UNIT FIVETask 1. Listen to the words, write them in the right column according to the type of a stressed vowel in them. divorce verb court couple pronoun intolerable become home adverb about emotion circumstances dishonest conjunction however preposition front common interjection husband noun important broken flowers hurt particle grown courage honest cause adjective conservative personally numeral suffer article
Task 2. Listen to the recorded pairs of words having the same spelling but different placement of stress. Transcribe the words, mark stresses, define the parts of speech the words belong to and give their stress patterns. Example: "import (n.) – im"port (v.), /"ImpO:t - Im"pO:t/ –" È – È –"; "ferment (n) – fer"ment (v) –" È – È –"; ob"ject (v) – "object (n) È –" –- –" È; "rebel (n) – re"bel (v) –" È – È –"; con"duct (v)– "conduct (n) È –" – – " È; con"flict (v) – "conflict (n) È –" –" È; "perfect (adj) – per"fect (v) –" È – È –"; pro"gress (v)– "progress (n) È –" – –" È; "record (n) – re"cord (v) –" È – È –"; "protest (n) – pro"test (v) –" È – È –"; re"fuse (v) – "refuse (n) È –" – –" È; "subject (n)– sub"ject (v) –" È – È –"; trans"fer (v) – "transfer (n) È –" – –" È; "transport (n)– trans"port (v) –" È – È –"; ex"port (v) – "export (n) È –" – –" È; "desert (n)– de"sert (v) –" È – È –"; ac"cent (v) – "accent (n) È –" – –" È; "absent (n) – ab"sent (v) –" È – È –"; "discourse (n) – dis"course (v) –" È – È –"; in"sult (v) – "insult (n) È –" – –" È; Task 3. Listen to the recorded words. Write them in the right column according to their stress patterns. Give 10 examples of words having the same stress patterns. Use them in your own sentences. Comment on the shift of stress, if any, in the analyzed words used in connected speech: blackboard, two-year-old, bedroom, stepmother, come in, looking-glass, sideboard, look at, misfortune, bookstand, writing-table, ex-president, look for, sportsman, submarine, dressing-gown, tablecloth, vice-minister, old-fashioned, birthday, earthquake, flower-pot, well-planed, driving lessons, grasshopper, keyhole, hairbrush, well-read, concentrate, greenhouse, midnight, post-office, situate, housekeeper, outburst, schoolmaster, groupmate, sixpence, tea-party, satisfy, wide-set, twenty two, armchair, classify, eye-witness, dog-tired, hardworking, thunderstorm, good-looking, demonstrate, well-bred, quick-witted, easy-chair, handmade, driving licence, wood-stove, broad-shouldered, well-qualified. Task 4. Listen to the following “content” words occurring together. Take care to give them full stresses, space the stressed syllables in a regular rhythm. Prepare good reading of them. a) a èchurch / an "old èchurch / an "old "Catholic èchurch / an "old "Roman"Catholic èchurch / a "very . old "Roman"Catholic èchurch. b) èshoes /a "pair of èshoes / a "dirty "pair of èshoes / a "dirty "pair of "brown èshoes / a "dirty "pair of "brown . leather èshoes / a "very . dirty "pair of "brown . leather èshoes. c) the èpalace / the "Crystal èPalace / the "Crystal èPalace / the "Crystal "Palace Exhi èbition / the "great "Crystal . Palace Exhi èbition/ the "great "Crystal . Palace Exhi èbition Y of "eighteen- . fifty - èone. d) a ècloth / a "linen ècloth / a "linen ètable-cloth / a "white . linen ètable-cloth / a "clean "white . linen ètable-cloth. e) èsoap-flakes / a "soap-flake èpacket / a "Lux "soap-flake èpacket / an "empty . Lux "soap-flake èpacket. f) a èdesk / an "oak èdesk / an "oak "desk with èdrawers / a "polished "oak "desk with èdrawers / a "polished "oak "desk with large èdrawers g) a ètelephone / a "public ètelephone / "two "public ètelephones / "two "public ètelephones / "two . public "telephones on Platform è4 / "two "new . public "telephones on Platform è4 h) a èlight / an e"lectric èlight / an e"lectric "light with èshade / an e"lectric "light with a coloured èshade / "two . electric "lights with a coloured èshade. i) a èchair / an "arm- èchair / "Granny’s "arm- èchair / "Granny’s "favourite "arm- èchair / the "back of "Granny’s "favourite . arm- èchair. j) a èpie / an "apple èpie / a "blackberry and "apple èpie / a "large "blackberry and "apple èpie / a "very . large "blackberry and . apple èpie / a "very . large "well- . cooked "blackberry and . apple èpie / a "very . large "well- . cooked "blackberry and . apple "pie with whipped ècream. Task 5. Listen to a short dialogue. Write it down, lay stresses and tone marks, define the rhythmic structure of each intonation group. Find the utterances in the dialogue, which are exactly the same but their intonation, is different. State how intonation changes the communicative type of the utterances and their meanings. Example: " Dinner’s ™ ready. / –" È –" È;/
"Dinner’s ™ready.Ç"Come and °get it.Ç "What’s for ™dinner?Ç "Something °special.Ç %Something æspecial?Ç "Chicken °curry. Ç"Don’t you ™like it?Ç èYes, ÅI èlove it.Ç "What’s for ™pudding?Ç Í%Wait and °see.Ç Task 6. Listen to the following content sentences, write them down, lay stresses and tone marks, give their tonograms, define the structure of each intonation group. Do it in writing. Example: She’s " coming " home for ° Christmas. Ç % How è nice. Ç /Siz "kVmIN "h@Um f@ °krIsm@s Ç /
(Low Pre-Head + the Regular Descending Stepping Scale + Low Fall + Tail)
/%haU ènaIs Ç /
(Low Head + High Fall) a) I’m sur"prised that you "haven’t for ègotten me. %How ècould I? /aIm s@"praIzd D{t ju "h{v(@)nt f@ ègQtn mi . Ç/
(Low Pre-Head + the Regular Descending Stepping Scale +High Fall + Tail)
/%haU èkUd aI Ç/
(Low Head + High Fall + Tail) b) "Do you "know the ™answer? Ç I’m a°fraid I ™don’t. Ç /"du: ju "n@U Di ™A:ns@ Ç/
(the Regular Descending Stepping Scale + Low Rise + Tail) /aIm @ °freId aI ™d@Unt Ç /
(Low Pre-Head + Fall-Rise Div.) c) %Do hurry ™up. ç I’m ™coming.Ç /%du: hVrI ™Vp Ç /
(Low Head + Low Rise) / çaIm ™kVmIN Ç /
(High Pre-Head + Low Rise + Tail)
d) I Êdo hope he Êwon’t let us ëdown.Ç ç He ™won’t.Ç He’s èvery re%liable.Ç /aI Êdu: h@Up hi Êw@Unt let Vs ëdaUn Ç /
(Low Pre-Head + the Regular Descending Sliding Scale + Fall-Rise undiv.) / çhi ™w@Unt Ç hiz èverI rI%laI@bl Ç /
(High Pre-Head + Low Rise; Low Pre-Head + High Fall + Tail)
e) I’m most ègrateful for your %help.Ç Well if "that’s ™all,Å – then I %think I’ll be ègoing.Ç /aIm m@Ust ègreItfUl f(@) jO . %help Ç /
(Low Pre-Head + High Fall + Tail) /wel If "D{ts ™O:l Å – Den aI %TINk aIl bi èg@UIN Ç /
(Low Pre-Head + High Head + Low Rise; Mid. Pre-Head + Ascending Head + High Fall + Tail) f) "That’s my final °offer.Ç If ™that’s the . way you . want it, Å there’s "nothing . more to èsay.Ç /"D{ts maI faIn@l °Qf@ Ç /
(The Broken Descending Stepping Scale + Low Fall + Tail) /If ™D{ts D@ . weI ju. . wQnt It Å DE@z "nVTIN . mO: t@ èseI Ç /
(Low Pre-Head + Low Rise + Tail; Low Pre-Head + High Head + High Fall)
g) ç Did you ™eat . well? Ç The Êfood in ÊParis was su ëperb.Ç / çdId ju ™i:t . wel Ç /
(High Pre-Head + Low Rise + Tail) /D@ ÊfUd In Êp{rIs w@z sju: ëp3:b Ç /
(Low Pre-Head + the Regular Descending Sliding Scale + Fall-Rise undiv.)
h) "How have your èsons been %doing, ™Andy? Ç °Thank you.Ç "Malcolm "never ™stops . working Å çand %James "never èstarts %working. Ç /"haU h@v jO èsVnz bi . n %du:IN ™{ndI Ç /
(High Head + High Fall + Low Rise + Tail) /°T{Nk ju Ç "m{lk@m "nev@ ™stQps . w3:kIN Å ç@nd %dZeImz "nev@ èstA:ts %w3:kINÇ /
(Low Fall + Tail; + Low Rise + Tail; High Pre-Head + the Regular Ascending Stepping Scale + High Fall + Tail) i) He’s %so èstupid.Ç I can %hardly be ècivil %to him.Ç How Êever . much he Êgets on your ënerves, ÅÊtry to be po <lite . to him.Ç /hiz %s@U èstju:pId Ç aI k@n %hA:dlI bi èsIvIl %t@ hIm Ç /
(Low Pre-Head + Low Head + High Fall + Tail; Low Pre-Head + Low Rising Head + High Fall + Tail) /haUÊev@ . mVtS hi Êgets Qn jO ën3:vz Å ÊtraI t@ bi . p@ <laIt . t@ hIm Ç /
(Low Pre-Head + the Regular Descending Sliding Scale + Fall-Rise undiv.; the Regular Descending Sliding Scale + Fall-Rise div. + Tail) j) You can "usually èdo %crosswords.Ç But with æthis one Å I’m "all at °sea.Ç /ju . k@n "ju:Zu@lI èdu: %krQsw3:dz Ç
(Low Pre-Head + High Head + High Fall + Tail) / b@t wID æDIs wVn Å aIm "O:l @t °si: Ç /
(Low Pre-Head + High Rise + Tail; Low Pre-Head + High Head + Low Fall) Task 7. Practise reading the dialogue according to the given stresses and tone marks. Record the dialogue. – "Did you see O™thello on . television . last . night?Ç – The èopera, you %mean.Ç èNo,Å I èdidn’t.Ç I was èout.Ç – èI ™saw it,Å and "quite en èjoyed it.Ç – ™Did you?Ç I Í thought you . didn’t ap èprove of %television.Ç – I èdon’t,Å as a %regular ™thing.Ç But I Ìhappened to be . round at my <sister’s,Å and èshe %wanted to ™see it.Ç So "I . watched it ètoo.Ç – Have you "thought any "more about ™getting a . set?Ç – °No,Å I %don’t think I ™shall.Ç Though there’s a Ìgood deal of èè<pressure, of . course.Ç – From your æfamily?Ç – From my èdaughter,Å in par èticu ™lar.Ç "All her èschool %friends %talk about it so %much.Ç – "I °know.Ç You’d "think they never did . anything ™else Å but "sit glued to the ètelevision %screen.Ç – That’s "mostly what I ob èject to, Å the ètime it %wastes.Ç – It Ìisn’t the ètelevision that %wastes the ™time.Ç It’s èyou.Ç – I Ìknow <thatÇ. But I have a "deep dis°trust of my%self.Ç So it’s "probably >better Å to a"void the oc ècasion of %sin.Ç "Don’t you æthink?Ç Task 8. Listen to the following dialogues and exercises, concentrate on the intonation of giving information. Write them down, divide the extended pieces of information into intonation groups, lay stress-and-tone marks. Formulate the rules of the intonational and grammatical organisation of replies. Do it in writing. Thompson P. 48-60. Task 9. Read the text given below. Make sure you understand what it is about. Divide each sentence into syntagms, lay stresses and tone marks, practise reading the text. Record your reading. It should be realized from the outset that learning a new set of sounds means forming a number of new habits. You will have to put your speech organs into positions, which are not used in speaking your own language. You will find it difficult at first because your muscles are not used to those particular movements. To begin with, you will have to think consciously of the position of tour tongue and the shape of your lips, and so on, for each sound that you want to make. You will find it a slow and laborious process and may wonder: How on earth am I ever going to become fluent in my speech if I have to think for about five minutes before pronouncing each sound? The answer is – by constant practice. But in a fairly short time new habits will be formed, and your muscles will perform their new functions without your brain having to interfere. Thus, if you practise sufficiently, your muscles will form new speech habits and you will be able to make the correct sounds without consciously thinking of them [Christophersen 1970:4-5].
|
