Intonation includes the following components. The constituent elements of intonation

When we say words, we exhale air from the lungs, which passes through the respiratory tract into the larynx, where, as a result of the closing and opening of the vocal cords, it forms a sound called voice. The voice has the following properties: strength, altitude, duration (tempo), flight, quality (timbre). These properties of the voice are important condition expressiveness.

Distinguish sound strength and volume... Loudness should be understood as the fullness of the voice. Change strength voices are used as one of the means of expression. You can speak loudly, medium and quietly, depending on the content you are reading. Reading only loudly or only quietly gives the impression of monotony.

Throughout a certain segment of speech, the tone is consistently varies in height: becomes higher and lower. In order for a voice to easily transition from a low tone to a high tone and vice versa, it is necessary to develop its flexibility and range.

Flight is the ability of sound to fly into the distance, spread over long distances, and stand out from other sounds.

Intonation- a complex phenomenon oral speech... In linguistic works, intonation is understood as a set of means of organizing sounding speech.

With the help of intonation, you can express the specific meaning of the statement, its purpose; feeling, the speaker's attitude to what is being said, and to the interlocutor, listener.

Intonation organizes speech: it breaks it down into sentences and phrases (measures), expresses a semantic relationship between parts of a sentence, communicates the meaning of a message, question, command, request, etc. to the spoken text.

The main components of speech intonation are as follows:

1) the force that determines the dynamics of speech and is expressed in stress;

2) the direction that determines the melody of speech and is expressed in the movement of the voice over sounds of different heights;

3) speed, which determines the tempo and rhythm of speech and is expressed in the duration of the sound and stops (pauses);

4) timbre (shade), which determines the nature of the sound (emotional coloring of speech).

logical and phrasal stress.

A group of words representing a single semantic whole has an emphasis on one of its members. This unity stands out as a segment of speech between two pauses. In a sentence Here is this k_n_i_y_y | put on _p_o_l_k_u_- two phrases (two measures). The phrases are separated by a short pause |. In each phrase, one of the words attracts stress. In the first phrase, this word - book, in the second - shelf. This phrasal stress(underlined weakly by a dotted line here). From pause to pause, words are spoken together. This fusion is dictated by the meaning, the content of the sentence.

It should be distinguished from phrasal stress logical stress... In the same sentence, we can highlight the phrase on the shelf voice and the force of exhalation more than we select the word in the first phrase book. Combination on the shelfsounds stronger, "moves forward" in a semantic sense. The speaker attaches particular importance to this word. This word is the "key" to the whole sentence., the most significant in meaning. In our example (in the second phrase), the logical stress coincided with the phrasal stress, so to speak, "overlapped it" as a stronger one. The most important words in the sentence are highlighted, they are highlighted by the tone of voice and the force of exhalation, subordinating other words to themselves.

At the will of the speaker (or his intention), logical stress can take any word in the sentence.

Will you be at the theater today?(and not someone else?)

Will you be at the theater today?(will you come or not?)

Will you be at the theater today?(not tomorrow, not the day after tomorrow?)

Will you be at the theater today?(not at work, not at home?)

In each simple sentence, as a rule, one logical stress. Sometimes there are sentences in which not one, but two or more logical stresses are highlighted, for example: It became quiet on wide fields, on green meadows, where rye grew up where buckwheat bloomed.

Logical stress is very important as a component of intonation, K. S. Stanislavsky called logical stress forefinger that marks the most important word in a sentence. “In the highlighted word,” he said, “the soul, the inner essence, the main moments of the subtext is hidden!” one

The most important components of intonation are melodic speech- the movement of tone along sounds of different heights, raising and lowering the tone, its various variations, somewhere in the middle of the phrase - after the climax point - there will be a tone break, for example

Punchline- stressed syllable of a word, provided that a logical stress falls on this word. All other words are in lower register. The melody can be downward, upward, monotonous with minor ups and downs, etc.

Tempo-rhythm of speech.

The meaning of what was said is perceived in continuous flow speech. The listener interprets the statement, delves into the meaning of speech, using phrasing (by division into phrases).

When working on expressiveness, includes the concept logical and psychological pause.

A pause unites words into a continuous series of sounds, but at the same time separates groups of words, limits them. This logical pause.

The offer is severed pause... This semantic (logical) pause denoted by a single dash /, and long pause- two lines ||. Observing logical pauses, the speaker pronounces the segment of speech enclosed between the pauses, as one... At the same time, the pause consolidates the sentence. The duration of the pauses can be different, from short to long If the pause is prolonged, then it, according to K. S. Stanislavsky, is reborn from an inactive logical to an active psychological, is filled with inner content, sharpens attention and awakens the listener's imagination (this pause will be denoted by the letter [P]).

Psychological pause- this is a stop that enhances, reveals the psychological meaning of a phrase, a passage. It is rich in inner content, active, as it is conditioned by the reader's attitude to the event, to to the actor, to his actions.

Pause is very important for making sense of the text being read and spoken. It is between two pauses following one after the other that a segment of speech is distinguished, which is the main intonation unit.

Pace Is the speed of reading (speaking). For tempo to become an expressive means of speaking or reading, you need to understand the purpose of the utterance, the nature of events and people, as well as the intended reactions of the listeners.

After an unsuccessful hunt for hares, the old man Akintich sat down to rest and saw how the Fox was crawling towards the hole. The old man's eyes did not see well and did not notice that the Fox was getting close to the Gray Neck.	Average pace
“We must shoot her so as not to ruin the collar,” the old man thought, taking aim at the Fox. - And then this is how the old woman will scold if the collar is in the holes ...	Accelerating
The old man took aim for a long time ... [P] Finally, a shot rang out. || Through the smoke from the shot, the hunter saw something rushing across the ice, and rushed as fast as he could towards the hole. On the way, he fell twice, | and when he reached the hole, then | just divorced by hand, - collar | as not happened, | and in the ice hole | only a frightened Gray Neck swam. ||	Slowly Accelerating Slowing down Average pace
[P] - That's it! - gasped the old man, spreading his hands. - For the first time I see how the Fox turned into a Duck. Well cunning the beast. [P]	Slowly Accelerating
- Grandpa, | The fox ran away, ”Gray Neck explained.	Average pace
- Did you run away? || Here, old woman, and a collar for a fur coat. What am I going to do now, huh? Well, the sin came out ... || And you, silly, why are you swimming here?	Slowly Accelerating
- And I, grandfather, could not fly away with the others. I have one wing damaged ...	Average pace
- Oh, stupid, stupid ... | Why, you will freeze here or the Fox will eat you! | Yes ... ||	Slowly Accelerating
The old man thought, thought, shook his head and decided:	Average pace
- Here's what we will do with you: | I'll take you to my granddaughters. They'll be delighted ... And in the spring you will apply the testicles to the old woman and bring out the ducklings. So I speak? ||	Quickly
Here's something, stupid, || The old man took the Gray Neck out of the wormwood and put it in his bosom.	Slowly Average pace
- And I won't say anything to the old woman, - he thought, heading home. - Let her fur coat with a collar still walk in the forest, The main thing: granddaughters here how happy they will be ... ||	Slowly Average pace
Hares are all fun and fun laughed... Nothing, | old woman without a fur coat | on the stove | will not freeze!	Slowing down

Closest to the tempo adjoins rhythm of speech... KS Stanislavsky does not even separate tempo and rhythm and calls this speech concept tempo-rhythm.

Rhythm- this is a uniform alternation of acceleration and deceleration, tension and weakening, longitude and brevity, similar and different in speech. It is easiest to observe the rhythm in a poem.

The rhythm of this quatrain is based on the repetition of the number of stressed and unstressed syllables in comparable segments of speech:

It was not easy for us, but the main thing is not to lose heart. The workers 'and peasants' power fought with all the enemies.

The rhythm scheme of this piece (^ unstressed, - stressed syllable):

Rhythm should not be confused with the size of the verse: the size indicates the main features of the unit of the verse - the feet.

Timbre- this is a specific (oversegmental) coloring of speech, which gives it one or another expressive-emotional properties. Timbre is considered as very important, but an additional means of enriching the melody of speech and is organically connected with it, conditions it.

Timbre- the spokesman for the artistic interpretation of the text, the reader not only conveys it in accordance with the understanding of the creative tasks of the author of the work, but also enriches the sound with his own creative intentions

Emotional coloring of speech - and there is timbre. There are no recipes for "tone coloring". Thoughtful reading of the text, "getting used to" the images of the writer, poet - this is what provides the basis for emotionally expressive reading.

Expressive movements of the muscles of the face, which are one of the forms of manifestation of various feelings, are called facial expressions. Through the expression on his face, eyes, the narrator conveys his experiences, his attitude to events, persons and circumstances.

Gesture is also a special means of expressiveness.

A special means of expressiveness is and gesture... Skillful selection of certain gestures helps the reader to reveal the essential aspects of the life depicted in the story. The most valuable is a psychological gesture. He seeks to reveal the subtext, to identify the intention. Filling in the psychological pause, he brightens the subsequent words, enhancing the effect of intonation. Can precede, accompany or follow a word, emphasizing the meaning of what is being spoken, convincing the listener.

To designate various phenomena in oral speech, there are generally accepted text markup signs.

1 Word stress (in difficult cases) is denoted by the sign "above the letter, above e no accent mark.

2. Stress phrasal - stressed word is underlined by a dotted line, logical - by one line, psychological is denoted by the letter [P] in front of a word or sentence; emphatic stress is indicated by the letter [E] before the word.

3 Pauses are indicated as follows: short - with a vertical dotted line (|), middle - with one vertical line (|), long - with two vertical lines (||).

4. Continuous pronunciation is indicated by an arc ^ above the words.

5. The melody of a sentence is indicated as follows: raising (raising) the voice is indicated by an up arrow above the stressed vowel of the word (/) falling (lowering) of the voice is indicated by an arrow above the stressed syllable (\), monotone - by a continuous horizontal line under the words. The usual (normative) melody of interrogative, declarative and exclamatory sentences is not indicated, it is indicated by punctuation marks

7. Notes on the pace and color of reading are put in the margins on the right in words fast, slow, accelerating etc.

Detailed markup text is usually written on one side of a sheet with margins on the left and right. At the end, notes are made (verbally) regarding the subtext and techniques of reading or telling.

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In any language, intonation serves for the external design of a sentence. With the help of intonation, our listener understands whether the sentence is a story, a question, a request or an exclamation. For example, the sentence "Today is warm" can be a statement, a question and an exclamation, depending on the intonation with which the sentence is pronounced. Intonation also expresses our emotions: surprise, irritation, joy, discontent, etc.

Each language has its own special, characteristic intonation, which is noticeably different from the intonation of other languages. V English language intonation plays a particularly important role due to the highly analytical nature of the language. (In analytical languages, relations between words are expressed not with the help of endings, as in Russian, but with the help of official words: prepositions, articles, auxiliary verbs, and also with the help of intonation.)

The constituent elements of intonation are:

• - the melody of speech, which is carried out by raising or lowering the voice in a phrase (compare the pronunciation of a declarative and an interrogative sentence);
• - the rhythm of speech, i.e. alternation of stressed and unstressed syllables;
• - pace, i.e. speed or slowness of speech and pauses between speech segments (compare slow speech and tongue twister);
• - timbre, i.e. sound coloration, which gives speech certain emotional and expressive shades (timbre "cheerful", "playful", "gloomy", etc.);
• - phrasal and logical stress, serving as a means of highlighting individual words in a sentence.

As mentioned above, long sentences are divided into separate semantic groups, which depend on the general meaning of the sentence, its grammatical structure and speech style.

Each semantic group has a certain intonation, which indicates the completeness or incompleteness of thought in it. Usually, only the last semantic group indicates that the thought in this sentence is complete; in the previous semantic groups, intonation is used, which speaks of the incompleteness of thought. For example, in the sentence: "In June, July and August, children do not go to school" in the first three semantic groups: "In June, July and August" the thought of the sentence is not finished, and, accordingly, intonation is used that indicates this.

The number of semantic segments in a sentence depends on the rate of speech, i.e. whether we speak sentences quickly or slowly. For example, when dictating sentences, the rate of speech will be significantly slower than in colloquial speech. Thus, there will be more semantic segments during dictation, and they will be shorter.

English intonation differs significantly from Russian, both in melody and in phrasal stress. Lowering or raising your voice on the last stressed word in a sentence are the two main tones of English intonation (and, by the way, Russian too) - a descending tone and an ascending tone.

abstract

natopic: "Intonation andits components»

INTRODUCTION

Main part

1general characteristics Russian intonation

2Stress as a component of intonation

2.1 Logical stress

2.2 Emphatic stress

3 Melody as a component of intonation

4 Topics of speech as a component of intonation

4.1 Communicative significance of the rate of speech

4.2 "Absolute" speed

4.3 "Relative" speed

5 Timbre as a component of intonation

6 The power of sound and its place in the structure of intonation

7 Pause as a component of intonation

7 .1 Logical pauses

7 .2 Artistic breaks

Conclusion

INTRODUCTION

Intonation is a very complex and far from established concept in linguistics. Usually, intonation is understood as a set of means of organizing sounding, oral speech. These funds include:

1.stress;

3. pauses (breaks in the sound);

4. the power of sounding individual words in speech;

5. the rate of speech;

6. timbre of speech.

Elements of intonation really exist only in unity, although for scientific purposes they can be considered separately. Intonation is super-segmental in nature. It is, as it were, built on top of the linear structure of speech. True, as V.N. Vsevolodsky - Gerngross, when the content of an utterance contained in words is inaccessible for perception, one can observe, as it were, the intonation "in its pure form." Firstly, this takes place when the perception of speech in a foreign language that is not entirely clear to the listener; secondly, when listening in difficult conditions (for example, through a wall), when it is impossible to make out the words. In both cases, only intonation is caught.

Intonation is a mandatory sign of spoken, sounding speech. Speech is impossible without intonation. The richness and content of speech, its expressive capabilities are provided not only by the richness of the vocabulary and mastery of verbal expression, but also by its intonational flexibility, expressiveness and variety.

Intonation occupies an important place in the structure of the language and performs various functions:

Using intonation, speech is divided into intonational-semantic segments (syntagmas)

Intonation forms various syntactic constructions and types of sentences

Intonation participates in the expression of thoughts, feelings and expression of the will of a person

The richness of expressive possibilities of intonation is undeniable; it has been noted by researchers more than once. For example, V.N. Vsevolodsky-Gerngross has 16 intonations in Russian:

The selection of one or another word can also be carried out by a relative change in the rate of speech. If ordinary calm speaking is characterized by some average tempo, then against this background, the transfer of semantic and emotional nuances may be associated with the acceleration and deceleration of the tempo.

Slowing down the tempo, as a rule, gives individual words or whole phrases more weight, significance, sometimes even pathetic solemnity. Against the background of careless fluent speech, slowing down the pace is used as a strong expressive means.

A fast pace usually characterizes emotional, agitated speech. He is also natural in the dynamic story of rapidly following events.

Frequent pauses are characteristic of agitated speech. Changing the volume from a heart-rending scream to a gentle whisper also conveys shades of feeling.

Finally, a very important role belongs to the timbre of speech. Just as its own timbre has a separate sound, speech also has its own color - timbre. Timbre as an element of intonation has not yet been studied at all, but there is no doubt that different timbre coloration is characteristic of certain varieties of emotional speech.

So, let us consider in more detail the properties of intonation and the multifaceted nature of each of its components.

1 General characteristics of Russian intonation

The most ephemeral component of speaking is intonation. On the letter, it is transmitted conditionally. Yes, there are question marks, exclamation marks, commas and dots. But we will never know how Russian speech sounded in distant eras, before the advent of sound recording devices. Perhaps loudly and emphatically emotionally, as is customary today in the South of Russia, or maybe, like in the North, somewhere in the Arkhangelsk region - in detail, with long pauses, but without raising your voice?

In a stricter sense andntonation is a linguistic term that has two meanings. In a more precise sense, intonation is understood as a system of changes in the relative pitch in a syllable, word, and the whole utterance (phrase).

One of the most important functions of the intonation of a whole phrase is to determine the completeness or incompleteness of the statement; namely - completeness of intonation separates the phrase, a complete expression of thought from a part of a sentence, from a group of words. Wed I. the first two words in the phrases: "Where are you going?" and "Where are you going?" Of course, a single word or even a single syllable can be the bearer of this intonation. Wed "Yes?" -- "Yes".

Another equally important function of the intonation of a whole phrase is to determine the modality of the statement - to distinguish between narrative, question and exclamation. These types of intonation are basic in all languages ​​of the world.

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

2. Interrogative intonation is of two main types: a) in those cases where the question concerns the entire utterance, there is an increase in tone in the last syllable of the interrogative phrase, stronger than the increase in voice noted above in the narrative phrase (the latter, being cut off on a rise, creates the impression of incompleteness of the utterance , which is not after increasing interrogative intonation); b) interrogative intonation is characterized by a particularly high pronunciation of the word to which the question mainly relates. From the position of this 548 words at the beginning, end or middle of a phrase depend, of course, on the rest of its intonation pattern.

3. In exclamation it is necessary to distinguish between intonations: a) the intonation itself is exclamatory, characterized by a higher pronunciation of the most important word than in a narration, but lower than in a question; b) incentive intonation with numerous gradations, from requests and motives to decisive orders; the intonation of the latter is characterized by a decrease in tone, close to the narrative intonation

These types of intonation are sometimes combined by researchers into the concept of intonation. logical, i.e., intonations that determine the nature of the utterance, and are opposed to intonations emotional, i.e., intonations of affectively deformed speech.

Finally, the third, no less important function of intonation is compound and disconnection syntagmas - words and phrases - members of a complex whole. Wed for example, the intonation of the phrases: "The sleeve was stained all over with blood", "The sleeve was all stained with blood" and "The sleeve was all stained with blood." However, as is clear from this example, a change in intonation, expressing a change in the syntactic form of a phrase, is closely connected here with a change rhythmic relations, in particular with the distribution of pauses.

One more point: despite the fact that in different situations we speak differently (everyday tongue twister is one thing, but reading a lecture is another), the intonation of each person is individual, almost like a fingerprint. Thanks to this, and not just the timbre, we instantly recognize the voice of the friend who called us in the telephone receiver.

Does linguistics provide an answer to the question of how individual intonation is formed? Here are the explanations of Maxim Krongauz, director of the Institute of Linguistics, Russian State University for the Humanities: “In general, intonation is perhaps the most mysterious area of ​​phonetics. Intonation studies are just beginning. Therefore, here, rather, we can make some assumptions. There are various phonetic characteristics of what really forms the sound image of the interlocutor, in particular, maybe we are not very pleasant during a conversation, or, on the contrary, we can immediately have it. The use of this apparatus - almost always intuitive - helps a person a lot in communication. "

Along with the process, which can be conventionally called "individualization" of intonation, there is also the opposite process - "socialization" of intonation. It is quite appropriate to talk about a kind of fashion for one or another intonation, depending on the era.

Maxim Krongauz believes that the fashion for individual intonation sometimes arises, although it is more difficult to fix it than the fashion for individual words and expressions: “Simply because there are dictionaries for words where we can describe a new meaning, and for intonation there are only scientific articles. But, of course, lately we can see this fashion more often than before. There are many borrowed intonation contours unusual for the Russian language - the end of a phrase with a high intonation, although usually in Russian, on the contrary, there is a decrease. The end of the phrase is marked by a decrease in intonation. "

For example, if a journalist finishes a report from the scene and addresses the presenter in the studio, he says something like this intonation: "Tatiana?" (stress on the last syllable).

Maxim Krongauz explains: “This is just a very standard interrogative intonation. This is a test of the connection: "I am done and thus mark the connection." This, of course, is also new for Russian communication, but this is, let's say, professional. Namely, the imitation of the speech of English-speaking announcers and presenters with an increase in intonation at the end of the phrase ... I can name some of the presenters who set the fashion, in particular, of course, Leonid Parfenov's intonation has become fashionable. Some young presenters just copy it. "

Maxim Krongauz talks about the change in intonation over time - over the years, over the centuries: “The intonation changes, but even vocabulary we can not always clearly fix in time. But there was practically no recording of intonation; recordings of oral speech also appeared in the 20th century. Therefore, based on general considerations, we can say that - yes, intonation changes. It changes very slowly, it's a conservative thing. " At the same time, Maxim Krongauz emphasizes, there are areas in which significant changes have taken place in a short period - these are theater, television and radio.

Why can't you hear such chased phrasing, such expressive pauses as in Levitan's? Here is a subtle observation of Anna Petrova, a teacher stage speech, Doctor of Art History, Professor: “It seems to me that in every epoch a person is realized in the sound according to his time. The manner of speech very quickly becomes a cliche, acquires the character of a familiar and insufficiently lively and sincere sound. And then the search for another expression of the way of thinking, the way of feeling, the way of their time begins. "

Gone is the Soviet era, and with it the sovereign intonations. The speech of journalists (the announcers disappeared) approached the colloquial, became more democratic. But everything is good in moderation. Anna Petrova considers so widespread nowadays swagger as a manifestation of disrespect for the listener: “The influence of funds mass media immeasurable and, in general, almost invincible. Speak Russian especially badly! Because they reflect, as it were, the lower layer of being: as they live monstrously, they say so. A few words - that's all, and the rest is just a squeal. It seems to me that this is a completely terrible layer of influence on people. It is very dangerous because it is contagious. Because everyone can. The lower we descend in terms of culture, in terms of human capabilities, human realization, the easier it is. To be honest, I feel insulted for Russian culture. "

But along with negative phenomena in speech intonation (especially oral), there are undoubted positive shifts that have been taking place recently in the direction of studying this rhythmic-phonetic phenomenon. Perhaps precisely because of those decadent phenomena that have prevailed in the sphere of intonation of Russian speech in recent decades, Russian philologists, psychologists, psycholinguists, seriously concerned about the influence of the low layers of the Western speech subculture on the centuries-old traditions of Russian intonation, finally began to comprehensively study this a multidimensional and extremely complex phenomenon that was previously unjustifiably pushed aside to the shutters of the traditional sciences of speech. In recent years, a significant number of works, scientific articles, publications have appeared on the problems of speech intonation, the components of intonation, and the identification of its functional nature. Specialized forums have been opened on the Internet, where philologists and people who are simply interested in the phenomenon of language intonation can not only receive scientific information about this component of expressive speech, but also take part in the discussion of interesting issues of the functioning of intonation in everyday speech and its semantic and phonetic properties. (For example, [email protected]).

It should be noted that intonation acquires special significance in artistic prose and especially poetic speech. The peculiarity of poetic intonation, in comparison with prosaic intonation, is, first of all, that it has a regulated character, decreasing towards the end of each verse segment (line) and reinforced by a final verse pause . At the same time, the decrease in intonation is already determined by the rhythm of the verse, and not by the meaning of the sentences contained in it (often coinciding with it), due to which it decreases regardless of the conditions necessary for this in prose. Against the background of this even intonation, which enhances the rhythmic movement of the verse, it becomes possible to vary various degrees of intonation (depending on the final verse and stanza pauses, clauses, etc.). Such is, for example. monotonous intonation, ending with a sharp stop at Mandelstam:

"I will not see the famous Phaedra In an old multi-tiered theater From a smoky high gallery By the light of flowing candles," etc.

A violation of the usual intonational monotony in verse is enjambement, which is possible only against the background of a regulated intonation. So intonation is 549 one of the essential expressive means of verse and is used depending on the given literary style, which determines the nature of its verse system and its intonation structure. Thus, the melodious intonation of the Symbolists differs sharply from the oratorical intonation of Mayakovsky, the dialectical intonation of Selvinsky, etc.

In a broader sense, the term intonation is used to generically denote melodic-rhythmic-power means of speech expression.

Thus, it becomes obvious all the complexity and multidimensionality of such a phenomenon as intonation, which must be considered in the totality of its inherent properties and in the dialectical unity of possible approaches.

2 Stress as a component of intonation

Among the components of intonation, stress takes a special place. It, like the intonation itself, refers to the super-segmental elements of the language. When they talk about stress, they usually mean verbal stress (that is, the selection using phonetic means of one of the syllables, a word). At the same time, verbal stress is not the only type of stress in the Russian language. There is also syntagmatic stress, or syntagma stress - the smallest intonational-semantic segment of speech (for example: today ve black / I won't before ma). Also, syntagmatic stress is called bar stress, which usually means the emphasis in pronunciation of a word that is more important in meaning within speech ta kta (sinta um ). For instance: Mind Russiado not understand , Common yardstickdo not measure : She hasspecial become - You can only go to Russiabelieve . Along with syntagmatic, logical stress is also highlighted, with the help of which the most important word in the sense of the word in this phrase is highlighted (for example: give me posicenie magazine numbers). Also, another type of stress is often found - emphatic stress. This emphasis emphasizes the emotionally expressive and affective elements of the utterance. These types of stress, as opposed to verbal stress, can be called types of non-verbal stress. It is non-verbal stress that acts as one of the components of intonation.

2.1 Logical stress

Logical stress is the selection of the most significant word from the point of view of a given situation with the help of intonation means. Any word in a phrase can be highlighted with logical stress.

Phrase The student carefully reads this book can be pronounced with a logical stress on each word, and each pronunciation will convey a certain shade of meaning:

1) Student carefully reads this book (it is the student, and not someone else);

2) Student carefully reads this book (carefully, not in fits and starts);

3) Student carefully is reading this book (reads, not leafs);

4) The student reads carefully this book (this one, and not any other);

5) The student reads this carefully the book(a book, not a newspaper).

Service words can also be emphasized with logical stress: The book is under the table (and not on the table).

It is quite natural that in the greatest measure, essential, important for a given speech situation, it should receive a particularly vivid external expression. The logical stress, or, as it is also called, the stress of the new, just performs this excretory function. It appears in certain cases - in opposition and in the presence of special excretory words. Logical stress can be contained in the question and in the answer.

When opposed, either both opposed phenomena can be called (We will go there head tra, / not today), or just one. In the latter case, the opposition is, as it were, hidden, since the unnamed is only implied: We will go there tomorrow (it is implied: precisely tomorrow, and not on some other day).

The emergence of logical stress can be caused by words of special semantics - emphasis. They are represented by two groups.

The emphasis words of the first group themselves bear a logical stress. This is the pronoun myself... The phrase "He himself will come" admits the setting of a logical emphasis only on this word. The same properties are possessed by adverbs completely, completely, too, still. For instance:

He is owls this(sover shen but) knows nothing;

He then also participated in the play;

Give me e shte.

The emphasis words of the second group do not themselves bear logical stress. At the same time, those words with which they are associated in meaning receive a logical emphasis. To the excretory words of the second group belong amplifying particles (even, and, already, after all, not), restrictive particles (precisely, only, only), some combinations with particles (and yes, not yet, just). for instance

It is e th I wanted to see;

Even other gu can't say that;

And not the same to their he defeated opponents;

Only those be I can tell you everything;

Not yet wah sha turn;

You and eh you don't know that;

We have returned home already but whose.

Boolean stress is typical for interrogative sentences that do not contain an interrogative word, for example:

You come di whether to me? or did you come to to me ?

The word to which the question is posed is highlighted with logical stress. The answer to the first question is

Yes, he did or No, he didn’t;

the answer to the second question

Yes, to you or No, not to you.

Any word in the answer to a question, for example: Who did this? - It did I am.

Logical stress is created through the interaction of intonation means. The main role in all this is played by the strengthening of verbal stress and specific melody. Strengthening of verbal stress occurs due to a more dynamic and intense pronunciation of the stressed syllable of the highlighted word; it also stands out for its considerable duration. As for the melody, it can be quite varied, but mainly the logical stress is characterized by a decrease in tone.

2.2 Emphatic stress

To characterize the emotional expressiveness of the word, Shcherba introduced the term “emphatic stress.” This stress “puts forward” and strengthens the emotional side of the word or expresses the speaker’s affective state in connection with a particular word. Briefly, the difference between logical and emphatic stress can be formulated as follows: logical stress draws attention to a given word, and emphatic stress makes it emotionally saturated. In the first case, the intention of the speaker is manifested, and in the second, an immediate feeling is expressed.

In Russian, the emphatic stress consists in the greater or lesser lengthening of the stressed vowel: an excellent worker, a wonderful work of art. "

M.I. Matusevich in the notes to "Phonetics French"complements Shcherbov's characteristic of Russian emphatic stress: The phonetic means of emphases do not always consist in lengthening the stressed vowel, which apparently depends on the nature of the emotion.

So, for example, delight, pleasure, tenderness, etc. are really expressed phonetically in lengthening the stressed vowel ... In this case, indignation, irritation, etc., often get phonetic expression in Russian in lengthening the first consonant in a word, for example: damn it! m-bastard! etc.

LR Zinder, characterizing emphatic stress, writes: “As a means of emphatic stress, in addition to changing the pitch, the time factor is widely used. In Russian, for example, emphatic stress is carried out mainly by lengthening or, conversely, reducing the entire emphasized word of a specially stressed syllable. So, in Yes! or He will come while emphasizing confidence, certainty, a and e are lengthened, and in the case of a categorical statement, a short pronunciation is observed, but the most energetic. "

L.V. Zlatoustova subjected emphatic stress to experimental research. It generally confirmed the above phonetic characteristic of emphase. It is advisable to distinguish between "positive" emotions (delight, admiration, affection, tenderness, etc.), characterized by lengthening of the stressed vowel in the emphatically highlighted word, and "negative" emotions (threat, anger, etc.), characterized mainly by the lengthening of the consonant at the beginning of the stressed syllables.

Emphatic stress, which serves to highlight a word, together with other types of non-verbal stress - syntagmatic, phrasal, logical, is one of the intonation components. In speech, all intonation means are used to express emotions. The expressive possibilities of melody are very great in combination with other elements of intonation.

3 Melody as a component of intonation

Melody of speech - the movement of the voice (up and down) on sounds of different heights. In speech practice, the melody of many syntactic structures of sentences has become a normative one. This applies to the norms of pronouncing interrogative, exclamatory, declarative sentences, as well as to the melody of enumeration, reason, purpose, opposition, separation, warning, water content and others.

The term "melodic" is used in various sciences and has shades in its meaning.

1. Melody -- linguistic term, denoting the system of ups and downs of the voice tone in speech, as well as the phonetics department that studies this system. The melody of any utterance is composed in this way a) from intonations, that is, ups and downs of tone associated with the meaning of the utterance and are melodic means of speech expressiveness, and b) from ups and downs of tone associated with the phonemic side of the language and are melodic means of differentiation of words. Examples of melodic means of this type are: 1) the so-called "musical stress" of those languages ​​that, with the help of ups and downs in pitch, highlight the main syllable of a word (for example, Lithuanian, Serbian, Croatian) or differentiate lexemes (for example, Chinese); 2) an increase or decrease in tone, accompanying changes in the strength of expiration in languages ​​with the so-called "expiratory stress" (for example, in Russian), etc. The totality of all these changes 111 tone forms in each language a completely specific system of music, sometimes sharply different from the melodic systems of other languages.

2. Melody - poetical a term that has not yet been fully defined in its content. Leaving aside the sound organization of the verse (in the sense of the organization of sounds included in it - sound repetitions, etc.), its phonik and its rhythmic organization - rhythm- in melodics, we consider the intonation system of the verse, i.e., first of all, the system of raising and lowering the voice in a syllable, word, complete phrase and, finally, in the whole poetic work, which has one or another expressive meaning in this stylistic system. For example, in Mayakovsky's March (“Beat the stomp in the square of riots!”) We are dealing with a sharply expressed exclamatory intonation (characterized, in comparison with the narrative intonation, by raising the voice). This intonation naturally organizes the entire intonational movement of individual lines and the entire poem as a whole, creates a certain melodic system. It is clear that the entire character of the regulated intonation movement of a verse is determined by the richness of meaning that it carries in itself, and is in indissoluble unity with its rhythm and sound (outside of which there can be no intonation in the verse). Hence, it is obvious that we can understand the nature of the melody of the verse only by considering it as one of the moments of the style of a certain class. Melody is inseparable from the verbal system, the verbal system from the image system. Each literary style and even each stage in the movement of the style has its own melodic system, which is what convinces us by the historical and literary analysis. It is easy to compare, for example, the intonation of the Symbolists' verse, which has a clearly melodious character and is based mainly on a repetitive narrative or interrogative intonation, with the example given from Mayakovsky.

The concept of melody should not be confused with the concept of melody or the melody of a verse; the system of intonation of a verse can have, for example, the most pronounced colloquial character; the melodiousness of the verse is only one of the special cases of melodic organization in general (as, for example, among the Symbolists).

It is with the work on the melody of reading (in conjunction with the grooves) that the formation of the expressiveness of speech in the primary grades begins. Already from the period of learning to read and write, children learn to use intonations of narrative, interrogative, enumerative, explanatory, address ... in the future, it becomes necessary to work on warning intonation, incomplete intonation, etc.

Research into melodicism has gained particular importance in recent years, and this is no coincidence. In connection with a sharp change in speech culture in society, the idea of ​​the communication process is also being transformed. To modern man it is very important to be able to melodiously build your oral utterance, understand and adequately respond to someone else's speech, convincingly defend your own position, observing speech and ethical-psychological rules of behavior.

A modern person spends 65% of his working time in oral communication. According to American scientists, the average inhabitant of the Earth spends 2.5 years of net time on the communication process. This means that each of us during his life has time to "talk" about 400 volumes of 1000 pages each. So, we say a lot, but we do it most often not skillfully, badly. Approximately 50% of information is lost during transmission.

The melody of the voice is the main, most important communication tool that affects the professional success of a person. The essence of communication is the process of interaction between the subjects of sociocultural activity with the aim of transmitting or exchanging information through the sign systems, techniques and means of their use adopted in this culture [Culturology, 1997: 185].

The core, the primary cause of communication is information in various forms: as an information layer of an external semantic message, information about an internal subtext characterized by the melodic voice, and informational content about the speaker. Psychologists believe that in the process of communication, words directly carry 10% of information. According to François Suge, 38% of information comes through the melody of a person's voice. The positions of the informativeness of the melody of the voice can be expressed in the characteristics of the four levels of the stage-by-stage perception of the communicant's information. This is informational versatility, aesthetic, situational and semantic levels [Romakh, 2005: 356]. All of these levels of information should be considered separately.

The first informative level is informational versatility- manifests itself in the natural melodiousness of a person's voice, through the individual color of the timbre, a certain pitch, and tonality of the voice. Here it is necessary to raise the question of how to determine the natural pitch of a person's voice? To do this, you must first say the same phrase as high as possible, without breaking your voice, then as low as possible. The tonality that will be exactly in the middle between them will be the pitch that a person uses in the process of speech. The challenge for each person is to improve this average pitch of the voice with the help of voice training to a higher range. Improvement of which is an indicator of the inner growth of a person. The natural melody of the voice characterizes personality traits: gender, age, health, emotional state, attitude towards the interlocutor, self-esteem.

Age features of the voice go through several stages. For childhood characteristic shrillness, limited range in pitch of the voice, general melodic speech is either loud or quiet. The voice of an adult is the highest stage of development. With aging, the melody of the voice undergoes some changes: the range narrows, the strength decreases, the timbre changes.

The second information level is aesthetic, characterized by the ability to control your voice, speech. Thanks to the properties of the voice, speech acquires both ethical and aesthetic characteristics: the speaker's speech culture conveys a positive impression of the voice or some of its properties - timbre, color, strength, intonation, accentuation. What comes from the general culture of the subjects of communication. The third information level - situational, is considered as the ability to correspond to a given specific situation, using all the richness of the voice. The ability to remain the natural melody of the voice in any disharmonious situation. There are a lot of communicative situations in a person's life, which are characterized by various combinations of voice melodies. Situations associated with solemn, significant events suggest praise, compliment, table word (toast), expressed with the help of a sensual, emotional, entertaining voice melody. The communicative situations of the mother and the child are of a completely different nature. Communication between mother and child takes place through a gentle, calm, gentle, melodic voice, which helps to maintain the inner balance of the child.

When a person communicates with animals, for example, training a dog, a completely opposite situation of voice manifestation is required: more firm, confident, persistent, domineering. Otherwise, the animal will not be subject to training. A similar situation manifests itself in the communicative situation of military personnel.

1) Professions with delivered voices, in which all activities are aimed at the functioning of the voice: actors, singers, readers. The delivered voice is characterized by a number of qualities, which are the result of the most rational interaction of organs and systems speech apparatus for professional use.

2) A professional voice is a type of voice formed in the process of a person exercising his professional duties in those areas of activity that are characterized by increased speech responsibility (such as pedagogy, medicine, jurisprudence, legal, social and political activities, journalism, and others). Improvement of vocal qualities, development of voice skills occur directly in the course of speech communication. The qualities of this type of voice are professionally determined.

3) Voices of ordinary native speakers who have nothing to do with the above professions. But this does not mean that the voices of this professional distinction have unpleasant overtones such as hoarseness, nasalness, etc. On the contrary, sometimes the voice is naturally endowed with great modulation capabilities, euphonic, pleasant to the ear.

National vocal differences also have a specific severity: Americans speak loudly, which characterizes their melodic voice aggressively; in turn, the British adjust the sound of their voices to speak as quietly as possible, but with all this they involuntarily demonstrate a heightened sense of pride. The melody of the voice of the Spaniards and Italians is faster than other Europeans. The melody of Russian speech unjustifiably tends to increase the length of vowel sounds, borrowed from the British.

And the fourth information level - semantic, which reveals directly the content of the speech. Voice features affect the addressee's perception of the received semantic information and the qualification of the transmitted message, giving the message a certain expressive-stylistic coloring. During the dialogue, the voice serves as an extremely powerful tool of influence, persuasion, suppression.

The meaning of a person's utterance is the meaning of the melody of the voice, passed through the living human "I" and soaked through with it. Unlike the meaning that is predefined, the meaning cannot be known in advance. It must be guessed as information about unnamed things through named things. For the meaning is inherent only in this statement, and in no other. For example, the meaning of the sentence “ It will be pouring rain tomorrow»Is known by all native speakers of the Russian language and for all of them it is the same. The meaning introduced by a person into a given phrase will be different each time in different communicative situations. In one case, it is a stormy joy that the long-awaited event will finally come true tomorrow. In another - a slight chagrin that the trip out of town planned for tomorrow may not take place. Thirdly, - reassurance that tomorrow does not portend drastic changes in life plans. In the fourth - outright panic due to the fact that the date scheduled for tomorrow breaks down; in the fifth - a delicate refusal of an invitation to an undesirable event under the plausible pretext of bad weather; in the sixth - flaunting that any "intrigues of heaven" he does not care, and so on. etc. The melody of a voice always expresses immeasurably more than what it stands for.

The power of the psychological impact of melody is so great that it is capable of "crossing out" the entire verbal text, expressing a meaning diametrically opposite to its meaning. The words that are most laudatory in meaning can sound like an insulting curse, from which a person becomes uncomfortable, and the most abusive words can sound like the highest praise, from which a person feels in seventh heaven with happiness.

For successful communication, that is, for the ability to present oneself to any situation, a set of certain properties of the voice is required: adaptability, euphoniousness, endurance, flexibility, flightiness, suggestiveness and stability of the voice [Effective Communication, 2005: 430]. Let's consider each of these properties separately.

Adaptability voice is the ability to adapt to specific acoustic conditions. For example, the size and shape of the room in which a person speaks, to the number and spatial location of listeners - with the help of appropriate variations in the timbre of the voice. That will ensure good audibility, intelligibility and comfortable perception of speech. For good adaptability of the voice, it is necessary to develop the skills of varying the volume and timbres of the voice, in using the high range, and the ability to purposefully control what is spoken.

Euphoniousness voices can be achieved due to the purity of the sound and the absence of unpleasant overtones. For example, hoarseness, hissing, nasal sounds. The ability to give your voice euphoniousness is perceived by listeners as a sign of aesthetics, good breeding, intelligence, self-exactingness, which is associated with good diction, with the pronunciation of all speech sounds, with the pronunciation of endings.

Endurance voice is characterized by a high performance of the vocal apparatus and allows it to withstand prolonged speech load while maintaining all the properties of the voice. This voice quality is determined by a number of factors, such as congenital characteristics of the body, age, acoustic conditions, and a properly organized voice training is necessary.

Flight voices - the ability to be heard on great distance with minimal expenditure of the speaker's efforts. With this quality, there is a feeling of facilitated sound production - the voice seems to "fly". Regardless of the type of voice, the volume of the sound in flight, there is always a certain metallicity, a kind of "bell" is heard. High-frequency overtones in this region, called high formant, are most easily perceived by human hearing, therefore, a voice with such overtones in its timbre is distinguished by good audibility. Flight is one of the most important characteristics of the timbre of the voice. If there is no flightiness in the voice, then this not only impoverishes the expressive possibilities of the speaker's speech, but also indicates insufficient control of the voice.

Sustainability is expressed in constant stability of pitch, loudness and timbre of the voice, regardless of the duration of the spoken speech sounds. By ear, the stability of the voice is perceived as confidence, decisiveness, calm perseverance of the speaker, this quality is a consequence of the general balance of tension and relaxation in the muscles of the vocal apparatus, their correct coordination.

Suggestiveness(from Latin suggestio - suggestion) - the ability of the voice to influence the emotions and behavior of listeners, regardless of the meaning of the spoken words. Suggestiveness as a quality of voice lies in the fact that the speaker with the help of timbre affects the listeners, captures their attention, arouses empathy and stimulates the necessary behavioral responses.

4 Thosespeech lm as a componentintonation

Pace speech (from Italian tempo, which comes from Latin tempus time) - the speed of pronouncing speech units of different sizes (most often syllables, sometimes sounds or words). The rate of speech can be calculated in two ways: the number of syllables, or sounds, or words spoken per unit of time (for example, in 1 second), or the average duration (longitude) of the sound of the speech unit (at a certain segment of the sound of speech). The duration of sounds is generally measured in thousandths of a second - milliseconds (ms). The speech rate of each individual can vary widely - from 60-70 ms for fluent speech to 150-200 ms for slow speech. There is also a dependence of the tempo on the individual characteristics of the speaker.

4.1 The communicative significance of the rate of speech

The normal speech rate for Russians is about 120 words per minute. One page of typewritten text, printed at one and a half intervals, should be read in two or two and a half minutes.

The rate of speech can vary. It depends on the content of the statement, the emotional mood of the speaker, the life situation.

It is not difficult, for example, to determine what determines the rate of pronouncing sentences:

-- Hurry up to the forest!

--He walks slowly, braiding leg by leg.

--Crawls like a turtle.

--What a long and cloudy day today!

The rate of speech in this case is determined by the content of the sentences. The first calls for a quick reaction, for quick action, so the pronunciation is speeded up. The second and third sentences characterize delayed action. To emphasize this, the speaker stretches the pronunciation of sounds, the rate of speech slows down. In the last sentence, the emphasis falls on the words long and cloudy. Slowing down speech when pronouncing allows you, as it were, to depict an object, intonationally emphasize its length.

The pace of speech will be different if the phrase "The purchase of a motorcycle made us happy, but the purchase of a car delighted us" is pronounced as a statement of fact and with deep feeling. When stating the fact, the sentence is pronounced in an even voice. If the speaker seeks to convey his emotional attitude, then he will pronounce the second part in an increased tone and at a slower pace.

In general, feelings of delight, joy, anger accelerate the pace of speech, and depression, inertia, meditation slow it down.

A very slow pace is also characteristic of difficult speech, the speech of a seriously ill, very old person. In slow motion, the verdict is read, the oath is pronounced, the solemn promise.

The rate of speech has great importance for the success of the performance.

There are people who, under all circumstances, speak very quickly. It is about them that proverbs are composed: "You cannot keep up with your tongue barefoot", "Scribbles like a machine gun", "A thousand words per minute", "Eka carried it: neither the horse nor the winged one can catch up."

Fast speech, especially if it is a lecture, requires increased attention, which causes fatigue and a desire to take a break, that is, stop listening to the speaker.

Fast speech is not always easy to understand. There are various reasons for this:

1. The speaker, out of inexperience, outlines many questions and considers it necessary to have time to explain everything in the time allotted to him.

2. Lecturer, orator is dismissive of the audience and seeks to finish his speech as soon as possible.

3. Sometimes fast speech is due to the speaker's timidity, fear of the audience.

Slow speech is also undesirable. The people say about her: “He gives the word to the word crutch”, “Word by word crawls on cockroach legs”, “He speaks like water.”

Delayed speech discourages the audience, weakens attention, and also tires the audience.

It is important for the lecturer to be able to change the rate of speech. If you need to emphasize something, highlight (definition, conclusions), then the pace must be slowed down. When a speech is delivered with an uplifting, inner pathos, the pace accelerates. Let's pay attention to one more phenomenon.

A student enters the dean's office. Appeals to the dean: "Hello, Alexander Alexandrovich!"

A neighbor approached a neighbor in the yard: "Hello, Alsan Alsanych!"

Two friends met: "Hello San Sanych!"

How are greetings different? Pronunciation style.

When we are in an official setting, we speak in front of a large audience, when we want everyone to hear and understand us, then we slow down the pace of speech, we try to pronounce every sound, every word. This style of pronunciation is called complete.

In an informal setting, in a family circle, an incomplete, conversational style is most often used. The style of speech, or rather its pace, may indicate the speaker's dismissive attitude towards the one with whom he is talking. This is exactly what I.S. Turgenev, painting the image of Major General Vyacheslav Illarionovich Khvalynsky:

He is a very kind person, but with rather strange concepts and habits. For example: he cannot in any way treat noblemen who are not wealthy or not bureaucratic, as people equal to themselves. Talking to them<...>he even pronounces words differently and does not say, for example: “Thank you, Pavel Vasilievich,” or “Come here, Mikhailo Ivanovich,” but “Boldar, Pall Asilich,” or “Pa-azhalte here, Michal Vanych”.

And another example from the novel "Fathers and Sons". Arkady and Bazarov introduced the following to a high-ranking official:

The gentleness in Matvey Ilyich's address could only be equal to his majesty.<..>He patted Arkady on the back and loudly called him "nephew", honored Bazarov, clothed in an old tailcoat, an absent-minded but condescending glance across the cheek, and a vague but friendly lowing, in which it was only possible to make out that “I. .. "yes" ssma.

Speaking about the rate of speech, we must agree: do we define the way of pronouncing words as “fast” or “slow” in the sense of absolute value, or in relation to some “normal” (on average) speech rate of this particular person?

4.2 "Absolute" speed

In the countries of Indo-European languages, they speak at a speed of 200 to 500 syllables per minute (speeds below or above these values ​​are respectively defined as "extremely slow" or "extremely fast"), so it can be defined as follows:

about 200 syllables per minute corresponds to relatively slow speech,

about 350 syllables per minute corresponds to relatively "normal" speech,

about 500 syllables per minute corresponds to relatively fast speech.

Of course, there are national differences, for example, for the French or Italians the "normal speed" is usually higher than for the Germans. This is why it is so difficult to translate Italian and french films into German: synchronization becomes extremely difficult, since more words can fit in a character's phrase per unit of time than can be spoken in German at the same time. Therefore, the translators either speak faster than it is "normal" for a German listener, or they skip some words, that is, they partially filter out the information. But with simultaneous translation from English, the problem is exactly the opposite.

4.3 Relative speed

But even within the limits of one, say, our native language, we notice that the speed of pronouncing words and phrases can vary greatly not only among different people relative to each other; even the same person, depending on the situation, speaks faster in some cases and slower in others.

As for the differences depending on the individuality of the speaker, here, apparently, one should not dwell in too much detail. Many questions do not yet have answers, for example: "Does a person speak the faster the more intelligent he is?" or: "Although the ability to speak at one speed or another is an innate quality, does it not reflect the influence of the child's environment in the first years of life?" Attempts by psychology or kinesics to find answers to these questions will continue. The situation is different with the relative speed of speech of the speaker, which can be very different depending on the circumstances.

Lenneberg in his book "The Biological Principles of Language" is in the highest degree interesting observation: “What determines the speed of speech? To this question, of course, there is no simple answer .... Higher speed (more than 500 syllables per minute) is achieved primarily when the speaker often uses ready-made phrases or cliches. This appears to be related to the cognitive aspects of language, rather than the physical ability to articulate ... In addition, exercise plays a role. Some words need to be repeated many times before they begin to be pronounced effortlessly, and therefore quickly. "

That is, we can say that in a certain situation a person speaks the faster (we are talking about relative speed), the more often he has already made these statements, i.e. the more often someone utters the same expressions, the higher the relative speed of their speech.

When pronouncing words, we usually have to coordinate more than a hundred muscles (muscles of the chest and abdominal wall, neck and face, larynx, throat and mouth), so it is clear that exercise is a very important factor. It is necessary to practice pronouncing any specific words or sentences (common phrases), and it is also useful and simple to speak. A person who is accustomed to talking for hours (for example, a lecturer, a teacher), naturally, speaks much faster than a person who is accustomed to expressing himself mainly in writing, even if the lecturer does not tend to pronounce some specific words 50 times.

The less the information is familiar to the listener (or seems to be), the slower you need to say your material!

Speaking slower doesn't mean speaking slower. The same effect can be achieved by pausing from time to time, asking control questions, inserting examples into the presentation of "theoretical" information so that it is more intelligible.

It should be noted that pauses also affect the impression of the speed of speech. If someone, for example, speaks hesitantly, and his pauses are so short that others do not perceive them as pauses, then the general impression is that speech is "slow". It is these people who often very sensitively react to bodily signals of impatience, begin to worry about this and speak even ... more slowly.

The number of semantic segments in a sentence depends on the rate of speech, i.e. pronouncing a sentence faster or slower can significantly affect the syntagmatic articulation of the utterance. For example, when dictating sentences, the rate of speech will be significantly slower than in colloquial speech. Thus, there will be more semantic segments during dictation, and they will be shorter.

5 Timbre as a component of intonation

As you know, the impressions of people from communicating with each other are 55 percent based on body language, 38 percent on the timbre of voice and diction, and only 7 percent on the words they pronounce, so the problem of a good voice for a person is extremely relevant, since it determines almost 40 percent of his success in life.

Many people owe much of their success to our voice and the timbre of our voice is as important to us as our looks, manners and knowledge. This is the tool with which we convey our thoughts to other people, and mutual understanding between us and other people depends on our voice and speech data. A voice with a good timbre can attract people to the side of its owner and convince them of his rightness, it can stir people up or put them to sleep, charm or alienate them. So what is the timbre of speech?

Timbre, otherwise timbre coloration speech - a specific, human-perceived characteristic of sounding speech, which depends partly on the physical parameters of the speech apparatus (low, hoarse timbre, high shrill voice, etc.), is partly regulated by the speaker due to special changes in the state of the speech organs (mainly due to different emotional state at the time of speech).

In the oral cavity, as a result of more or less tension of the speech organs and changes in the volume of the resonator, overtones are formed, that is, additional tones that give the main tone a special shade, a special color. Therefore, the timbre is also called the "color" of the voice.

The timbre of the voice may change, depending on emotional state person. Therefore, timbre is also called a specific coloring of speech, which gives it one or another expressive-emotional properties. Sometimes the term tone. In this case timbre and tone become terms-doublets.

The nature of the timbre is so varied, and its perception is subjective, that scientists in describing the features of the timbre use a variety of definitions that emphasize that visual perception (light, dark, dull, shiny), the auditory (deaf, vibrating, trembling, sonorous, screaming creaking, whispering), the tactile (soft, sharp, hard, heavy, cold, hot, light, hard, dry, smooth), then associative (velvet, copper, gold, silver, metallic), then emotional (gloomy, gloomy, annoyed, cheerful, jubilant, playful, delighted, mocking, dismissive, angry, complacent).

Indeed, it is very difficult to give an accurate description of a timbre if each person has his own timbre coloration.

In memoirs, various memoirs, literary articles, there are many descriptions of the manner in which one author reads his works, the features of his voice.

So, in October 1966, according to the testimony of the restorer of the sound recording L.A. Shilov, the first magnetic copy of the phonogram of one of the rollers with the voice of A. Blok was received.

Through the hissing, rustling, crackling, writes L. A Shilov, a human voice, the voice of Blok, was clearly heard. He read the poem "In a Restaurant". We heard a dull voice of a rather high timbre. The voice sounded tired, as if indifferent. Only gradually, after a dozen auditions, his emotional richness was revealed.

At first I was captivated by the musical rhythm. Shilov understood what one of the poet's contemporaries had in mind when he spoke of how “painfully good” Blok kept a pause in his reading.

At first glance, the contradictory testimonies of contemporaries: "delightful reading", "dispassionate evenness of voice in the most seemingly pathetic places" - are now united in the mind of the restorer.

The audience enthusiastically accepted the stories of I.A.Bunin performed by him. He had a great voice. With amazing skill, using all the diversity and richness of Russian intonation, he conveyed the subtlest nuances of thought, creating sound portraits of his heroes; sometimes slowing down, then speeding up speech, raising and lowering his voice, he painted pictures of nature. He fascinated everyone with his indescribable intonations.

But K.G. Paustovsky had a quiet, hoarse, sometimes even raspy voice. And although he read his works "without expression", slowly, in an even voice, without strengthening or diminishing his sound, the listeners sat holding their breath, trying not to miss a single word.

Who happened to hear K.I. Chukovsky, he will never forget his young, high, surprisingly sonorous voice. Chukovsky had his own way of speaking - lively, full of humor and some kind of youthful enthusiasm. The impression was that he was not reading the work, but was conducting a confidential conversation. Tall, slender, surprisingly charming, he knew how to charm and conquer everyone from the first words.

There is another component of intonation that is closely related to timbre. This is the strength of the sound, or the volume of the voice.

6 Sound power and its place in the structure of intonation

In speech, the concepts of "strength" and "loudness" of a voice are not identical. The strength of sound is an objective value, it is the real energy of sound, measured in decibels. The strength of the sound depends on the amplitude (range) of vibration of the vocal cords, the degree of their tension, as well as on the activity of resonators (mouth and nose).

As a component of intonation, the power of sounding speech is important from the point of view of the communicative situation of communication and, especially, its cultural and aesthetic aspects.

The level of intensity is distinguished by ear. It comes in low, medium and high. The level of sounding power may not change (even, calm voice), but most often the direction and nature of the intensity changes: it increases or decreases, and this can happen abruptly or smoothly.

The strength of the voice varies from person to person. Some have a strong, resilient voice, capable of coping with large speech loads. Other people's voices are weak and naturally quiet. Under conditions of increased load, inept use of such a voice can lead to the emergence of various functional, and sometimes organic diseases. The voice must be protected, not overstrained, its capabilities must be taken into account. But, most importantly, it must be developed.

The volume of a voice depends on its strength. But if the strength of the voice is an objective value, then loudness is a subjective concept associated with our perception of sound. Loudness is the controlled quality of the voice. It can and should be changed depending on the various circumstances of communication. Flexible change in the volume of the voice is a means of achieving expressiveness of speech, its diversity, and the adequacy of the communication situation.

The choice of a particular volume level depends primarily on communicative situation, that is, from where the communication takes place, with whom, at what distance. So, at a rally, parade, at a train station, in a forest, if the interlocutors are separated by a distance, and it is necessary to say something important, it is permissible to speak loudly. When a person is in a circle of friends, in a family, at a doctor's office, in a boss's office, in a tram, store, library or other public place, loud speech is inappropriate. She will indicate bad manners or excessive nervousness.

People who have a habit of speaking louder than required, thereby violate a certain etiquette norm, by force (in this case - by the force of the voice) forcing themselves to listen. This is an active manifestation of expansion, "capture" of space, a kind of filling the acoustic environment that is inhabited by others. If the situation is monologic in the form of speech (speech, lecture), then with his forced sounding a "loud" person, as it were, pushes the listeners away from himself to the distance for which such a loudness would be adequate. An appeal to the audience, and even more so to "dialogue partners" (for there is no dialogue in the full sense of the word at this moment) loses its personality - the listeners, no matter how many, are treated like a crowd.

There may be a variety of reasons behind such behavior: the desire to seize the initiative and the long-term habit of "broadcasting" associated with the occupation; exit seeker internal stress; some loss of orientation in a communicative situation due to excessive enthusiasm for the content of his utterance. Increased volume is generally characteristic of agitated, tense communication, about which it is said that "no one hears anyone."

The choice of the volume level also depends on goals with which people come into communication. If your goal is to confidentially talk with a friend, to lull a child to sleep, to console a person, to express sympathy for a sick person or someone in trouble, then loud speech is hardly appropriate. If you seek to attract the attention of the audience or, as a lecturer, want to be heard in the back rows, then the volume is acceptable, although there are other ways to attract attention. In this regard, it should be noted that it is not the loudness that contributes to the intelligibility and "convenience" of speech for the perception of other people. Speech is better listened to thanks to the correctly selected tempo, appropriate pauses, developed articulation and the so-called flight of the voice. Moreover, a strong increase in loudness suppresses more subtle, high-quality parameters of speech, in particular, simplifies and makes the intonation pattern monotonous. In this regard, I recall the advice quoted in KS Stanislavsky's Notebooks, given by an old actor to a young debutante, who spoke louder on the stage than it should be, for fear that she would not be heard: however, speak less often ... No matter how strong the voice is, it must be lower than the force that animates it. "

In addition to the above reasons (communication situations, goals), the volume of the voice should depend on content of speech... If you are talking about a thunderstorm, thunder, about events filled with loud sounds, military operations, then it is hardly appropriate to use a quiet voice. If you are describing a quiet summer night, the rustle of trees and the rustle of leaves, then in this case the voice cannot be amplified.

7 Pause likeimportantintonation component

Few of the speakers think about what a pause is, what it is for, what pauses there are. It is believed that a pause does not play a special role in speech, that no one notices it, that it is needed exclusively for breathing air into the lungs.

And why, then, if our interlocutor suddenly pauses during a conversation, we feel a feeling of excitement: what happened to him? isn't it an attack? or is he offended by something? or doubted the correctness of my words? And we look forward to the continuation of the conversation.

Really, pause(Latin pausa from Greek pausis - cessation, stop) - a temporary stop of sounding, during which the speech organs do not articulate, and which breaks the flow of speech. A pause is silence. But silence can also be expressive and meaningful. There is even such a science - pauseology. The first US pauseologist, Professor O "Connor, believes that pauses can say about a person no less than words, that they take 40-50% of the time to talk.

There are logical, interverbal, psychological, physiological, inverse, rhythmic pauses ...

7.1 Logical pauses

The role of logical pauses is clear: thoughtlessly scattered pauses can either distort the meaning of a phrase, or reduce it to absurdity. For example, the first line famous poem A. Blok “Oh, I want to live madly” is often pronounced either without pauses, or with a pause after the word “I want”. In this case, the meaning of the phrase is perverted. It turns out that the poet does not "want to madly", but wants to "live madly."

Good speech is meaningfully paused speech. Pauses make living speech natural, clear, expressive. No pause

they only dissect speech, but also unite it: the words between pauses acquire semantic unity.

Analysis of logical pauses includes a characteristic of their duration, as well as completeness or incompleteness, more precisely, the degree of their completeness. The degree of completeness of the pause depends on the register level at which the word before the pause is pronounced. For instance:

Friends || change every now and then || not good.

Hesiod

The degree of completion of the first pause in this phrase is lower than the degree of completion of the second (turning point), after which the tone of speech drops sharply.

The pause duration will be discussed in the "Artistic pauses" section. Here it should be noted that the degree of pause duration and the degree of its perceptibility are not always in direct proportion. Sometimes, physically, a short pause is quite noticeable, especially in elliptical phrases, as well as in those cases when the pause is at the junction of contrasting tones, tempos, rhythms. For instance:

And instantly || the gate to the constipation.

I. A. Krylov

This non-verbal phrase is very dynamic, it is pronounced quickly and sharply, and the pauses in it are quite noticeable, especially the second. A pause is not only a means of separating phrases, periods, links, but also one of the methods of logical underlining of words:

I will not let it

V. Mayakovsky

In this phrase, the inverse word "verse" is pronounced with less forceful pressure than the words "mumble" and "crush", but the logic of the phrase requires its emphasis, and it sounds more weighty due to pauses (inverse). Or, for example, in the epic verse, thanks to the pauses (leyms), the word "hero" stands out noticeably.

Ay you glorious v hero v Holy Russian.

Since logical pauses combine words into speech beats and separate them from each other, “work on speech and word must always begin, with dividing into speech beats, or, in other words, with the arrangement of logical pauses” 2.

7.2 Artistic breaks

The term is conditional, because in a masterful performance all the pauses are artistic. And yet, in a poetic work, pauses have a different purpose and a different character. The question of pauses is deliberately considered a second time. Earlier we talked about logical pauses. Here we will focus on rhythmic and psychological pauses (although logical pauses of such functions are useful). The lack of a concept of rhythmic and psychological pauses is a big hindrance in the work of the reader.

There are the following types of rhythmic pauses: inter-emotional, caesura, leima.

Inter-verse pauses- pauses at the end of poems (lines of poetry). The inter-verse pause must be observed regardless of the syntactic structure of speech. Let's take the first stanza from a poem by M. Yu. Lermontov:

My soul, I remember from childhood

I was looking for a wonderful one. I loved

All the seductions of the light, but not the light,

In which I only lived for minutes ...

Let's pay attention to the endings of the first and second verses. Here - the usual verse transfer, walking, enjambement (these are the terms theorists define this phenomenon).

The nature of the pause depends not only on its place (in a phrase or in a verse), but also on how the word in front of it is pronounced. If the last words in the first and second verses of the quoted stanza are pronounced with a lower pitch, the rhythmic pause will turn into a logical one and cut off the part of the phrase, the meaning of which will be violated. To prevent this from happening, it is necessary to slightly raise the tone of pronouncing the words "years" and "loved". Stanislavsky calls this technique "kink" and states: "Bend teases curiosity." The fold indicates that the phrase is not completed at the end of the spoken line, that a continuation follows.

But there are times when the "fold" can sound unnatural:

He leads the armies; at sea by ships

Rules; in the artel drives people ...

N. A. Nekrasov

Raising the tone when pronouncing the word "courts", if it is permissible, then to a very small extent, and it is possible to indicate the continuation of thought after a verse pause with the help of a slight stretching of the stressed syllable in this word.

Unfortunately, readers sometimes lose focus on hyphenation. Even V.I.Kachalov, reading:

And the poor slave died at his feet

Invincible lord -

does not pause after the word "slave" and puts an intonation dot after the word "legs".

Speaking about the duration of the inter-emotional pause, Artobolevsky argues that it is impossible to establish the law of the duration of the inter-emotional pause. At the same time, the duration of the shortest pause may take the time necessary to mentally count one metric beat ("time!"), And the longest "should not be longer than the verse itself." But the point is not only in the physical duration of the inter-verse pause, but in the fact, Artobolevsky notes, that it will be "most noticeable when the previous verse ends with an accent, and the next one begins with an accent." For instance:

Chu! Menacing exclamations were heard,

Stomp and gnashing of teeth

A shadow ran across the frosty glass ...

N. A. Nekrasov

KS Stanislavsky rightly remarked that "the difficulty of maintaining pauses among poetic speech is complicated by the concern for preserving rhyme."

Caesura- a pause that divides the line of poetry into two (less often - into three) parts. Verse scholars pay attention primarily to the so-called great caesura, the median, cutting into equal parts a hexametric verse. By the way, K. Paustovsky, in his story "The Silenced Sound", interestingly discusses the possible conditions for the appearance of hexameter and caesura in hexametric verse.

Caesura, which dismembers the verse in half, is found not only in hexameters. It is important for the reader to remember that the closer to the caesura the stressed syllable in the pre-caesure word, the more noticeable the caesura will be. It is easy to verify this by comparing the caesuras in "Three Palms" by M. Yu. Lermontov:

In the sandy steppes || Arabian land

Three proud palms || grew high.

S. Marshak in his article "On a Poem" recalls how, at the age of twelve, he admired M. Yu. Lermontov's poem "I go out on the road alone", reading, rereading, repeating it many times. “Only now,” writes Marshak, “I notice how the concentrated, unhurried lines wonderfully correspond to the rhythm of our breathing with those even pauses within the verse that allow us to breathe easily and freely” 1.

Leima- a pause, which can be filled with a syllable that does not break the rhythm:

The smiling king commanded then

Wine sweet [yes] overseas

Strain [yes] into your gilded ladle

And bring him [yes] to the guardsmen.

M. Yu. Lermontov

The syllables inserted in square brackets do not destroy the rhythm, but if pauses (one syllable each) are not made in these places, the rhythm will suffer.

Apparently, feeling the syllable deficiency in the verses of V.V. Mayakovsky:

bashfully -

forever so

did not stop ...

Ruben Simonov says not “so”, but “so”. He also does the insertion of an extra syllable while reading the "Song of the Falcon" ("... and [you] will live a little longer in your element").

Leimy was investigated by G.A. Shengeli. Unlike other pauses, which are moments of silence, Leima, in his opinion, is a moment of tense silence. Therefore, Shengeli calls leyma dynamic pauses and notes that the presence of tension in the vocal cords at the moment of leumic pause is confirmed by both direct sensation and oscilloscope records.

Quoting Pushkin's line:

The peoples around me angered, -

Shengeli notes: “In place of the caesura, there is a pause of about 0.36 seconds, it can be“ as long as you like ”- 1, 2, 3 seconds - the verse does not cease to be verse. But let's try to enter one syllable with a duration of only 0.20 seconds:

Around me and the peoples angered -

and the pentameter will be violated, the verse will "crumble." As Shengeli notes, leimas were also found among the Russian classics, "but, apparently, they were not recognized as leimas." Apparently, the same can be said about the leimas in epic verses:

Ay you glorious v hero v Holy Russian.

In Russian poetry, leims appear at the turn of the 19th and 20th centuries. The poets of the 20th century began to feel not only the need for leimas, although they did not use the term itself, but also the need to explain this pause, which must be taken into account by the perceiving - reader and listener. For example, I. Selvinsky. in the poem "The Hunt for the Tiger" (1932) he resorts to leime, defines it with the interjection "es!" means a pause and "speaks out" to himself in the process of reading.

The hunter blew (es!). Silence! I blew some more. Silence.

The Bulgarian poet Lyubomir Levchev wrote about Leima: “The missing syllable gapes like a wound in a metric scheme. Isn't this the first step to free verse? "

In some cases, the leima can be filled by stretching the stressed syllable after it. In Mayakovsky's poem " An extraordinary adventure... "there is a line depicting how the sun went down: slowly and surely.

The leima in front of the word "slowly" was filled in by Mayakovsky, pronouncing this word: "slow". "Mayakovsky figuratively stretched the pronunciation of the first word (in order to reflect in the intonation" the pace of events "- the slowness of the described act), while he pronounced the second word firmly and clearly." Leimas are monosyllabic and disyllabic:

Soulful v dullness

Fattened v crow -

This v not a crime -

vv Great sin.

A. Voznesensky

Let's pay attention: monosyllabic leims in the first and second verses, and especially disyllabic ones in the fourth, perform a psychological function, helping to highlight the words after them.

KM Simonov's poem "The Son of an Artilleryman" is full of leimas. They help the author to recreate a psychologically oppressive environment of extreme tension of spiritual forces during the war against the fascist invaders:

And after two v weeks

walked in the rocks heavy v the fight;

to help everyone out, v must

someone to take a chance v yourself.

Poems spoken without observing leim will not make the proper impression.

Inverse pauses frame inverse words and thus highlight, emphasize them:

This is a noble habit of work. It would not be bad for us to adopt .... N. A. Nekrasov

The epithet “noble”, which defines the word “habit”, seems to be out of place, it is relegated to a post-position, and is also separated from the word it defines by the addition “to work”.

One gets the impression that the object is starting up in pursuit of its definition and thus points to it. But that's not all. Imagine the usual arrangement of words: "This noble habit of work ..." The intonation in this order of words gradually increases. In the highest register, the word "labor" is pronounced. In an inverted phrase, "noble" should be pronounced at the same register level as it is pronounced in normal word order. This is how a tonal kink is obtained:

noble

The break also makes a noticeable pause between these words.

BV Tomashevsky drew attention to the double function of inversions in a poetic phrase: “... on the one hand, one word is isolated from the other, on the other hand, new connections appear between words, semantic connections that are not in harmony with grammatical connections. At the same time, inversion, breaking the natural order of words, is usually accompanied by some kind of weak, sometimes strong isolation, that is, the inversion splits the sentence differently than if it were split naturally ”1.

Tomashevsky asserts that "with all forms of inversion there is always a tendency towards some isolation of inverse words."

But, as you know, there are no rules without exception. In A. T. Tvardovsky we read about the words:

So that the heart feeds them with blood,

So that their living mind closes,

So as not to waste anyhow

Capital from capital ...

Here the inverse word - the epithet “living” is distinguished by a noticeable stress (though less than “mind”), but the inverse pauses are not felt in any way.

And here is an example of capacious, sharply perceptible inverse pauses given by Artobolevsky:

How dare you, impudent, with an unclean snout

It's pure muddy drinking here

vvvv My vv, vv

With sand and silt?

I. A. Krylov

Here the inverse “mine” is distinguished on both sides by pauses for two counts each. The lengthening of these pauses is inspired (suggested) by the fact that the inverse word is placed in a separate line, which has to be stretched, in accordance with the requirement of the law on the rhythmic proportionality of verses.

Explaining the concept of tempo rhythm, KS Stanislavsky proceeded from the conviction that a performer should not only speak rhythmically, but also be silent rhythmically. At the same time, this position does not always concern the psychological pause, which was investigated by the great director and about which he briefly noted that it “is always always active, rich in inner content” 2.

Psychological pause serves the feeling, in contrast to the logical, Which "serves the mind." The purpose of a psychological pause is to alert, sharpen the listener's attention to some words. If, at the moment of a psychological pause, the performer turns off from the emotional state in which he is, in accordance with the requirement of the content of the text and the tasks set, not only will the psychological pause not take place, but the entire performance will be distorted.

Speaking about the role of a psychological pause and explaining its meaning, Stanislavsky writes: “You cannot say:

"He's under (pause) the bed."

But the psychological pause justifies this pause and separates the preposition from the noun.

“He lies under (a psychological pause with an expression of despair, indignation at the drunken behavior of another) a bed. A psychological pause is placed before and after any word. " K. S. Stanislavsky warns that a psychological pause, put out of place, interferes, introduces confusion. A psychological pause can coincide with a logical and rhythmic one:

In Polish -

like a goat on the poster.

In Polish -

bulging eyes

police

elephantiasis -

where, they say,

and what is this

geographic

V. Mayakovsky

Here, after the preposition "for" - a psychological pause, it is caused by the thoughtlessness of the official, his tension, explained by the difficulty in choosing the right word. And, pronouncing this preposition, it is necessary to reflect this difficulty, and not just shout out, as some performers do. (See about this on page 169).

G. Artobolevsky, warning about the need to apply psychological pauses with caution and moderation, makes an attempt to single out three of the most widespread types; but immediately declares that these categories do not exhaust their diversity. He gives an impressive example from Ruslan and Lyudmila:

The brave prince looks -

And he sees a miracle before him.

Will I find colors and words?

Before him || live head.

Already pronouncing the word “miracle”, the performer will see with “inner vision” a stunning picture that can cause a state of surprise and horror, which will be reflected in the reader's facial expressions and will be emphasized by a pause (two counts) after the pronoun “him”. This pause can be made even more noticeable if you sustain it with your mouth slightly open in confusion.

Recalling that the psychological pause must be distinguished from the physiological one caused by the physical state of the organism (shortness of breath, weakness, old age), Artobolevsky gives an example in which one of the two physiological pauses coincides with the psychological one; these are the words of the dying woman in the Kreutzer Sonata:

Children ... | I still | you ... | will not give it back.

Here's another example of pauses that create a heavy feeling:

Ferry, ferry.

Left bank, right bank,

The snow is rough, the edge of the ice ...

To whom is memory, to whom glory,

To whom || dark water,

No signs, || || not a trace.

Initial and final pauses can be considered as separate types of psychological pauses.

Initial pause prepares the reader for performance, and the listener for perception. In the segment of the initial pause, the reader brings himself into the psychological state that is required for the execution of the first words, phrases of the text. This state will be captured in his facial expression and posture.

It is also important to have an understanding of final pause. Inexperienced reciters sometimes crumple the final phrases of the text being performed in an effort to quickly get rid of the severity of reading and abruptly cut off the reading at the last word. Whereas competent performance requires completing the reading with a miniature mute scene: when the last word of the performed text flies out of the mouth of the reader, he does not suddenly break with the psychological atmosphere in which he and his listeners are, but continues to be in it for a few more moments, for a few seconds, compelled to this by the force of inertia of charm. NF Pershin, one of the masters of recitation, says that without such a pause, “it is unthinkable to imagine the completion of what has been said. An example of this is the story of AP Chekhov "House with a Mezzanine". The story ends with a sad question from a lonely artist: "Miss, where are you?"

If the reader immediately interrupts the story after this, if he does not endure the necessary, intense psychological pause, the phrase will immediately lose its meaning and the impression of the story will immediately be hopelessly spoiled. "

Such final pauses end "Borodino", "Death of a poet", "Railway" and other works, intonational analyzes of which are presented in the "Declamation Reader".

Many reciters warn that mechanical pauses discolor and deaden speech. For example, Mark Twain, who was a brilliant performer of stories, spoke of the pause as a technique of exceptional importance: “This is a delicate, delicate thing and at the same time a slippery thing, treacherous, because the pause should be of the required duration, no longer or shorter, - otherwise you will not achieve the goal and only make trouble. "

“Intonation and pause, - stresses K. Stanislavsky, - by themselves, in addition to words, have the power of an emotional impact on the audience”.

Conclusion

So, from all of the above, it follows that intonation is a rather complex, multifaceted and extremely important phenomenon in the general context of human speech activity. It is intonation that actually organizes oral speech as a whole, including reading. With the help of intonation, sentences are given the meaning of a question, motivation, request, message ... Intonation allows you to convey the emotional and semantic shades of the text, expressing the state, mood of the author (sadness, anxiety, joy), his attitude to what is described (irony, respect, pride, tenderness etc.).

In the traditional approach, intonation is usually understood as a set of changes in the relative pitch in a syllable, word, phrase and the whole utterance, which conveys the speaker's subjective attitude to the utterance. The most important function of intonation is to determine the modality of the utterance.

The performance of this and all other functions of intonation is determined by the peculiarities of its structural organization, in which six main components are most often distinguished: stress, melody, tempo, timbre, sound strength and pause. All these components, combined in intonation, create the feeling of a living flow of human speech. That is why knowledge of the nature of intonation is so important for every person. The ability to expressively speak or recreate an artistic text, fulfilling the requirements of declamatory art, is called the ability to paint with intonation or draw in intonation.

It should not be forgotten that the word is the causative agent of not only visual images, but also emotional ones. It should also be remembered that “only a thought saturated with psychological and nervous excitement. "

The ability to draw with intonation is provided not only by knowledge of the text, penetration into its deep meaning, but also by a lively feeling of its emotional saturation. Consequently, to draw with intonation is technically competent, logically correct, visibly and emotionally rich to recreate the ideological and artistic richness of the performed text, exciting the listener's imagination, exerting an infectious influence on him with his feelings and volitional impulses. But all this can be achieved only by penetrating into the secrets of intonation, by studying and understanding the structural connections of its components and the meaning of each of them in the general context of various intonation constructions.

The question of whether you can learn good intonation is wrong, just like the questions about whether you can learn to cry, laugh, grieve, be happy. Intonation is not made up. It arises by itself. In the process of declamation, “intonation is generated by“ two levers ”- thought and emotion,” asserted A. Ya. Zakushnyak. Attempts to invent intonation or borrow it lead to falsehood, antics.

But there are means and techniques that help to find the intonation that is most suitable for both lively colloquial speech and for the performance of a wide variety of works of art.

“Intonation,” writes V. Toporkov, “should not be the result of a simple training of the muscles of the tongue. It will inevitably be then empty, cold, wooden, saying nothing and once and for all memorized. This must inevitably happen if the actor, without preparing other complex parts of his creative apparatus, begins to work by pronouncing the author's text. And vice versa: intonation will always be lively, organic, bright if it is the result of genuine motives, desires, vivid visions, clear thoughts and other components from which the stage image is created, which should first of all be paid attention to when working on the role. "

Indeed, it is intonation that expresses the speaker's thought, position, feeling through the diversity of its constituent elements: stress, range, voice strength, speech rate, the nature of pronouncing sounds, words, phrases, the art of timbre, logical and psychological pauses, etc.

After all, the intonation, melody of Russian speech is imbued with the very spirit of the Russian people. She was born under the influence of prayer. In worshipful prayer, the voice is lowered at the end of the phrase and on the stressed word: "Lord, have mercy." "Thank You, God." And it is natural that there is a whole separate specialization in linguistics - intonology. She asserts the idea that even such a seemingly insignificant detail as the lowering of the tone of voice on the stressed word at the end of a phrase, even in a number of interrogative sentences, reflects the attitude towards the life of the whole nation: serious, deep, responsible, humble. Moreover, the humility of the Russian people is not weakness, but strength, for a strong person does not need to prove that he is strong. As the Russian philosopher Rozanov said figuratively, "the humility of the strong is an angel, the humility of the weak is a devil."

Together with stress, intonation forms the prosodic system of the language. Prosody is the whole system of phonetic means realized in speech. In many ways, this term is synonymous with the concept intonation. Without going deep into linguistic definitions, we can figuratively say that intonation is the backbone of oral speech, its subtext, if you like otherwise, intonation is the soul of language. That is why the preservation of its national characteristics is of great general cultural, social, and, consequently, state significance.

List of used literature

1. Avanesov, R.I . Russian literary pronunciation. M. 1972.

2. Bulanin, L.L. "Phonetics of the modern Russian language" M., graduate School, 1970

3. Buyalsky, BA The art of expressive reading: Book. for the teacher. - M .: Education, 1986 .-- 176 p.

4. Vvedenskaya, L.A., Pavlova, L.G. Rhetoric and culture of speech. 5th edition, supplemented and revised. Series "Higher Education". Rostov-on-Don: Phoenix Publishing House, 2005. - 544 p.

5. Voiskunsky, A.E. “I say, we talk”, M, Enlightenment, 1989

6. Georgieva, M., Popova, M. Russian phonetics and intonation. - M .: "High school", 1974.

7. Zemskaya, E.A. Russian colloquial speech: linguistic analysis and learning problems. M.1979.

8. Zlatoustova, L.V. . Phonetic structure of a word in a speech stream. Kazan. 1962.

9. Kubasova, O. V. Expressive reading: A guide for students. wednesday ped. study. institutions. - M .: Publishing center "academy", 1997. - 144 p.

10. Culturology. XX century. Dictionary. SPb .: University book, 1997 .-- 640 p.

11. Mukhanov, I. Intonation in the practice of Russian dialogical speech.
D. Antonova. Phonetics and intonation. M., 1988.

12. Panov, M.V . About the styles of pronunciation. Development of the modern Russian language, M., 1963.

13. The problem of intonation in the context of teaching about inner speech // General pedagogy and teaching methods. Psychology. Philology. Collection of works of young scientists of the Baikal region. - Ulan-Ude: BSU, 1999. - (0.4 pp.)

14. The problem of intonation in modern philology // Actual problems of modern literary criticism. Materials of the interuniversity scientific conference. - Issue. 4. - M .: MGOPU, - 2000. - (0.2 pp.)

15. Romakh, O.V . Informationology as a method of culture research. // SENI "Analytics of Cultural Studies". Tambov, 2005, No. 3.

16. Soper, P. “Fundamentals of the Art of Speech”, Moscow, 1995

17. Effective communication: history, theory, practice: Dictionary-reference book. M .: 2005 .-- 960 p.

Intonation, as noted earlier, refers to the super-segmental (supralinear, prosodic) phonetic means of the modern Russian literary language.

The intonation in the broad sense of an elephant consists of the following elements:

1) the melody of speech, that is, the movement of the musical tone, raising and lowering the voice;

2) rhythm, that is, the ratio of strong and weak, long and short syllables;

3) tempo, that is, the rate of speech flow in time, acceleration and deceleration;

4) the intensity of speech, that is, the strength or weakness of pronunciation, strengthening and weakening of exhalation;

5) the presence-absence of intraphrasal pauses that divide the phrase into speech beats;

6) timbre - the color of the sound, which depends on which overtones accompany the fundamental tone, i.e. from complex oscillatory movements that give a sound wave; in Russian, timbre is distinguished from each other by various shades of stressed and unstressed vowels, as well as different colors of consonants; timbre is an individual feature of the sound (for men, women, children, the timbre of speech is different; it is different for those who speak, say, in bass or tenor), but there are also constant components of the color of the sound, as a result of which [e] will always differ from [ a] or [p] from [m].

In linguistics, intonation has been studied for a long time by various linguists. Various ways of writing it have been proposed: from dots and dashes to notes. The most thorough studies of intonation using instrumental methods were carried out by E.A. Bryzgunova.

The impetus for the study of Russian intonation for E.A. Bryzgunova was taught by classes with foreigners and observations of the mistakes of foreign language students, due to the influence of intonation native language.

In the future, the intonation theory of E.A. Bryzgunova, which is widely used in modern scientific and educational linguistic literature.

Intonation (from Lat. Intono - I pronounce loudly) is a change in the basic tone, intensity, timbre and duration of sounding sentences.

Intonation divides the flow of speech into semantic segments, opposes sentences according to the purpose of the statement and delimits semantic relations within them, contributes to the expression of emotions.

The study of intonation proves the existence of narrative, interrogative, response, enumeration, exclamation and other intonations.

In modern Russian literary language, there are seven types of intonation structures (IK- [ik'ka]).

Each intonation structure has a center - the syllable on which the main stress (bar, phrasal or logical) is applied, the pre-center and post-center parts of the speech bar (syntagma), which may be absent.

Distinctive features of IC are the tone movement on the center vowel and the ratio of the tone levels of the IC constituent parts. With the similarity of these characteristics, the distinctive features are the duration of the IC centers, the strengthening of the verbal stress of the center or the bow of the vocal cords at the end of the vowel center, perceived as a sharp break in sound.

Andreichenko L.N. Russian language. Phonetics and Phonology. Orthoepy. Graphics and spelling. - M., 2003

Intonation and its components.

The concept of intonation; intonation and prosody.

Components of intonation.

Intonation functions.

1. The concept of intonation.

According to Lev Rafailovich Zinder's definition, intonation is a rhythmic-melodic pattern of speech, a complex unity of 1) speech melody (movement of the main tone), 2) rhythm (the ratio of strong and weak, long and short syllables), 3) tempo (intensity), 4) timbre of speech, 5) phrasal and logical stress, 6) pauses (a pause is required in intonation).

So, we see that most researchers consider the change in pitch, phrasal stress, rhythm, tempo and timbre as components of intonation. D. Jones, L.W. Shcherba, R. Lado and Ch. Frize consider only one or two elements as components of intonation: a change in the pitch of the main tone and phrasal stress or a change in the pitch of the main tone and rhythm. Thus, all researchers consider the change in the pitch of the fundamental tone to be the most important component of intonation, which fully corresponds to the original meaning of the term "intonation" and cannot cause any objections.

Intonation and prosody.

The term "prosody" is used as a general name for the over-segment properties of speech: pitch, duration, loudness.

Prosody has acoustic, perceptual and linguistic (functional) aspects.

All aspects interact and can be viewed as different sides of one phenomenon. There is a special terminology for the designation of the prosodic units of each aspect. When considering the acoustic aspect, frequency, intensity, time are highlighted. To denote the prosodic units of the perceptual aspect, the terms pitch, loudness, duration are adopted. The functional aspect has the concept of multi-component intonation.

2. Consider the components of intonation.

Phrasal stress- highlighting a word against the background of other words. This is achieved by pronouncing the struck words with a greater expiratory drive and muscle tension than unstressed ones, as well as a change in tone and an increase in the duration of stressed syllables in the word of the sentence. It exists in a phrase in several forms: syntactic- the core of the phrase - the syllable where the voice moves up or down, it shows the communicative type of utterance (command, question, statement, request) gravitates towards the end of the phrase;

logical- appears in a phrase due to the prevailing role of meaning;

emphatic- is connected with the emotional side of speech (we invest not the mind, but emotions). Achieved by the strength of the loudness.

Pace(duration) - the speed of pronouncing certain segments of speech, which depends on the individual characteristics of the speaker, the style of pronunciation. Tempo, like other components of intonation, plays an important role in the transmission of information:

Plays a structural role in the formation of speech units (syntagmas, phrases, superphrasal units, lines, stanzas). The beginning and end of speech units are usually characterized by speech slowdown.

With the help of the tempo (often slower), the most important sections of the utterance are highlighted.

Transmits emotionally modal information. Emotional speech is characterized by a deviation of the tempo in the direction of speeding up or slowing down. For example, the expression of grief, fear, indifference is characterized by a greater speed than the expression of sadness, contempt. Statements expressing suppressed emotions tend to slow down the pace, unrestrained ones tend to speed up.

Rhythm(closely related to the tempo) - the repetition of stressed syllables in more or less equal intervals of time. Tempo and rhythm are the temporal (temporal) components of intonation. Rhythm is achieved by the fact that the accented syllables of the words allocated according to the meaning appear in speech through relatively equal time intervals, isolating the rhythmic groups, performing, thus. the function of organizing the rhythm in a speech context. The organizing function of rhythm is manifested not only in its ability to split the time continuum into relatively equal time intervals, but also in the fact that it is able to combine smaller units of rhythm (rhythmic groups) into larger ones → into syntagmas, syntagmas → into phrases, phrases in over-phrasal unity, over-phrasal unity in → whole speech context.

Timbre- special coloring of the voice, emotional and expressive attitude of the speaker. From a physical point of view, timbre is a vibration of various frequencies that form a set of overtones. In speech, the timbre performs two functions: it makes it possible to distinguish the speakers by the voice and acts as an indicator of the speaker's emotional state, thanks to which the statement acquires the necessary emotional coloring.

Pause- acoustic zero, the termination of articulation, can be a sharp break in the melody. Our speech is a coherent stream of sound, divided by pauses into larger or smaller segments. A pause can be made only after a certain group of words or one word has been pronounced, which is a semantic unity, and at the same time a syntactic unity, that is, united by a common meaning and syntactic connection.

The intonation components manifest themselves in two aspects:

Communicative- intonation informs - whether the utterance is complete or incomplete, whether it contains a question or answer, a request or a command; represents communicative types of utterance: narrative, exclamatory, interrogative, incentive. Typical for the Russian intonation system.

Emotional- any intonation necessarily contains a certain emotion, speaker's attitude to utterance Is a modality. Intonation is always modal. Typical for the English intonation system.

3. Functions of intonation.

1) The main function of intonation is a function organization and division of the speech stream.

Imagine a sequence of words devoid of intonation indicators (pauses, melody, and other indicators). Peter said brother is ill today we must send for the doctor. (the absence of punctuation marks emphasizes the absence of intonation as a super-segmental means).

This sequence sounds unnatural and is of little use for understanding, since it contains a number of interpretations associated with different understandings.

Let's refine this sequence by using pauses. So that one segment includes words that are most closely related in meaning. By grouping words with pauses in different ways, we get a different understanding of the example.

′ Peter said ׀ Brother is ill today. ׀׀ We must send for the doctor.

′ Peter said ׀ Brother is ill. ׀׀ Today we must send for the doctor

Peter, ׀ said brother, ׀ is ill today. ׀׀ We must send for the doctor.

2) In natural speech, the connection between adjacent segments can be less or more intimate. The simplest way to reflect this is to use pauses of different lengths: unit pause, double pause, treble pause) for example: Brother is ill today. // We must send for the doctor.

In the first version, we are dealing with a sequence of two relatively independent proposals. (││) such a pause is a dividing one. A short pause (│) reflects a close connection between parts of a complex statement - connecting.

Differences in the nature of the pauses are used by intonation in functions of expressing the degree of connection between units of division.

3) Function of design and opposition of types of statements. Melody is used as the main means for the design of sections of speech, highlighted by pauses. It becomes possible to transmit fundamentally different information, in particular, information about the type of utterance (question, message, urge, whether the message is complete, etc.).

Brother is leaving. For Moscow.

Brother is leaving. - For Moscow?

With the help of melody, the main communicative types of utterance are expressed.

4) Distinctive function is realized by contrasting the same sequences of words with different intonation patterns. At the level of intonation group, phrase and text. For example: If Mary comes │ let me → know at once.

Several people are expected to come, but the speaker is interested in Mary.

If Mary comes │ let me → know at once. (They are only waiting for Mary and no one else).

So, there are 4 functions of intonation. All of them are associated with the semantic structure of the sentence and relate to the field of linguistics.

5) Undoubtedly, intonation is associated with the expression of human emotions, so that another function of intonation can be called the function of expressing emotional meanings and shades (modality). The tone "fall + rise" expresses contrast, innuendo. Each melodic drawing adds its own shades of meaning.

For example: When did you come? - Now (calmly, impartially)

Now (interested)

Now (keep the conversation going)

You are to do it right now. - Now? (very surprised)