- •Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Use a friendly general question as a reaction to the following statement.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •React the following expressing contradiction.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
- •Card 14
- •I. Identification and reproduction of intonation patterns.
- •II. Use of rhythmic structures.
- •III. Use of pitch contours*.
- •Iy. Auditory memory check.
I. Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
Aren’t you boys out of /beds yet? It’s getting \/late.
/Is it? What’s the \time?
Twenty past \seven.
Is it as late as /that, Mum?
Yes, it \is. Be \quick \both of you. If you’re not downstairs \/soon, | you’ll have no time for \breakfast. You have to leave the /house at twenty five past \eight.
All /right, Mum. We’ll be down to breakfast in twenty \minutes.
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
- A confused and troublesome time
- Rude and blind criticism
My worst suspicions and fears
b) Read the following utterances according to the suggested rhythmic structure.
She held a fashionable brand new brown leather bag. (4 stress-rhythm)
He already earns his own money. (3 stress-rhythm)
III. Use of pitch contours*.
a) Use a friendly gratitude in the response.
I’ll help you translate this article.
That’s very kind of you. Thank you ever so much.
b) Use the imperative as a request.
Is there anything I can do to help?
Give me a lift to the station.
Iy. Auditory memory check.
Act out the following situational context by analogy with “Our Sitting Room”. (London Course).
Let’s take a glance at our kitchen. As you open the door, you will see a cooker with some new appliances attached to it. Next to the cooker is a tall cupboard made of dark brown plastic. On the left is a large freezer. Near the window there’s a kitchen table, with four wooden chairs standing around it.
*A pitch contour is an overall tone pattern of an intonation group. It is formed by the type of Prehead, Head and nuclear tone.
e.g. That’s the 'best ·news I’ve heard for a \long time.
The pitch contour of this statement is defined as a high falling contour with a normal prehead and a stepping head.
CARD 7
I. Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
You know \Smith, \don’t you?
\Which Smith do you mean? I know \several /Smiths.
\James Smith I mean. The man who goes up to \town with us every /day.
Oh, \yes, I \know the man you /mean. Why do you \ask?
He asked me to lend him five \pounds last week.
\Oh, and /did you?
Yes, I \did. Perhaps I was \/foolish. Do you think he’ll pay the money /back?
\No, I don’t sup\pose he /will. He doesn’t \often pay back the money he /borrows.
\Oh, that is bad \/news.
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
- Political storm and stress
- It has more than passing interest
Our views were diametrically opposed
b) Read the following utterances according to the suggested rhythmic structure.
Can you give me some definite information? (4 stress-rhythm)
We hope you have a good trip here. (3 stress-rhythm)