke?

(O.Wilde)

Now to minor matters.

Are your parents living? (O.Wilde)

"And where is that?"

"Down here, sir."

"Would you put us up?"

"Oh, I think we would." "Will you show us the way?" "Yes, sir."

"Are you a Devonshire girl?" "No, sir."

"Have you lived here long?" "Seven years." (J.Galsworthy)

(On the boat.) This way for the Dover boat. Have your passports ready, please. Pass up the gangway. First class on the right,

second class on the left.

2. Listen to the situations again. Find sentences pronounced with Intonation Pattern XV. Define their communicative type and the attitudes

expressed by them.

3. Listen carefully to the sentences with Intonation Pattern XV and repeat them in the intervals. Make your voice start very low and rise

gradually on stressed syllables, then end with high or medium rise reaching the highest possible level.

4. In order to fix the intonation of the rising head + High Rise in your mind, ear and speech habits repeat the sentences with this pattern

yourself until they sound perfectly natural to you

5. .Listen to your fellow-student reading these sentences. Tell him what his errors in the intonation are.

6. This exercise is meant to compare the Intonation Patterns XIV and XIII (rising Head + High Rise and high Head + High Rise). Read the

following fragments with both Intonation Patterns. Observe the difference in attitudes.

He flushed and said: "Are you Miss Barlow?"

She said: "Aren't you Doctor Page's new assistant?"

He said: "Don't you realize it's quite against the rules to have him here?"

She said: "If Idris had stopped off, he'd have missed his milk, which is doing him such a lot of good."

She answered stubbornly: "If you don't believe me, look for yourself."

He laughed contemptuously: "That may be your idea of isolation. I'm afraid it isn't mine."

He warned her: "If you don't obey my instructions I'll have to report you." (AJ.Cronin)

"And now I have a few questions to put to you, Mr. Worthing. While I'm making all these inquiries, you, Gwendolen, will wait for me

below, in the carriage." (O.Wilde)

"I know nothing, Lady Bracknell."

"I'm pleased to hear it. I do not approve of anything that tampers with natural ignorance." (O.Wilde)

"She needs awakening."

"Are you going to awaken her?" (J.Galsworthy)

Well, Robert, have you made up your mind yet what you want to do when you leave college? ("Meet the Parkers")

"Do you like dancing?"

"Yes, very much. Do you dance?"

"What do you think I ought to see first?"

"Do you like art galleries?"

7.

This exercise is meant to show the difference in the pronunciation of the same replies with the rising head and the high head + High

Rise. Read the following replies with both intonation patterns. Observe the difference in attitudes they render

Can I keep this book a bit longer?

Are you going to keep it for a couple of weeks?

We ought to follow his advice.

Must we always follow his advice?

I've just been playing badminton.

If you had a good time I can't blame you for being late for

Whose photo do you think this is?

lunch.

Oh, you broke the window!

You don't seem to recognize the photo of your own father.

They're supposed to be different.

If I did it on purpose you could scream like that.

He says he made up his mind.

Are they really different?

They're late again.

Does he really mean what he says?

Don't take any notice of them.

8. Think of your own examples (5 for every communicative type) pronounced with Intonation Pattern XIV. Use them in conversational

situations.

9. Listen to the extract from "The Apple-Tree" by J. Galsworthy (see p. 251). Find sentences pronounced with Intonation Pattern XIV. Observe

the attitudes expressed by them.

10. Listen to your teacher suggesting the contexts. Respond by using Intonation Pattern XIV.

She doesn't look a day over thirty.

Does it matter all that much?

He's a good chap. It's absolute truth.

Can I count on that? What makes you think so?

We've both got the same answer.

Are you sure enough?

There's somebody's bag in the car.

What are you going to do about it?

I shall be at home by tea-time.

Would you believe it?

How did you manage to do it?

What makes you think so ?

Now, isn't that peculiar?

Are you sure enough? Would you believe it? But is it likely?

How do yoy_know it's there?

Who's going to believe it?

Are you sure enough?

Do you really mean it?

How can you know exactly? What makes you think so ?

11.

This exercise is meant to develop your ability to hear and reproduce the intonation in proper speech situations.

Listen to the dialogue "On the Boat" sentence by sentence. Mark the stresses and tunes. Practise the dialogue.

Record your reading. Play the recording back immediately for your teacher and fellow-students to detect the errors in your pronunciation. Practise

the dialogue for test reading and memorize it.