KA
O
Y!
(Definitely.)
Brazil, Coulthard and Johns (1980) point out the importance of
relative pitch, in a discourse context, e.g. for indicating affect or emotion.
Most importantly, relative pitch of an utterance shows the speaker's attitude
toward the information that he\she is conveying. The neutral, unmarked, mid
relative pitch - which is the speaker's modal pitch - is used to make a statement
in a neutral manner. In contrast, high relative pitch indicates an
informational contrast, as shown in example (a). Because high key implies a
contrast even when one is not explicitly present in the discourse, it can be
used to single out individual words for special attention, as in example (b).
Y
H a
ar 1
(a) I'm going to vard, not e !!!
n
e
v t t.
(b) I'd er do ha
Low key is used when the speaker wants to assert that two items in
successive tone units are in some sense equivalent, as in (c):
T
O
I L
D
(c) you already, du
mmy.
Here the low key on dummy signals that it is to be interpreted as
confer-ential to you.
In some varieties of English, e.g. those spoken in Ireland,
Liverpool and Hawaii, the terminal high rise in yes/no questions is replaced by
an earlier rise, with high pitch maintained until the tonic word or phrase,
followed by a fall as in
Ireland: Would you like some tea?
Liverpool: Did you go to the new supermarket?
Hawaii: 1) You need a general catalog?
You get one book?
In Hawaniian English, question tags comprising yea with high rising
pitch are frequent/ In Welsh English, question tags are emphasized by a
swell-tone (rise-fall patern) on the tag, which makes it more definite or
emphatic.
Stylistic
use of intonation
Speech
typology
Intonational style
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Varieties of language
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Forms of communication
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Degree of speech preparedness
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The number of participants
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The character of participants`
relationship
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Spoken
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Written
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Monoloqoue
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Dialoque
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Prepared
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Spontaneous
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Pub
lic
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Non-public
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For-mal
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Infor-mal
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Informational style
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-
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+
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+
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+
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+
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+
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+
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+
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+
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-
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Academic style
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+
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+
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+
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+
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+
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+
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+
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+
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+
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Declamatory style
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+
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+
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+
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+
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+
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+
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+
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-
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+
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-
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Publicistic style
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+
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+
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+
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+
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+
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+
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+
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+
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+
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-
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Familiar style
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+
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-
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+
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+
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-
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+
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-
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+
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-
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+
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Conversational (familiar) - this kind of English is a means for
everyday communication, heard in natural conversational interaction between
speakers. This style occurs mainly in informal external and internal
relationships in speech of relatives, friends, well - acquainted people and so
on. So this is spontaneous, colloquial, informal, everyday speech.
Informational - in press reporting, educational descriptive texts.
May be represented in monologues, dialogues, polylogues.
Phonostylistic characteristics: Loudness normal or increased; pauses
are rather long; rhythm is stable, properly organized; falling tones on the
semantic centres, falling- rising in the initial intonation groups
The following example illustrates the use of this intonation pattern
in the speech of a radio announcer during news coverage:
ANNOUNCER: … Early
`yesterday MORNING the engine `depot at ROUEN was the target of `SABOTEURS.
|| The heavy-MA CHINE
shops were totally GUTTED | and e leven `LOCO`MOTIVES | com pletely `DES
TROYED.
Booth. «The Sky is Overcast»)
Academic (scientific) - style of lectures (conferences, seminars).
The purpose of communication as the speaker’s aim is to attract the listener’s
attention, to establish close contacts with the audience and to direct the
public attention to the message carried in the contents of the text.
Phonostylistic characteristics: Loudness increased; pauses are
rather long; rhythm is properly organized; high proportion of compound terminal
tones (high fall + low rise, fall – rise, rise-fall-rise), a great number of high
categoric falls.
Example
The various MEANINGS may be classified under two `general HEADS | -
the optative SUB JUNCTIVE and the PO` TENTIAL sub junctive. || The `OPTATIVE
sub junktive
repre sents `something as DE SIRED, DE` MANDED, or RE`QUIRED (by a person
or by CIRCUMSTANCES). || The PO`TENTIAL sub jenctive marks `something as a mere
con`caption of the `MIND, but at the same time repre` sents it as something
that may PROBABLY or POSSIB LY `BE or BE` COME a reality or on the `OTHER
handes as SOMETHING that is contrary to `FACT. ||
(G. O. Curme «A Grammar of the English Language»)
Oratorial - this term serves for many kinds of oratorial activities
(especially this style uses in political speeches).
Phonostylistic characteristics: Loudness enormously increased;
pauses are definitely long between the passages; rhythm is properly organized;
tones mostly emphatic, especially emotionally underlined semantic centres, in
non-final intonational groups falling-rising tones are frequent
Example
You can’t have in`formed O`PINION on this `VITAL MATTER with out
being kept `VERY much up to DATE with the LATEST FACTS of DE FENCE. Now what IS
WRONG with a coa lition GOVERNMENT in time of CRISIS, | but the dreadful `PART
of a coa lition government, you KNOW, is that to keep it A LIVE you have to go
in for `one, COMPROMISE after A NOTHER.
(D. Crystal and D. Davy «Investigating English Style»)
Declamatory (artistic)- this is the style of declamation. This is a
highly emotional and expressive intonational style, that is why it needs
special training. This style can be heard on the stage, on the screen, in a TV
studio, thus we see that it is always a written form of the language read aloud
or recited.
Phonostylistic characteristics: Loudness varied according to the
size of the audience and to the emotional setting; pauses are long especially
between the passages, prolonged emphatic pauses are used to underline the
emphasis; rhythm is properly organized; common use of categoric low and high falls
in final and initial intination groups and on semantic centres
Example
The door of the `dining-room was OPEN the gas `turned LOW; | a
SPIRIT-urn `hissed on a TEA-tray, and CLOSE to it a cynical- `looking CAT had
fallen A SLEEP on the DINING-table. || Old `Jolyon ``shoo`d` her `OFF at
once.`` ||
The Comparative Analysis of the Intonation of Basic Positive
Emotions in English and Russian Spontaneous Speech
The second part of the 20th century has been marked by special
attention to the investigation of intonational variation expressing emotions in
speech. Being an indispensable component of oral communication, intonation with
other linguistic and extra linguistic means serves to distinguish the
communicative types of utterances, to identify the speaker and to convey his
attitude to the surrounding reality.
Studies of the prosody of emotions are not numerous, though a
growing interest in this area is pointed out. There is still no exhaustive
definition of the notion emotion; nevertheless in 80s a great input into the
theory of emotions was made by C.Izard.
The material for the investigation was samples of authentic English
and Russian emotional spontaneous speech, namely recordings of TV programs,
interviews, free talks, situations where people interact in a way that appears
spontaneous. We consider it relevant to study the prosody of emotions expressed
in eye-to-eye, informal communication, as this is where human attitudes reveal
most explicitly.
In the analyzed material 64 spontaneous utterances (32 in English
and 32 in Russian) rendering the emotional states of surprise, interest and joy
were chosen. The recordings of the three emotions were studied in an
intonogram. The focus of the investigation was made on such prosodic
parameters, as pitch level, pitch range and intensity level. Intonation was
also estimated from the point of view of direction of the F0, whether it is
steady, upward or downward.
The results of the contrastive acoustic analysis show, that all the
emotions under analysis are characterized by high pitch level both in Russian
and English speech.
Interest
The differences in English and Russian intonation are traced in the
direction of the terminal tone and the type of the scale: while in English
utterances expressing interest are pronounced with the descending stepping
scale and downward nucleus, Russian utterances are marked by the rising
nucleus.
Surprise.
Besides
high pitch level utterances expressing surprise are pronounced with two types
of terminal tones- the falling or the rising-falling tones; the percentage of
using these tones, both in English and in Russian, is comparatively equal. The
major difference in the prosody of surprise in English and Russian spontaneous
utterances is the amplitude of intensity, which is smaller in English. The
pitch range of the basic emotion of surprise in English is predominantly
narrow, while in Russian it is either narrow or wide.
Joy
The
intensity of Russian utterances with the attitude of joy is higher than that of
English utterances.
The
aim of the final stage of the experiment was to examine the ability of Russian
auditors to recognize an emotion expressed in English utterances.
In
the course of the auditory analysis 30 Russians, who don’t master English, had
to listen to 32 emotionally charged spontaneous phrases (13 utterances with the
emotional component of interest, 13- with the emotional component of surprise,
and 6- with the charge of joy) and to say which attitude of the three was
expressed in each phrase. Thus, Russian listeners had to judge the emotional
meaning of utterances pronounced by English native speakers relying on the
so-called “pure intonation” when the listeners are not able to percept the
lexical meaning of the phrases
The
comparative analysis of the intonation of basic positive emotions shows that
similar features in the prosody of interest, surprise and joy are present in
English and Russian, though the specific variations of intonation
characteristic of a language prevail.
What can we conclude about the use of intonation in a language like
English? Perhaps the best way to look at the subject is to see
intonation as an essential component of the discourse structure of speech. We
speak in order to communicate, and we need to interact with our listeners to do
this. We must indicate what type of information tye are presenting and how it
is structured, and at the same time we must keep our listeners' attention and
their participation in the exchange of information.
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