- •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.
CARD 1
Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
– Isn’t there anyone at /home?
– I’ll knock a\gain, Helen. Everything is \quiet. I’m \sure there’s no one at /home.
– But that’s im\/possible! Pat and Tom invited us to \lunch. Look through the \window. Can you /see anything?
– Nothing at \all.
– Let’s try the \back door.
_ \Look! Everybody’s in the \garden.
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
– As ridiculous as it was unnecessary
– A concentrated source of energy
– Elementary moral principles
b) Read the following utterances according to the suggested rhythmic structure.
It is not very pleasant to go out today. (3 stress-rhythm)
We are thrilled you are coming. (2 stress-rhythm)
III. Use of pitch contours*.
a) React expressing a normal gratitude.
– I’ve repaired your iron. Here it is.
Thanks a lot.
b) Show a friendly attitude in the reply to the following question.
– Do you think I’ll ever do it?
- You’ll manage it easily.
Iy. Auditory memory check.
Act out the following situational context by analogy with “Have you got any children”. (from “Opening Strategies”).
Have you got any jackets?
Yes. We have two kinds. These are for cold weather and those ones in green, grey and blue are quite light. Which would you like?
The blue ones are nice. They look extravagant. I think I’ll get one. My wardrobe needs changing. Yes. The brand and the price are suitable too. Can you wrap it? I’ve found the best I could.
*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 2
I. Identification and reproduction of intonation patterns.
Read the following conversational context according to the intonation marks:
An intelligent small /boy was asked on a bus by a \passenger.
– “And how old are \you?”
– “I’m \four,” replied the child.
– “I wish \I were /four,” observed the passenger.
He was taken a\/back, however, when the child re/plied calmly:
– “But you \were four /once.”
II. Use of rhythmic structures.
a) State what rhythmic structure is prompted by the lexical composition of the following phrases.
– In the nature of things
– A wide variety of land and climate
- A three-day journey by train
b) Read the following utterances according to the suggested rhythmic structure.
It’s in a fashionable old London suburb. (3 stress-rhythm)
We are all of us fond of downhill skiing. (4 stress-rhythm)
III. Use of pitch contours*.
a) React with an insistent special question.
– Can you give me one of those magazines?
- Which one do you want?
b) Express apology in your response.
– We’ve been waiting for an hour already.
I’ve been awfully busy.